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"content": "\u003cp>Last spring, as a matter of friendly procedure, KQED Arts \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=55208\">asked the British writer Geoff Dyer which movie he would choose to live inside\u003c/a>. In retrospect it seems obvious that Andrei Tarkovsky’s \u003ci>Stalker\u003c/i> was Dyer’s answer.\u003c/p>\n\u003cp>\u003ci>Stalker\u003c/i> is a long, slow, metaphysical Russian film from 1979. (“Andrei Tarkovsky” in Russian means “long, slow, metaphysical.”) It involves three men on a trip to a forbidden place, each for private personal reasons. Stalker is the name of the character who leads expeditions to this place, where deep desires are said to get fulfilled.\u003c/p>\n\u003cp>Today, what’s so special about the film, aside from it being a great cine-poet’s mesmerizing road movie of the Soviet twilight, is the fact that Dyer has written a book about it. Dyer is one of those rare geniuses who writes well about everything because he always winds up writing about himself. The navel into which he gazes is the world’s as well as his own. Thus is he very possibly the only living English-speaking person who can hold forth at length on Tarkovsky without boring the hell out of you.\u003c/p>\n\u003cp>\u003ci>Zona\u003c/i>, the newest of Dyer’s nimble nonfiction category-busters, describes itself as “A Book About a Film About a Journey to a Room.” It is that, and also an essay about wish fulfillment, the management of time, and the variable likelihood of perception-expanding cinema, among other art forms, to exist in our lives. In short, it is Dyer’s characteristically digressive memoir of what Tarkovsky’s movie has meant to him, which is a lot.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/stalker.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Stalker\u003c/i>, Andrei Tarkovsky, 1980.\u003cbr>\u003c/center>\n\u003cp>Historically, \u003ci>Stalker\u003c/i> was a beleaguered beast, heavily rewritten, reshot, and, fatefully, relocated to just downriver of a chemical plant whose toxicity may later have caused the filmmaker’s fatal cancer. Tarkovsky also had a heart attack during postproduction, and was prone, as Dyer gently puts it, to “megalomaniacal uncertainties.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aren’t we all? One of the real joys of reading \u003ci>Zona\u003c/i>, thanks to its peculiar candor, is picking up on how even Dyer’s most enthused engagement still seems a lot like fidgety reluctance. Another of Tarkovsky’s trio is a washed-up writer seeking inspiration. “Maybe by going to the Zone he’ll be rejuvenated,” Dyer writes. “Man, I know how he feels. I could do with a piece of that action myself. I mean, do you think I would be spending my time summarizing the action of a film almost devoid of action — not frame by frame, perhaps, but certainly take by take — if I was capable of writing anything else? In my way I am going to the Room — following these three to the Room — to save myself.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zona.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Dyer’s own stalkers surely will have noticed \u003ci>Stalker\u003c/i> references piling up in his previous writings, and maybe even presaged a whole book coming on. But then, who ever knows? He’s flighty. One of Dyer’s earlier books is called \u003ci>Yoga for People Who Can’t Be Bothered to Do It\u003c/i>. Another, \u003ci>Out of Sheer Rage\u003c/i>, is a biography of D.H. Lawrence by an author who couldn’t be bothered to do it. (Of course, in the end, he did. Sort of.) One essay in his recent collection, \u003ci>Otherwise Known as the Human Condition\u003c/i>, extemporized the proto-book proposal for \u003ci>Great Pastries of the World: A Personal View\u003c/i>. Was that a threat, or a promise?\u003c/p>\n\u003cp>Anyway, \u003ci>Zona\u003c/i> is here now, and briefly so is its author, for a panel discussion at the Stanford Humanities Center, a book signing at the Cerrito Theatre in El Cerrito, and, in between, a dialogue with fellow brilliant Brit and exhaustive film commentator David Thomson at Tosca in San Francisco (this last courtesy of Litquake’s Epicenter series of author events, here co-presented by \u003ci>The Believer\u003c/i>).\u003c/p>\n\u003cp>Like Dyer’s book, these events demand no previous familiarity with the film he describes as “synonymous both with cinema’s claims to high art and a test of the viewer’s ability to appreciate it as such.” All that’s required, to get a conversation started at least, is merely the “capacity to survive at the challenging peaks of human achievement.” Zone into that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geoff Dyer reads from and discusses \u003ci>Zona\u003c/i> at 5:30pm TONIGHT, Tuesday, March 13, 2012, at the Stanford Humanities Center in Palo Alto; 7pm Wednesday, March 14, 2012, at Tosca Cafe in San Francisco (\u003ca href=\"http://www.litquake.org/festival/epicenter\">more info at litquake.org\u003c/a>); and 6:30pm March 15, 2012, at the Cerrito Theatre in El Cerrito. For \u003ca href=\"http://geoffdyer.com/events/\"> more information\u003c/a> visit geoffdyer.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last spring, as a matter of friendly procedure, KQED Arts \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=55208\">asked the British writer Geoff Dyer which movie he would choose to live inside\u003c/a>. In retrospect it seems obvious that Andrei Tarkovsky’s \u003ci>Stalker\u003c/i> was Dyer’s answer.\u003c/p>\n\u003cp>\u003ci>Stalker\u003c/i> is a long, slow, metaphysical Russian film from 1979. (“Andrei Tarkovsky” in Russian means “long, slow, metaphysical.”) It involves three men on a trip to a forbidden place, each for private personal reasons. Stalker is the name of the character who leads expeditions to this place, where deep desires are said to get fulfilled.\u003c/p>\n\u003cp>Today, what’s so special about the film, aside from it being a great cine-poet’s mesmerizing road movie of the Soviet twilight, is the fact that Dyer has written a book about it. Dyer is one of those rare geniuses who writes well about everything because he always winds up writing about himself. The navel into which he gazes is the world’s as well as his own. Thus is he very possibly the only living English-speaking person who can hold forth at length on Tarkovsky without boring the hell out of you.\u003c/p>\n\u003cp>\u003ci>Zona\u003c/i>, the newest of Dyer’s nimble nonfiction category-busters, describes itself as “A Book About a Film About a Journey to a Room.” It is that, and also an essay about wish fulfillment, the management of time, and the variable likelihood of perception-expanding cinema, among other art forms, to exist in our lives. In short, it is Dyer’s characteristically digressive memoir of what Tarkovsky’s movie has meant to him, which is a lot.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/stalker.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Stalker\u003c/i>, Andrei Tarkovsky, 1980.\u003cbr>\u003c/center>\n\u003cp>Historically, \u003ci>Stalker\u003c/i> was a beleaguered beast, heavily rewritten, reshot, and, fatefully, relocated to just downriver of a chemical plant whose toxicity may later have caused the filmmaker’s fatal cancer. Tarkovsky also had a heart attack during postproduction, and was prone, as Dyer gently puts it, to “megalomaniacal uncertainties.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aren’t we all? One of the real joys of reading \u003ci>Zona\u003c/i>, thanks to its peculiar candor, is picking up on how even Dyer’s most enthused engagement still seems a lot like fidgety reluctance. Another of Tarkovsky’s trio is a washed-up writer seeking inspiration. “Maybe by going to the Zone he’ll be rejuvenated,” Dyer writes. “Man, I know how he feels. I could do with a piece of that action myself. I mean, do you think I would be spending my time summarizing the action of a film almost devoid of action — not frame by frame, perhaps, but certainly take by take — if I was capable of writing anything else? In my way I am going to the Room — following these three to the Room — to save myself.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zona.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Dyer’s own stalkers surely will have noticed \u003ci>Stalker\u003c/i> references piling up in his previous writings, and maybe even presaged a whole book coming on. But then, who ever knows? He’s flighty. One of Dyer’s earlier books is called \u003ci>Yoga for People Who Can’t Be Bothered to Do It\u003c/i>. Another, \u003ci>Out of Sheer Rage\u003c/i>, is a biography of D.H. Lawrence by an author who couldn’t be bothered to do it. (Of course, in the end, he did. Sort of.) One essay in his recent collection, \u003ci>Otherwise Known as the Human Condition\u003c/i>, extemporized the proto-book proposal for \u003ci>Great Pastries of the World: A Personal View\u003c/i>. Was that a threat, or a promise?\u003c/p>\n\u003cp>Anyway, \u003ci>Zona\u003c/i> is here now, and briefly so is its author, for a panel discussion at the Stanford Humanities Center, a book signing at the Cerrito Theatre in El Cerrito, and, in between, a dialogue with fellow brilliant Brit and exhaustive film commentator David Thomson at Tosca in San Francisco (this last courtesy of Litquake’s Epicenter series of author events, here co-presented by \u003ci>The Believer\u003c/i>).\u003c/p>\n\u003cp>Like Dyer’s book, these events demand no previous familiarity with the film he describes as “synonymous both with cinema’s claims to high art and a test of the viewer’s ability to appreciate it as such.” All that’s required, to get a conversation started at least, is merely the “capacity to survive at the challenging peaks of human achievement.” Zone into that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geoff Dyer reads from and discusses \u003ci>Zona\u003c/i> at 5:30pm TONIGHT, Tuesday, March 13, 2012, at the Stanford Humanities Center in Palo Alto; 7pm Wednesday, March 14, 2012, at Tosca Cafe in San Francisco (\u003ca href=\"http://www.litquake.org/festival/epicenter\">more info at litquake.org\u003c/a>); and 6:30pm March 15, 2012, at the Cerrito Theatre in El Cerrito. For \u003ca href=\"http://geoffdyer.com/events/\"> more information\u003c/a> visit geoffdyer.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In honor of Presidents’ Day, check out this Q+A with Maira Kalman, illustrator, contributor to \u003ci>The New York Times\u003c/i> and \u003ci>The New Yorker\u003c/i>, and, most importantly, staunch lover of Abe Lincoln.\u003c/p>\n\u003cp>\u003cb>As someone with his own bloated infatuation with Abe Lincoln, you don’treally have to sell me on this particular tall drink of water, but whatdraws you to writing about Abraham?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Maira Kalman:\u003c/b> He looks strange and brilliant. With very smart sharp eyes. And I love sharp eyes.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://timeoutnewyorkkids.com/sites/default/files/imagecache/timeout_492x330/lookingatlincoln.jpg\">\u003c/p>\n\u003cp>\u003cb>You’ve also written and illustrated tales of other presidents andhistorical figures. Where does your fascination with history stem from?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> I never was interested in history, because I just wasn’t, but I was sent on an assignment for \u003ci>The New York Times\u003c/i> and we decided I would do something I had no interest in. I would be naive.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=3yIGeEq12nQ&version=3&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003cb>What’s something that has shocked you to discover in researching Lincolnor some of your other subjects?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> How smart they were. How sophisticated. How they read Lucretius and Spinoza (Jefferson). How much Lincoln loved Shakespeare. And Mozart.They were thinkers of a very high order.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.chroniclebooks.com/blog/wp-content/uploads/2_lincoln_kalman.jpg\">\u003c/p>\n\u003cp>\u003cb>If you could visit any other time period and place in history, whichwould it be and what would you do there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> I would like to visit Hadrian in ancient Rome. I think we would walk around and look at the Pantheon together and have a tea or coffee somewhere. Visit Versailles and hang around the court for a few weeks.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://farm3.static.flickr.com/2763/4408587189_ffd79a225b.jpg\">\u003c/p>\n\u003cp>\u003cb>What’s the last work of art you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> I am reading \u003ci>Remembrance of Things Past\u003c/i> — really reading — and I am besotted and madly in love with M. Proust. I don’t know what is going on half the time, but the way he goes on is like a blood transfusion. I am filled with the music of the words.\u003c/p>\n\u003cp>\u003cb>What are you working on right now?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>MK:\u003c/b> Right now, I am getting ready to go to my friend’s house and play Scrabble. Tomorrow, I will sketch ideas for a \u003ci>New Yorker\u003c/i> cover. And then I will sew a felt bag for my iPad.\u003c/p>\n\n",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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