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She wrote two monthly columns for \u003ci>The New York Times\u003c/i>, “The Principles of Uncertainty” and \u003ca href=\"http://kalman.blogs.nytimes.com/\">And The Pursuit of Happiness\u003c/a>, which is the artist’s year-long investigation of democracy and how it works. The exhibition of her narrative art, \u003cb>Maira Kalman: Various Illuminations (of a Crazy World)\u003c/b> opened at the Contemporary Jewish Museum in San Francisco last year. In addition to \u003ci>Why we Broke Up\u003c/i>, she has recently illustrated a new edition of \u003ca href=\"http://michaelpollan.com/books/food-rules-illustrated-edition/\">\u003ci>Food Rules\u003c/i>\u003c/a> by Michael Pollan. (Food Rule # 1 is Broccoli.) \u003c/p>\n\u003cp>While Kalman’s whimsy recalls the cartoonery of Roz Chast, Lemony Snicket’s gloomy disposition is very much in the vein of Edward Gorey. And Gorey — for you fans of Goth-based mirth-misery — will have his would-be 87th birthday feted on February 22 at the Cartoon Art Museum Bookstore with a special evening of Gorey-themed entertainment.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/02/whywebrokeup1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>For those not attending the \u003ci>City Arts and Lectures\u003c/i> talk tonight, or if teen heartbreak doesn’t speak to you, you can still opt into the desolation commiseration (and/or schadenfreude) of romances gone awry; Handler has created an online complement to his book called \u003ca href=\"http://whywebrokeupproject.tumblr.com/\">\u003ci>The Why We Broke Up Project\u003c/i>\u003c/a>, which invites users to share their (succinct) break up stories.\u003c/p>\n\u003cp>Users are asked to group their break-ups into categories: “I Can’t Believe You Said That;” “I Cant Believe Your Wore That;” “I Can’t Believe That’s What You Thought;” “I Just Can’t Believe It;” and several other categories. One “I Can’t Believe You Wore That” post, for instance, is “I knew I had to break up with Ann Rosenberg after she chose a teal dress for the prom. I had never heard of teal. Also, I was gay.” This from Brian Selznick, author And illustrator of \u003ci>The Invention Of Hugo Cabret\u003c/i>. \u003c/p>\n\u003cp>Another favorite: “The boy I loved didn’t know I existed. Then again, he was obsessed with Camus, so he didn’t know if any of us existed.” \u003c/p>\n\u003cp>If posters are very lucky, Handler will comment on their break-ups. One person posted: “I didn’t wash the dishes apparently… oh and you slept with someone else.” Handler responds: \u003c/p>\n\u003cp>“Temptations are like dirty dishes. There are some who leave them alone, scarcely noticing how many have piled up. And there are some who must do them right away.”\u003c/p>\n\u003cp>Sure, the \u003ci>Why We Broke Up\u003c/i> “project” is mainly an online marketing campaign. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With Valentine’s Day lurking around the corner, lonely hearts might be particularly pleased with the latest book by Daniel Handler, AKA Lemony Snicket, the man who popularized malaise for the grade school set.\u003c/p>\n\u003cp>Handler’s book, \u003ci>Why We Broke Up\u003c/i>, is the arty-angsty sturm und drang teen novel by the author of the doom and gloom tongue-in-cheeky \u003ci>A Series of Unfortunate Events\u003c/i>.\u003c/p>\n\u003cp>Paired with Maira Kalman’s illustrations, the book takes the form of a letter that accompanies a box that lands — thunk — on the doorstep of an ex-boyfriend. Min, a high school girl, has packed up the debris of their brief love affair and has dumped the whole box back into his life. Two bottle caps, the stolen sugar, a comb from a motel, a protractor, movie tickets, a condom wrapper — each item tells a tale and each tale is illustrated by a drawing.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/02/whywebrokeup2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Daniel Handler and \u003ca href=\"http://www.mairakalman.com/\">Maira Kalman\u003c/a>, two artists who bring humor and quirk to their work, will discuss their new collaboration — among other stuff — as part of the \u003ca href=\"http://cityarts.net/events/series/social-studies/\">\u003ci>City Arts and Lectures\u003c/i>\u003c/a> series tonight (Friday, February 3, 2012).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kalman, who is widely known for her narrative art, will also be interviewed for a \u003ca href=\"http://wcl.org/\">\u003ci>West Coast Live\u003c/i>\u003c/a> radio program, which will be broadcast live on Saturday, February 4.\u003c/p>\n\u003cp>Her work appears, among other places, in \u003ci>The New Yorker\u003c/i> and \u003ci>The New York Times\u003c/i>. She wrote two monthly columns for \u003ci>The New York Times\u003c/i>, “The Principles of Uncertainty” and \u003ca href=\"http://kalman.blogs.nytimes.com/\">And The Pursuit of Happiness\u003c/a>, which is the artist’s year-long investigation of democracy and how it works. The exhibition of her narrative art, \u003cb>Maira Kalman: Various Illuminations (of a Crazy World)\u003c/b> opened at the Contemporary Jewish Museum in San Francisco last year. In addition to \u003ci>Why we Broke Up\u003c/i>, she has recently illustrated a new edition of \u003ca href=\"http://michaelpollan.com/books/food-rules-illustrated-edition/\">\u003ci>Food Rules\u003c/i>\u003c/a> by Michael Pollan. (Food Rule # 1 is Broccoli.) \u003c/p>\n\u003cp>While Kalman’s whimsy recalls the cartoonery of Roz Chast, Lemony Snicket’s gloomy disposition is very much in the vein of Edward Gorey. And Gorey — for you fans of Goth-based mirth-misery — will have his would-be 87th birthday feted on February 22 at the Cartoon Art Museum Bookstore with a special evening of Gorey-themed entertainment.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/02/whywebrokeup1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>For those not attending the \u003ci>City Arts and Lectures\u003c/i> talk tonight, or if teen heartbreak doesn’t speak to you, you can still opt into the desolation commiseration (and/or schadenfreude) of romances gone awry; Handler has created an online complement to his book called \u003ca href=\"http://whywebrokeupproject.tumblr.com/\">\u003ci>The Why We Broke Up Project\u003c/i>\u003c/a>, which invites users to share their (succinct) break up stories.\u003c/p>\n\u003cp>Users are asked to group their break-ups into categories: “I Can’t Believe You Said That;” “I Cant Believe Your Wore That;” “I Can’t Believe That’s What You Thought;” “I Just Can’t Believe It;” and several other categories. One “I Can’t Believe You Wore That” post, for instance, is “I knew I had to break up with Ann Rosenberg after she chose a teal dress for the prom. I had never heard of teal. Also, I was gay.” This from Brian Selznick, author And illustrator of \u003ci>The Invention Of Hugo Cabret\u003c/i>. \u003c/p>\n\u003cp>Another favorite: “The boy I loved didn’t know I existed. Then again, he was obsessed with Camus, so he didn’t know if any of us existed.” \u003c/p>\n\u003cp>If posters are very lucky, Handler will comment on their break-ups. One person posted: “I didn’t wash the dishes apparently… oh and you slept with someone else.” Handler responds: \u003c/p>\n\u003cp>“Temptations are like dirty dishes. There are some who leave them alone, scarcely noticing how many have piled up. And there are some who must do them right away.”\u003c/p>\n\u003cp>Sure, the \u003ci>Why We Broke Up\u003c/i> “project” is mainly an online marketing campaign. But it’s a refreshingly edgy respite to those fuzzy “how we first met” stories. Meanwhile, for those whose love lives are still hunky dory — you can user-generate your happiness live at Marines Memorial Theater, every February 14 in the audience-inspired improv \u003ca href=\"http://www.howwefirstmet.com/\">\u003ci>How We First Met\u003c/i>\u003c/a>. But Lemony probably won’t be there.\u003c/p>\n\u003cp>Daniel Handler and Maira Kalman appear tonight, Friday, February 3, 2012 at Herbst Theatre in San Francisco. For \u003ca href=\"http://cityarts.net/event/maira-kalman-daniel-handler/\">tickets and information\u003c/a> visit cityarts.net.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All illustrations by Maira Kalman.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ci>The New Yorker\u003c/i> ran an excerpt of \u003ci>The Tiger’s Wife\u003c/i> in its 2009 Fiction issue, it was clear an astonishing new talent had arrived in the world of contemporary fiction.\u003c/p>\n\u003cp>The time: the present. The place: a Balkan country ravaged by years of conflict. Natalia, a young doctor, is on a mission of mercy to an orphanage when she receives word of her beloved grandfather’s death far from their home under circumstances shrouded in confusion. Remembering childhood stories her grandfather once told her, Natalia becomes convinced that he spent his last days searching for “the deathless man,” a vagabond who claimed to be immortal. As Natalia struggles to understand why her grandfather, a deeply rational man, who go on such a farfetched journey, she stumbles across a clue that leads her to the extraordinary story of the tiger’s wife.\u003c/p>\n\u003cp>An involving mystery, an emotionally riveting family story, and a wondrous evocation of an unfamiliar world, \u003ci>The Tiger’s Wife\u003c/i> is a brilliant novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s 2003 and the country is divided evenly for and against the Iraq War. Damascus, a dive bar in San Francisco’s Mission District, becomes the unlikely setting for a showdown between the opposing sides.\u003c/p>\n\u003cp>Tensions come to a boil when Owen, the bar’s proprietor who has recently taken to wearing a Santa suit full-time, agrees to host the joint’s first (and only) art show by Sylvia Suture, an ambitious young artist who longs to take her act to the dramatic precipice of the high-wire by nailing live fish to the walls as a political statement.\u003c/p>\n\u003cp>An incredibly creative and fully-rendered cast of characters orbit the bar. There’s No Eyebrows, a cancer patient who has come to the Mission to die anonymously; Shambles, the patron saint of the hand job; Revv, a lead-singer who acts too much like a lead-singer; and Owen, donning his Santa costume to mask the most unfortunate birthmark imaginable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "The Fiction of North Korea in Adam Johnson's 'The Orphan Master's Son'",
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"content": "\u003cp>Adam Johnson’s new novel \u003cem>The Orphan Master’s Son\u003c/em> began as a short story he was going to call “The Official Short Story of North Korea, 2004” because the communist nation has essentially one official narrative. But as he became more fascinated with the culture and his personal reading morphed into research, the story continued to grow until 2007, when he was able to visit North Korea, which energized his writing and helped to shape the book.\u003c/p>\n\u003cp>I saw Adam read an excerpt of \u003cem>The Orphan Master’s Son\u003c/em> as part of ZYZZYVA’s latest outing at The Booksmith and was so affected that I shot him an email, and we eventually did a back-and-forth over the phone. Below, after his recent reading, are some highlights of our conversation.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=1HlAXpg_umk&w=480&h=274]\u003c/p>\n\u003cp>\u003cb>What was the original inspiration to write the story?\u003c/b>\u003c/p>\n\u003cp>Well, the book is set in North Korea, and I kind of figure it’s a Peace Corps story sometimes where an American goes to a foreign country and he’s like the bridge character for the reader, you know, and the American encounters a different culture and he’s greatly changed and then he goes home and he’s different. But all my characters are North Korean, and, you know, I studied Korean culture a fair amount to write the book — I’m sure I got a few things wrong, but… As a writer and as a teacher I became really curious about how our stories in the West are usually about a central character who has motivations and desires, and wants to obtain something, and must overcome challenges and look inward, and face the past if they’re to move forward, and you know we expect characters in the stories we tell ourselves in the West to grow and change and find insights and things like that. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in the stories I read about North Korea it was the exact opposite. You know? There’s only one central character and that was Kim Jong Il [chuckles]. And there were 23 million secondary characters, and they were like conscripted to be unwilling cohorts in the national narrative, and in North Korea you have to give up your dreams, your wants and desires, because those things are dangerous — you know love and freedom and expression — and so you can’t be your central character and you can’t do what you want; you must follow this script. And I just kind of wanted to write a character that didn’t really have free will, and so at the beginning of the book my main character’s name is Jun Do, he is a kind of a hero of the state: he does everything he’s told, he’s a model citizen, and he forgoes all his own desires. But by the time he reaches the end of the book he’s kind of a Western character: he’s decided to risk everything to get what he truly wants.\u003c/p>\n\u003cp>\u003cb>One of the voices in the book is the official state narrative. Tell me about that.\u003c/b>\u003c/p>\n\u003cp>So in the early ’70s Kim Il-sung — who is the father of Kim Jong Il and kind of the ruler of North Korea from the late ’40s until his death in ’94 — he wired the nation with cable radio and put a loudspeaker in every house and on every factory floor and, you know I’ve never seen one — I don’t know anyone who’s actually seen one — but the defectors all testified to them — but there’s no dial on it: you can’t turn it on or off or the volume up or down, and it just plays propaganda in your house all day long. And, you know, he said it was kind of an air raid, a national air raid system, but of course that’s not what it’s used for. And so the people of North Korea have to listen to lies all day long. I don’t know if they know they’re lies or not but certainly the story — that they live in the greatest nation in the world, the most free, a worker’s paradise with universal healthcare and all of these things, and all the other nations of the world are impoverished or corrupt or imperialists, like America, capitalist, you know… things like that. \u003c/p>\n\u003cp>So I wanted to get that feel, that oppressive feel of propaganda into the book, but it’s so intolerable and boring, it was a real challenge. And the weird thing is there’s also something kind of hilarious about propaganda, because it’s so ridiculous to our ear. So one of the voices in my novel is the state’s loudspeaker — it has short chapters that address the reader, you know: Citizens, turn up your loudspeaker, and it will be like the daily news of Pyongyang, and… it also forwards the plot in many ways, but it’s both creepy and spooky and, I think, hilarious.\u003c/p>\n\u003cp>\u003cb>So these loudspeakers are still present throughout the country to this day? I’m confused because you said you didn’t see any…\u003c/b>\u003c/p>\n\u003cp>Oh that’s right… well, it used to be total loudspeaker propaganda but when I went there I saw none of that. It’s all you know probably just going on in people’s houses. One thing about North Korea that we really are in the dark about: it’s so controlled that people make a lot of speculations about North Korea but except for the testimonials of defectors, and you know, Google Earth satellite pictures, the average American can’t discover, really, too much about that place. And it’s illegal for a North Korean citizen to speak to a foreigner. You have to go through special training. So when I went there I didn’t have a single interaction with a North Korean; I just had my group of ‘minders,’ who all had special training to deal with me. In Pyongyang when you go there they have a hotel called The Yanggakdo Island on Yanggak Island, and that island is in the Taedong River that divides Pyongyang, and you need a special permit to get on the island and once you’re there you’re not allowed to leave without escorts. And all the people who work at the hotel are Chinese workers under contract — so you don’t even get to meet a North Korean maid or waitress or something like that.\u003c/p>\n\u003cp>\u003cb>Wow. How long were you there?\u003c/b>\u003c/p>\n\u003cp>North Korea kind of opens up twice a year: one is in the spring and then again in the fall. They have two festivals — and that’s the only time they let in tourists — but if you get a visa to North Korea they just kind of tell you, “You will come on this date and leave on that date,” so you don’t have any choice about anything. About where you stay or how you fly in. And so I was there for 5 nights, I believe — I think that’s right.\u003c/p>\n\u003cp>\u003cb>Were there any standout experiences other than kind of the general strangeness of everything?\u003c/b>\u003c/p>\n\u003cp>Well, it’s kind of hard to explain the experience. When you land, there’s an eerie quiet because there are no planes in the sky; there’s the once-a-week flight from Beijing, and that’s it. And the last plane that tried to fly over North Korea was shot down in ’89. It’s pretty strange that we’re so used to having planes above us that when they’re not there you really notice it. Secondly there are no cell phones, though there are cell phone towers that I saw. There are no advertisements because it’s a complete communist state and there’s no business. There’s nothing to sell. People get their goods with ration carts. And to be in a world without advertisements — we’re so inured to it as Americans, we see it on every t-shirt and shoe, taxicab and park bench — it’s really creepy to see a land devoid of that. And there are four haircuts for men that are legal, and so all men basically have the same haircut. Kim Jong-un, the new leader, wears the #2, which is the sleek battle haircut [chuckles], the same as his grandfather. You know, everyone’s clothes are the same: the men all wear the exact same vinylon jacket that they make. There’s one shade of lipstick, so all the women have the exact same color lips, and you can’t imagine how creepy that is. Unless you’ve seen like 10,000 women all looking robotically similar. \u003c/p>\n\u003cp>In Pyongyang all the roads are 100 meters wide — which is a soccer field wide, it’s really big — for air raid evacuation purposes, but there are very few vehicles, and so they don’t have traffic lights even because they don’t need them. When I walked down the street — there aren’t bicycles either, really, to speak of — people walk everywhere in huge, fast-moving throngs, and you know, I’m 6’4″, I’ve got a buzz cut, I look very Western, and when I would walk through throngs of people no one would even dare glance at me; anything spontaneous was dangerous, and so they all pretended I didn’t even exist; that was the weirdest thing in the world, actually. Because I knew that I was probably one of the most foreign-looking people they had ever seen, and yet they couldn’t even let themselves steal a quick glance at someone who leads a different life because it could get them in trouble. And in North Korea there’s only one punishment for anything, and that’s the work camp; that’s the labor farm. \u003c/p>\n\u003cp>\u003cb>Wow. It’s all pretty overwhelming. I don’t even know what to say about all of that. \u003c/b>\u003c/p>\n\u003cp>Well you know my minders kept wanting to show me gigantic monuments of socialist realism, of Kim Il-sung and Kim Jong Il. At the Pyongyang art museum they have rooms and rooms and rooms of art, but the only thing that’s legal to depict there is images that pay homage to Kim Il-sung and Kim Jong Il. So there are no paintings of a beautiful woman, or a nice landscape [chuckles], or a boat sailing; only portraits of Kim Il-sung and Kim Jong Il — hundreds and hundreds of them. Desperately surreal. And you know they take you to the Korean War Museum, where they teach you how the Koreans won the war.\u003c/p>\n\u003cp>Whenever North Koreans lack evidence for something, they either paint a big painting to show you the facts of how things work or they make a diorama [laughs]. So they had, you know, all these dioramas of how the tank battles worked, that allowed the North Koreans to route the Americans and drive us out and ensure victory. And how the Americans did a sneak attack on North Korea instead of the opposite. You know, there’s nothing you can do but smile. The people who work at the museums aren’t historians; they’re people who have been trained to say a speech and not tolerate anything else.\u003c/p>\n\u003cp>I’ll tell you one of the most sinister, surreal moments, was when I went — they took me to the Korean history museum, and the first exhibit was kind of a plexi-glass box, and in it was what they claimed was a skull fragment. It looked very old, like a fossil. And they said this skull fragment was found on the shores of the Taedong River, right there in Pyongyang, and that it was 4.25 million years old, and they had a diorama there about how humanity had begun in North Korea — specifically in Pyongyang — and how the human diaspora had spread out of Korea, across Asia into Europe, and finally settling in Africa and America. And, you know, I said, “Are you sure humanity didn’t come from, like, the Rift valley in Africa?” They were like, “Oh, no, Korea; everyone came from Pyongyang.” And in the end they informed me that therefore I myself was Korean [laughs].\u003c/p>\n\u003cp>\u003cb>Right, but you still have to have minders.\u003c/b>\u003c/p>\n\u003cp>Oh yeah, yeah. I had a head minder, there was a sidekick minder who was quite hilarious. He was clearly just out of the academy, and he was trying on his new lines on me. He would say, “Hm, do you think –” he would say, “Professor Johnson” — that’s what they called me — “Professor Johnson, do you think terrorism is good, or bad?” I would say, “Well, I think terrorism is bad.” And he would say, “Let me tell you what Kim Jong Il thinks of terrorism [laughs].” And everything was a ploy to relate the true word of Kim Jong Il. It got very boring very fast.\u003c/p>\n\u003cp>\u003cb>Yeah I can’t imagine having to hear it relentlessly in my own house.\u003c/b>\u003c/p>\n\u003cp>Yeah relentlessly in your house. You know the main newspaper of Pyongyang is called the Rodong Sinmun, and the Japanese translate it every morning and so, you know that’s kind of my homepage; every day I wake up and read the daily propaganda in Pyongyang, and if you do it for a long time you can kind of really read the code of it and really gain a lot of insight about what lies they’re telling and who their audience is, and things of that nature.\u003c/p>\n\u003cp>\u003cb>Speaking of news, if you could talk about Kim Jong Il’s death for just a minute. Have things changed any since he died and do you think that things will change?\u003c/b>\u003c/p>\n\u003cp>Mm. Well you know in my novel Kim Jong Il is a character, and I wrote for a long time, and really the more I researched and studied the more I came to understand that the entire reality of that nation was formed by two people: Kim Il-sung and Kim Jong Il, and that nothing happens without the authorization of Kim Jong Il. And because he was like the black hole that warped the reality of an entire nation I felt like I had to make him a character, and as a writer I had to make him a human character with strengths and flaws and complexities. And in my book he’s really quite funny; he’s a real scene-stealer. He plays pranks, and is quite bright, and is kind of one step ahead of everyone for most of the book. So I at least grew fond of my character Kim Jong Il, though he’s a creation of the imagination, but you know the thing about North Korea is there’s only one script and it really hasn’t changed in 60 years. And there is no other reality at all. \u003c/p>\n\u003cp>North Koreans know that Paris is the capital of France and that Mogadishu is the capital of Somalia, but to them they’re both the same. Like they don’t really know anything about the world, and so they think that Zimbabwe is a great place; just as great as London is. And they think Haiti is just as fine as Japan is. So, you know, they don’t even know basic facts about South Korea. So they’re like — when you’re there there are no movies, there are no magazines, there’s no magazine store because there’s no way to get — you know, the radios come pre-set to the national station and you can’t change it — there’s no dial — and if you rigged it to get South Korean radio you risk going to the Gulag. And, so, if you’re an artist in North Korea you must do propaganda. And as far as I know no one has written a literary novel in North Korea in 60 years. I mean, even Solzhenitsyn got his novel out of the Gulag. But if you’re a painter, an actor, a musician — there’s nothing. If you express your own views, which is the duty of an artist, you go to the Gulag. And that also means that no North Korean has read a book, as we think of a book — as a work of art whose job it is to illuminate the human experience — in three generations. They don’t even know what a book is there.\u003c/p>\n\u003cp>So that’s one of the reasons I wrote my book is because it was this huge human mystery, and fiction hasn’t fleshed it out because there is no fiction. You know the testimony of the defectors is, they’re so broken — you know, they’re trained their whole lives never to reveal anything; it’s very difficult for them to tell their stories, especially since they’re deeply traumatized by their escapes and their whole lives. So, I mean, to get back to your question, I think nothing, unfortunately, is going to change. You know, there’s only one story there, and that’s that they’re the greatest nation in the world. And that they, that life there is awesome. And that, you know, for 60 years there’s only been the story that Kim Il-sung is a god, and the father, and without them they would be leaderless children. And there isn’t even a crack of light for any other narrative to get in there. It’s like asking someone to change their religion in some way, and say, “Hey, let me tell you about this other thing.” They don’t know what one other religion would be. Except the Kims’. So I don’t know what it’s going to take for people to be free, but it’s like Plato’s Allegory of the Cave: they’re all laboring in a cave, looking at shadows; they don’t know there’s a world out there. Or, they know there’s a world out there but they have no idea what it is.\u003c/p>\n\u003cp>\u003cb>Right. It’s interesting to me how you said, you know, in the book you had to make Kim Jong Il human. It seems to me like that might have been a challenge for any of the characters. No one’s allowed to express themselves, right, so what is it that makes them human, even?\u003c/b>\u003c/p>\n\u003cp>It’s a real question. There’s this, you know, amazing memoir \u003ci>The Aquariums of Pyongyang\u003c/i> by Kang Chol-Hwan, and he went into the Gulag as a child, I think he was 9, and he spent 9 years there before he got out. And there’s only a couple dozen humans that have gotten out of the Gulag, escaped North Korea; then you have to escape Southern China, where you often, you know, become a slave. And in Chol-Hwan’s memoir, which he couldn’t write himself — he had to have someone help him write it because they’re so traumatized they don’t know what their stories are, how to shape them, what their stories mean; they’ve been trained against making meaning and understanding. He gets his story out but it’s just like a chronological listing of events, and how he managed to survive. Never once in his entire memoir does he say, “You know, what I really wanted was this. Or, gosh I loved that person and missed them. Or, someday I hoped to be.” That defining humanness of wanting and of desiring and of loving and of feeling and communicating — that dimension was completely gone from the book, and I found that as a real attribute of a lot of narratives I read of people who had gotten out of North Korea: that their humanity, that human part of their voice was just missing. And so, really, I had to use my imagination to a great degree. But, then again, that’s the thing fiction can get at that nonfiction can’t.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Vx0eAfegTjg&w=480&h=274]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Adam Johnson celebrates the release of \u003cem>The Orphan Master’s Son\u003c/em> on Tuesday, January 10, 2012 at 7:30pm at The Booksmith, 1644 Haight Street in San Francisco. For \u003ca href=\"http://www.booksmith.com/event/adam-johnson-orphan-masters-son\">more information\u003c/a> visit booksmith.com.\u003c/p>\n\n",
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"excerpt": "Set in Kim Jong Il's North Korea, Adam Johnson's new novel examines the culture of a communist state through the eyes of its own citizens. The result is a rare example of what the nation lacks: unofficial fiction.",
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"description": "Set in Kim Jong Il's North Korea, Adam Johnson's new novel examines the culture of a communist state through the eyes of its own citizens. The result is a rare example of what the nation lacks: unofficial fiction.",
"title": "The Fiction of North Korea in Adam Johnson's 'The Orphan Master's Son' | KQED",
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"headline": "The Fiction of North Korea in Adam Johnson's 'The Orphan Master's Son'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adam Johnson’s new novel \u003cem>The Orphan Master’s Son\u003c/em> began as a short story he was going to call “The Official Short Story of North Korea, 2004” because the communist nation has essentially one official narrative. But as he became more fascinated with the culture and his personal reading morphed into research, the story continued to grow until 2007, when he was able to visit North Korea, which energized his writing and helped to shape the book.\u003c/p>\n\u003cp>I saw Adam read an excerpt of \u003cem>The Orphan Master’s Son\u003c/em> as part of ZYZZYVA’s latest outing at The Booksmith and was so affected that I shot him an email, and we eventually did a back-and-forth over the phone. Below, after his recent reading, are some highlights of our conversation.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1HlAXpg_umk'\n title='//www.youtube.com/embed/1HlAXpg_umk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What was the original inspiration to write the story?\u003c/b>\u003c/p>\n\u003cp>Well, the book is set in North Korea, and I kind of figure it’s a Peace Corps story sometimes where an American goes to a foreign country and he’s like the bridge character for the reader, you know, and the American encounters a different culture and he’s greatly changed and then he goes home and he’s different. But all my characters are North Korean, and, you know, I studied Korean culture a fair amount to write the book — I’m sure I got a few things wrong, but… As a writer and as a teacher I became really curious about how our stories in the West are usually about a central character who has motivations and desires, and wants to obtain something, and must overcome challenges and look inward, and face the past if they’re to move forward, and you know we expect characters in the stories we tell ourselves in the West to grow and change and find insights and things like that. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in the stories I read about North Korea it was the exact opposite. You know? There’s only one central character and that was Kim Jong Il [chuckles]. And there were 23 million secondary characters, and they were like conscripted to be unwilling cohorts in the national narrative, and in North Korea you have to give up your dreams, your wants and desires, because those things are dangerous — you know love and freedom and expression — and so you can’t be your central character and you can’t do what you want; you must follow this script. And I just kind of wanted to write a character that didn’t really have free will, and so at the beginning of the book my main character’s name is Jun Do, he is a kind of a hero of the state: he does everything he’s told, he’s a model citizen, and he forgoes all his own desires. But by the time he reaches the end of the book he’s kind of a Western character: he’s decided to risk everything to get what he truly wants.\u003c/p>\n\u003cp>\u003cb>One of the voices in the book is the official state narrative. Tell me about that.\u003c/b>\u003c/p>\n\u003cp>So in the early ’70s Kim Il-sung — who is the father of Kim Jong Il and kind of the ruler of North Korea from the late ’40s until his death in ’94 — he wired the nation with cable radio and put a loudspeaker in every house and on every factory floor and, you know I’ve never seen one — I don’t know anyone who’s actually seen one — but the defectors all testified to them — but there’s no dial on it: you can’t turn it on or off or the volume up or down, and it just plays propaganda in your house all day long. And, you know, he said it was kind of an air raid, a national air raid system, but of course that’s not what it’s used for. And so the people of North Korea have to listen to lies all day long. I don’t know if they know they’re lies or not but certainly the story — that they live in the greatest nation in the world, the most free, a worker’s paradise with universal healthcare and all of these things, and all the other nations of the world are impoverished or corrupt or imperialists, like America, capitalist, you know… things like that. \u003c/p>\n\u003cp>So I wanted to get that feel, that oppressive feel of propaganda into the book, but it’s so intolerable and boring, it was a real challenge. And the weird thing is there’s also something kind of hilarious about propaganda, because it’s so ridiculous to our ear. So one of the voices in my novel is the state’s loudspeaker — it has short chapters that address the reader, you know: Citizens, turn up your loudspeaker, and it will be like the daily news of Pyongyang, and… it also forwards the plot in many ways, but it’s both creepy and spooky and, I think, hilarious.\u003c/p>\n\u003cp>\u003cb>So these loudspeakers are still present throughout the country to this day? I’m confused because you said you didn’t see any…\u003c/b>\u003c/p>\n\u003cp>Oh that’s right… well, it used to be total loudspeaker propaganda but when I went there I saw none of that. It’s all you know probably just going on in people’s houses. One thing about North Korea that we really are in the dark about: it’s so controlled that people make a lot of speculations about North Korea but except for the testimonials of defectors, and you know, Google Earth satellite pictures, the average American can’t discover, really, too much about that place. And it’s illegal for a North Korean citizen to speak to a foreigner. You have to go through special training. So when I went there I didn’t have a single interaction with a North Korean; I just had my group of ‘minders,’ who all had special training to deal with me. In Pyongyang when you go there they have a hotel called The Yanggakdo Island on Yanggak Island, and that island is in the Taedong River that divides Pyongyang, and you need a special permit to get on the island and once you’re there you’re not allowed to leave without escorts. And all the people who work at the hotel are Chinese workers under contract — so you don’t even get to meet a North Korean maid or waitress or something like that.\u003c/p>\n\u003cp>\u003cb>Wow. How long were you there?\u003c/b>\u003c/p>\n\u003cp>North Korea kind of opens up twice a year: one is in the spring and then again in the fall. They have two festivals — and that’s the only time they let in tourists — but if you get a visa to North Korea they just kind of tell you, “You will come on this date and leave on that date,” so you don’t have any choice about anything. About where you stay or how you fly in. And so I was there for 5 nights, I believe — I think that’s right.\u003c/p>\n\u003cp>\u003cb>Were there any standout experiences other than kind of the general strangeness of everything?\u003c/b>\u003c/p>\n\u003cp>Well, it’s kind of hard to explain the experience. When you land, there’s an eerie quiet because there are no planes in the sky; there’s the once-a-week flight from Beijing, and that’s it. And the last plane that tried to fly over North Korea was shot down in ’89. It’s pretty strange that we’re so used to having planes above us that when they’re not there you really notice it. Secondly there are no cell phones, though there are cell phone towers that I saw. There are no advertisements because it’s a complete communist state and there’s no business. There’s nothing to sell. People get their goods with ration carts. And to be in a world without advertisements — we’re so inured to it as Americans, we see it on every t-shirt and shoe, taxicab and park bench — it’s really creepy to see a land devoid of that. And there are four haircuts for men that are legal, and so all men basically have the same haircut. Kim Jong-un, the new leader, wears the #2, which is the sleek battle haircut [chuckles], the same as his grandfather. You know, everyone’s clothes are the same: the men all wear the exact same vinylon jacket that they make. There’s one shade of lipstick, so all the women have the exact same color lips, and you can’t imagine how creepy that is. Unless you’ve seen like 10,000 women all looking robotically similar. \u003c/p>\n\u003cp>In Pyongyang all the roads are 100 meters wide — which is a soccer field wide, it’s really big — for air raid evacuation purposes, but there are very few vehicles, and so they don’t have traffic lights even because they don’t need them. When I walked down the street — there aren’t bicycles either, really, to speak of — people walk everywhere in huge, fast-moving throngs, and you know, I’m 6’4″, I’ve got a buzz cut, I look very Western, and when I would walk through throngs of people no one would even dare glance at me; anything spontaneous was dangerous, and so they all pretended I didn’t even exist; that was the weirdest thing in the world, actually. Because I knew that I was probably one of the most foreign-looking people they had ever seen, and yet they couldn’t even let themselves steal a quick glance at someone who leads a different life because it could get them in trouble. And in North Korea there’s only one punishment for anything, and that’s the work camp; that’s the labor farm. \u003c/p>\n\u003cp>\u003cb>Wow. It’s all pretty overwhelming. I don’t even know what to say about all of that. \u003c/b>\u003c/p>\n\u003cp>Well you know my minders kept wanting to show me gigantic monuments of socialist realism, of Kim Il-sung and Kim Jong Il. At the Pyongyang art museum they have rooms and rooms and rooms of art, but the only thing that’s legal to depict there is images that pay homage to Kim Il-sung and Kim Jong Il. So there are no paintings of a beautiful woman, or a nice landscape [chuckles], or a boat sailing; only portraits of Kim Il-sung and Kim Jong Il — hundreds and hundreds of them. Desperately surreal. And you know they take you to the Korean War Museum, where they teach you how the Koreans won the war.\u003c/p>\n\u003cp>Whenever North Koreans lack evidence for something, they either paint a big painting to show you the facts of how things work or they make a diorama [laughs]. So they had, you know, all these dioramas of how the tank battles worked, that allowed the North Koreans to route the Americans and drive us out and ensure victory. And how the Americans did a sneak attack on North Korea instead of the opposite. You know, there’s nothing you can do but smile. The people who work at the museums aren’t historians; they’re people who have been trained to say a speech and not tolerate anything else.\u003c/p>\n\u003cp>I’ll tell you one of the most sinister, surreal moments, was when I went — they took me to the Korean history museum, and the first exhibit was kind of a plexi-glass box, and in it was what they claimed was a skull fragment. It looked very old, like a fossil. And they said this skull fragment was found on the shores of the Taedong River, right there in Pyongyang, and that it was 4.25 million years old, and they had a diorama there about how humanity had begun in North Korea — specifically in Pyongyang — and how the human diaspora had spread out of Korea, across Asia into Europe, and finally settling in Africa and America. And, you know, I said, “Are you sure humanity didn’t come from, like, the Rift valley in Africa?” They were like, “Oh, no, Korea; everyone came from Pyongyang.” And in the end they informed me that therefore I myself was Korean [laughs].\u003c/p>\n\u003cp>\u003cb>Right, but you still have to have minders.\u003c/b>\u003c/p>\n\u003cp>Oh yeah, yeah. I had a head minder, there was a sidekick minder who was quite hilarious. He was clearly just out of the academy, and he was trying on his new lines on me. He would say, “Hm, do you think –” he would say, “Professor Johnson” — that’s what they called me — “Professor Johnson, do you think terrorism is good, or bad?” I would say, “Well, I think terrorism is bad.” And he would say, “Let me tell you what Kim Jong Il thinks of terrorism [laughs].” And everything was a ploy to relate the true word of Kim Jong Il. It got very boring very fast.\u003c/p>\n\u003cp>\u003cb>Yeah I can’t imagine having to hear it relentlessly in my own house.\u003c/b>\u003c/p>\n\u003cp>Yeah relentlessly in your house. You know the main newspaper of Pyongyang is called the Rodong Sinmun, and the Japanese translate it every morning and so, you know that’s kind of my homepage; every day I wake up and read the daily propaganda in Pyongyang, and if you do it for a long time you can kind of really read the code of it and really gain a lot of insight about what lies they’re telling and who their audience is, and things of that nature.\u003c/p>\n\u003cp>\u003cb>Speaking of news, if you could talk about Kim Jong Il’s death for just a minute. Have things changed any since he died and do you think that things will change?\u003c/b>\u003c/p>\n\u003cp>Mm. Well you know in my novel Kim Jong Il is a character, and I wrote for a long time, and really the more I researched and studied the more I came to understand that the entire reality of that nation was formed by two people: Kim Il-sung and Kim Jong Il, and that nothing happens without the authorization of Kim Jong Il. And because he was like the black hole that warped the reality of an entire nation I felt like I had to make him a character, and as a writer I had to make him a human character with strengths and flaws and complexities. And in my book he’s really quite funny; he’s a real scene-stealer. He plays pranks, and is quite bright, and is kind of one step ahead of everyone for most of the book. So I at least grew fond of my character Kim Jong Il, though he’s a creation of the imagination, but you know the thing about North Korea is there’s only one script and it really hasn’t changed in 60 years. And there is no other reality at all. \u003c/p>\n\u003cp>North Koreans know that Paris is the capital of France and that Mogadishu is the capital of Somalia, but to them they’re both the same. Like they don’t really know anything about the world, and so they think that Zimbabwe is a great place; just as great as London is. And they think Haiti is just as fine as Japan is. So, you know, they don’t even know basic facts about South Korea. So they’re like — when you’re there there are no movies, there are no magazines, there’s no magazine store because there’s no way to get — you know, the radios come pre-set to the national station and you can’t change it — there’s no dial — and if you rigged it to get South Korean radio you risk going to the Gulag. And, so, if you’re an artist in North Korea you must do propaganda. And as far as I know no one has written a literary novel in North Korea in 60 years. I mean, even Solzhenitsyn got his novel out of the Gulag. But if you’re a painter, an actor, a musician — there’s nothing. If you express your own views, which is the duty of an artist, you go to the Gulag. And that also means that no North Korean has read a book, as we think of a book — as a work of art whose job it is to illuminate the human experience — in three generations. They don’t even know what a book is there.\u003c/p>\n\u003cp>So that’s one of the reasons I wrote my book is because it was this huge human mystery, and fiction hasn’t fleshed it out because there is no fiction. You know the testimony of the defectors is, they’re so broken — you know, they’re trained their whole lives never to reveal anything; it’s very difficult for them to tell their stories, especially since they’re deeply traumatized by their escapes and their whole lives. So, I mean, to get back to your question, I think nothing, unfortunately, is going to change. You know, there’s only one story there, and that’s that they’re the greatest nation in the world. And that they, that life there is awesome. And that, you know, for 60 years there’s only been the story that Kim Il-sung is a god, and the father, and without them they would be leaderless children. And there isn’t even a crack of light for any other narrative to get in there. It’s like asking someone to change their religion in some way, and say, “Hey, let me tell you about this other thing.” They don’t know what one other religion would be. Except the Kims’. So I don’t know what it’s going to take for people to be free, but it’s like Plato’s Allegory of the Cave: they’re all laboring in a cave, looking at shadows; they don’t know there’s a world out there. Or, they know there’s a world out there but they have no idea what it is.\u003c/p>\n\u003cp>\u003cb>Right. It’s interesting to me how you said, you know, in the book you had to make Kim Jong Il human. It seems to me like that might have been a challenge for any of the characters. No one’s allowed to express themselves, right, so what is it that makes them human, even?\u003c/b>\u003c/p>\n\u003cp>It’s a real question. There’s this, you know, amazing memoir \u003ci>The Aquariums of Pyongyang\u003c/i> by Kang Chol-Hwan, and he went into the Gulag as a child, I think he was 9, and he spent 9 years there before he got out. And there’s only a couple dozen humans that have gotten out of the Gulag, escaped North Korea; then you have to escape Southern China, where you often, you know, become a slave. And in Chol-Hwan’s memoir, which he couldn’t write himself — he had to have someone help him write it because they’re so traumatized they don’t know what their stories are, how to shape them, what their stories mean; they’ve been trained against making meaning and understanding. He gets his story out but it’s just like a chronological listing of events, and how he managed to survive. Never once in his entire memoir does he say, “You know, what I really wanted was this. Or, gosh I loved that person and missed them. Or, someday I hoped to be.” That defining humanness of wanting and of desiring and of loving and of feeling and communicating — that dimension was completely gone from the book, and I found that as a real attribute of a lot of narratives I read of people who had gotten out of North Korea: that their humanity, that human part of their voice was just missing. And so, really, I had to use my imagination to a great degree. But, then again, that’s the thing fiction can get at that nonfiction can’t.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Vx0eAfegTjg'\n title='//www.youtube.com/embed/Vx0eAfegTjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adam Johnson celebrates the release of \u003cem>The Orphan Master’s Son\u003c/em> on Tuesday, January 10, 2012 at 7:30pm at The Booksmith, 1644 Haight Street in San Francisco. For \u003ca href=\"http://www.booksmith.com/event/adam-johnson-orphan-masters-son\">more information\u003c/a> visit booksmith.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ismet Prcic, the author behind \u003cb>Shards\u003c/b>, recently visited the KQED studios to record an episode of \u003cb>\u003ca href=\"http://www.kqed.org/writersblock\">The Writers’ Block\u003c/a>\u003c/b>. Get to know him a little better with this Q+A, in which he talks about escaping his war-torn homeland, the \u003ci>In Living Color\u003c/i> character he would like to dine with, and much more.\u003c/p>\n\u003cp>\u003cb>You narrowly escaped having to serve in the Yugoslav army and made it to America, but have said that your mind, in some ways, stays over there. Tell us a little more about that.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ismet Prcic:\u003c/b> There’s no escaping trauma; I don’t care if you’re the fastest human on Earth. Sometimes people with addictive personalities and substance abuse problems believe that it is their environment that makes them drink, smoke, snort; that if only they could move to Seattle where they don’t know anybody they will be able to get back on track and stop drinking, smoking, snorting. But once in Seattle, within a week or two, they are back to the business as usual because whatever they are trying not to think about by drinking, smoking, snorting is a part of them; it has nothing to do with where they are. It’s the same thing with trauma. People on this planet endure and survive horrible things in their lives and the “lucky ones” find a way to escape, or are plucked out of danger zones and set up in peaceful suburban neighborhoods in the West and are expected to be fine, to pick up where they left, to pull themselves up by their bootstraps, to forget the past and look to the future. But what is forgotten is that trauma already changed the physiological and mental constitutions of these “lucky ones,” that what we expect them to do is impossible. You can’t see with bleeding eyes; you can’t think with a broken mind. And you for sure can’t pull yourself up by your bootstraps. Try it?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/03/shards.jpg\">\u003c/center>\n\u003cp>\u003cb>Reading \u003ci>Shards\u003c/i>, one would never think that English is not your first language. How did you become so adept at our idioms and the like?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> Reading helped. Being involved in theater helped. Watching a lot of Late Night TV helped. Comedy is a gold mine for anybody trying to learn a new language. Comedians have their grubby little fingers on the pulse of any culture. It’s tough going for a while. Everyone around you laughs and you ape them but, in your mind, you curse yourself for not understanding. But over time you do start to get most of the jokes, start to understand why they killed or bombed. Then you’re golden.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://i.dailymail.co.uk/i/pix/2010/11/10/article-1328581-006E7B1A00000258-189_468x526.jpg\">\n\u003cp>\u003cb>source:\u003c/b> \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-1328581/Absolutely-Fabulous-Joanna-Lumley-Jennifer-Saunders-revive-characters.html\">The Daily Mail\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>If you could invite 3 people (dead/alive/fictional) to your dinner party, who would they be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> Originally, I would have said Tom Waits, David Lynch and Joe Strummer, but they say it’s better not to meet your heroes because your version of them is always better than the reality of them. So, instead, I would choose to leave these people alone and invite Jeffrey Lebowski, the Homeless Guy from \u003ci>In Living Color\u003c/i> played by Damon Wayens, and either one of the principals from \u003ci>Ab Fab\u003c/i>, serve them some slivovitz for starters, and see what kind of trouble we can get ourselves into.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"500\" height=\"284\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/f2aItuM1-J4?version=3&showinfo=0&hl=en_US\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/f2aItuM1-J4?version=3&showinfo=0&hl=en_US\" type=\"application/x-shockwave-flash\" width=\"500\" height=\"284\" allowscriptaccess=\"always\" allowfullscreen=\"true\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> “Rock the Kasbah” by The Clash or “A Pair of Brown Eyes” by The Pogues.\u003c/p>\n\u003cp>\u003cb>What kind of kid were you and what did you want to be when you grew up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I had a tough time in elementary school. I was a shy, fat kid but due to my involvement with theater I realized at one point that — lo and behold — life is a performance and that you can be whoever you want to be. Reading a particular quote by Salvador Dali blew my mind. Somebody asked him (and I paraphrase here) “How does one become a genius?” and Dali answered “You just act like one.” In the summer between eighth grade and the start of high school I developed an uncouth, garrulous and joyful persona. It changed my life.\u003c/p>\n\u003cp>Growing up I always wanted an avenue to express myself artistically. Life has been good to me in that regard. I have no choice but to do stuff that I love, which was an early, conscious decision on my part. Nowadays, it feels like fate. \u003c/p>\n\u003cp>\u003cb>If you could visit any other time period and place in history, which would it be and what would you do there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I would love to have been a sheep-herding highlander in Scotland in the 1500s. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.styleweekly.com/imager/night-of-the-living-dead-at-the-byrd-theatre/b/big/1445242/cc2a/night41_living_dead_300.jpg\">\n\u003cp>\u003cb>source:\u003c/b> \u003ca href=\"http://www.styleweekly.com/richmond/night-of-the-living-dead-at-the-byrd-theatre/Content?oid=1369925\">Style Weekly\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I would say \u003ci>The Big Lebowski\u003c/i>, if it didn’t mean I would have to move back to Los Angeles. Instead, I would pick one of those slow zombie movies in which you can run circles around the living dead. I love when danger is slow-moving and when there’s a lot of down time.\u003c/p>\n\u003cp>\u003cb>What are you working on right now?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I’m working on a script with my friend Malik about two guys from Imperial Courts projects in Watts, Los Angeles. I’m writing another novel, the second in a perceived trilogy that starts with \u003ci>Shards\u003c/i>. Every once in a while, a voice screams for me to put it down on paper and I write a short story. I’m keeping at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=78763\">Listen to Ismet Prcic’s episode of \u003cb>The Writers’ Block\u003c/b> \u003c/a>. And be sure not to miss each episode as it becomes available by \u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=82023860\">subscribing to The Writers’ Block podcast\u003c/a>!\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ismet Prcic, the author behind \u003cb>Shards\u003c/b>, recently visited the KQED studios to record an episode of \u003cb>\u003ca href=\"http://www.kqed.org/writersblock\">The Writers’ Block\u003c/a>\u003c/b>. Get to know him a little better with this Q+A, in which he talks about escaping his war-torn homeland, the \u003ci>In Living Color\u003c/i> character he would like to dine with, and much more.\u003c/p>\n\u003cp>\u003cb>You narrowly escaped having to serve in the Yugoslav army and made it to America, but have said that your mind, in some ways, stays over there. Tell us a little more about that.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ismet Prcic:\u003c/b> There’s no escaping trauma; I don’t care if you’re the fastest human on Earth. Sometimes people with addictive personalities and substance abuse problems believe that it is their environment that makes them drink, smoke, snort; that if only they could move to Seattle where they don’t know anybody they will be able to get back on track and stop drinking, smoking, snorting. But once in Seattle, within a week or two, they are back to the business as usual because whatever they are trying not to think about by drinking, smoking, snorting is a part of them; it has nothing to do with where they are. It’s the same thing with trauma. People on this planet endure and survive horrible things in their lives and the “lucky ones” find a way to escape, or are plucked out of danger zones and set up in peaceful suburban neighborhoods in the West and are expected to be fine, to pick up where they left, to pull themselves up by their bootstraps, to forget the past and look to the future. But what is forgotten is that trauma already changed the physiological and mental constitutions of these “lucky ones,” that what we expect them to do is impossible. You can’t see with bleeding eyes; you can’t think with a broken mind. And you for sure can’t pull yourself up by your bootstraps. Try it?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/03/shards.jpg\">\u003c/center>\n\u003cp>\u003cb>Reading \u003ci>Shards\u003c/i>, one would never think that English is not your first language. How did you become so adept at our idioms and the like?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> Reading helped. Being involved in theater helped. Watching a lot of Late Night TV helped. Comedy is a gold mine for anybody trying to learn a new language. Comedians have their grubby little fingers on the pulse of any culture. It’s tough going for a while. Everyone around you laughs and you ape them but, in your mind, you curse yourself for not understanding. But over time you do start to get most of the jokes, start to understand why they killed or bombed. Then you’re golden.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://i.dailymail.co.uk/i/pix/2010/11/10/article-1328581-006E7B1A00000258-189_468x526.jpg\">\n\u003cp>\u003cb>source:\u003c/b> \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-1328581/Absolutely-Fabulous-Joanna-Lumley-Jennifer-Saunders-revive-characters.html\">The Daily Mail\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>If you could invite 3 people (dead/alive/fictional) to your dinner party, who would they be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> Originally, I would have said Tom Waits, David Lynch and Joe Strummer, but they say it’s better not to meet your heroes because your version of them is always better than the reality of them. So, instead, I would choose to leave these people alone and invite Jeffrey Lebowski, the Homeless Guy from \u003ci>In Living Color\u003c/i> played by Damon Wayens, and either one of the principals from \u003ci>Ab Fab\u003c/i>, serve them some slivovitz for starters, and see what kind of trouble we can get ourselves into.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"500\" height=\"284\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/f2aItuM1-J4?version=3&showinfo=0&hl=en_US\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/f2aItuM1-J4?version=3&showinfo=0&hl=en_US\" type=\"application/x-shockwave-flash\" width=\"500\" height=\"284\" allowscriptaccess=\"always\" allowfullscreen=\"true\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> “Rock the Kasbah” by The Clash or “A Pair of Brown Eyes” by The Pogues.\u003c/p>\n\u003cp>\u003cb>What kind of kid were you and what did you want to be when you grew up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I had a tough time in elementary school. I was a shy, fat kid but due to my involvement with theater I realized at one point that — lo and behold — life is a performance and that you can be whoever you want to be. Reading a particular quote by Salvador Dali blew my mind. Somebody asked him (and I paraphrase here) “How does one become a genius?” and Dali answered “You just act like one.” In the summer between eighth grade and the start of high school I developed an uncouth, garrulous and joyful persona. It changed my life.\u003c/p>\n\u003cp>Growing up I always wanted an avenue to express myself artistically. Life has been good to me in that regard. I have no choice but to do stuff that I love, which was an early, conscious decision on my part. Nowadays, it feels like fate. \u003c/p>\n\u003cp>\u003cb>If you could visit any other time period and place in history, which would it be and what would you do there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I would love to have been a sheep-herding highlander in Scotland in the 1500s. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.styleweekly.com/imager/night-of-the-living-dead-at-the-byrd-theatre/b/big/1445242/cc2a/night41_living_dead_300.jpg\">\n\u003cp>\u003cb>source:\u003c/b> \u003ca href=\"http://www.styleweekly.com/richmond/night-of-the-living-dead-at-the-byrd-theatre/Content?oid=1369925\">Style Weekly\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I would say \u003ci>The Big Lebowski\u003c/i>, if it didn’t mean I would have to move back to Los Angeles. Instead, I would pick one of those slow zombie movies in which you can run circles around the living dead. I love when danger is slow-moving and when there’s a lot of down time.\u003c/p>\n\u003cp>\u003cb>What are you working on right now?\u003c/b>\u003c/p>\n\u003cp>\u003cb>IP:\u003c/b> I’m working on a script with my friend Malik about two guys from Imperial Courts projects in Watts, Los Angeles. I’m writing another novel, the second in a perceived trilogy that starts with \u003ci>Shards\u003c/i>. Every once in a while, a voice screams for me to put it down on paper and I write a short story. I’m keeping at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=78763\">Listen to Ismet Prcic’s episode of \u003cb>The Writers’ Block\u003c/b> \u003c/a>. And be sure not to miss each episode as it becomes available by \u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=82023860\">subscribing to The Writers’ Block podcast\u003c/a>!\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Truth And Beauty: 2011's Best American Poetry",
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"content": "\u003cp>One of the few things almost everyone can agree on about contemporary American poetry is that no one can agree on much. At present, poetry is a jumbled landscape, with no single, dominant style and few living figures whose importance is accepted in more than one or two of the art form’s tiny fiefdoms. Although some might find this state of affairs discouraging, I think there’s good reason to be optimistic — poetry often needs to undergo periods of confusion to achieve the clarity for which we’ll later remember it. Here are five books that suggest that even if American poetry isn’t entirely sure where it’s going, that doesn’t mean it’s gotten lost.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/w/what-it-is-like/9781933527482_custom.jpg?t=1324675376&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>What It Is Like: New And Selected Poems\u003c/i> by Charles North\u003c/b>\u003c/p>\n\u003cp>A good bit of the work in Charles North’s \u003ci>What it is Like\u003c/i> is about literature, which in most collections would be a less than promising feature. But North is such an intelligent and good-humored writer that his literariness seems less a pose than an invitation. The poems here, including “Magic,” are distinguished by their copiousness — their formal variety (sonnets to sestinas to diary entries) is matched by a tremendous range of tones and references (this is possibly the only poetry book to include a discussion of the philosopher Saul Kripke’s notion of the “rigid designator”). North is a gentlemanly guide who understands and values his ideal reader as much as he values the poems from which that reader is inseparable. As he notes, it’s worth remembering that “Poetry is astounding / if you don’t spend too much time on it.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/v/voyager/9780520268852_vert.jpg?t=1324675530&s=1\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003ci>Voyager\u003c/i> by Srikanth Reddy\u003c/b>\u003c/p>\n\u003cp>Srikanth Reddy didn’t actually write any of the words in \u003ci>Voyager\u003c/i>; he just took someone else’s words away. Which is to say that \u003ci>Voyager\u003c/i> is an erasure: A poetic composition created by means of elimination from another text. In this case, that text is the autobiography of Kurt Waldheim, the former secretary-general of the United Nations who was discovered in 1985 to have served as a Nazi SA officer in World War II. Reddy is fascinated by the fact that this flawed man is one of the voices recorded in the Voyager spacecraft — that Waldheim literally speaks for humanity. If this project sounds complicated and bizarre, well, it is. But the book itself is mesmerizing, and Reddy’s lines are crisp and often eerily lovely, as when he writes in this poem (using only Waldheim’s words), “As a child, spelling out world was to open a world in myself, private and byzantine, with mountains by a pale, fragile sea, the coast stretching southwards in the curtained, evening hours.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/t/the-needle/9780547444123_custom.jpg?t=1324675686&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>The Needle\u003c/i> by Jennifer Grotz\u003c/b>\u003c/p>\n\u003cp>Jennifer Grotz is a romantic who is drawn — as smart romantics so often are — to irony. In the tight, carefully assembled poems in \u003ci>The Needle\u003c/i>, including “Ghost,” these tendencies are in constant competition, with the edge going to romance. In “The Jetty,” for instance, Grotz plays with one of the oldest romantic dilemmas — when and how much a poet ought to view the natural world through the prism of her own mental states. She admits, “it is imprecise to say the gulf water sings, / that it is a very old song,” yet nonetheless “it will be correct to state / that the tall beach grasses lean down / because all day the wind subdues them.” As you might expect, the strongest poems here are ones in which Grotz contends with something outside herself, whether it be a lover (“Aubade”) or the idea of God (“Medusa”), allowing sentiment and distance to elegantly overlap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/t/traveler/9780374279332_custom.jpg?t=1324675219&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Traveler\u003c/i> by Devin Johnston\u003c/b>\u003c/p>\n\u003cp>Devin Johnston’s \u003ci>Traveler\u003c/i> is, as its title implies, a book about passing through states. So we have poems about birth, Marco Polo, journeys (as in the title poem), the etymological variants of “dragonfly,” bird migrations, house wreckers and (why not?) Scotland. Johnston is a formal master who can handle some of poetry’s trickiest structures — the two beat lines in “Expecting,” for instance — with such ease that you hardly even notice his dexterity. Much of the work here has a dry, distanced tone that may seem odd to readers accustomed to thinking of poetry as a fountain of feeling. But Johnston’s writing suggests that it would be better to imagine poems as gemstones — and that we should value the perfection of the cut, not the gaudiness of the material. Traveler’s considerable ambition can be seen in the ways each piece quietly, even tenderly tests the barriers it assembles; as Johnston puts it, “I like the sort of track that passes / out of English altogether.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/g/groundwork/9781926845258_custom.jpg?t=1324675296&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Groundwork\u003c/i> by Amanda Jernigan and John Haney\u003c/b>\u003c/p>\n\u003cp>Like Devin Johnston, the Canadian poet Amanda Jernigan possesses daunting formal skill — if you’re looking for someone who can turn out an effortless-seeming slant rhymed quatrain, \u003ci>Groundwork\u003c/i> is the book for you. As the title implies, much of Jernigan’s collection is concerned with exploring the past (and the idea of the past), whether that process involves the physical work of archaeological excavation (“The Fieldworker”) or the spiritual subtleties of myth (“Penelope in Heavy Weather”). Jernigan has put immense effort into making her work seem delicate, and her lines have an emotional intensity that is no less memorable for being understated. And she has a light, perfecting touch, particularly at the end of poems — “The Photographer” concludes with the cameraman at a dig looking at a broken-off marble hand and announcing, “I’ll bury / it again in the small night of my camera.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/2011/12/29/144197310/truth-and-beauty-2011s-best-american-poetry?ft=3&f=1032\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the few things almost everyone can agree on about contemporary American poetry is that no one can agree on much. At present, poetry is a jumbled landscape, with no single, dominant style and few living figures whose importance is accepted in more than one or two of the art form’s tiny fiefdoms. Although some might find this state of affairs discouraging, I think there’s good reason to be optimistic — poetry often needs to undergo periods of confusion to achieve the clarity for which we’ll later remember it. Here are five books that suggest that even if American poetry isn’t entirely sure where it’s going, that doesn’t mean it’s gotten lost.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/w/what-it-is-like/9781933527482_custom.jpg?t=1324675376&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>What It Is Like: New And Selected Poems\u003c/i> by Charles North\u003c/b>\u003c/p>\n\u003cp>A good bit of the work in Charles North’s \u003ci>What it is Like\u003c/i> is about literature, which in most collections would be a less than promising feature. But North is such an intelligent and good-humored writer that his literariness seems less a pose than an invitation. The poems here, including “Magic,” are distinguished by their copiousness — their formal variety (sonnets to sestinas to diary entries) is matched by a tremendous range of tones and references (this is possibly the only poetry book to include a discussion of the philosopher Saul Kripke’s notion of the “rigid designator”). North is a gentlemanly guide who understands and values his ideal reader as much as he values the poems from which that reader is inseparable. As he notes, it’s worth remembering that “Poetry is astounding / if you don’t spend too much time on it.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/v/voyager/9780520268852_vert.jpg?t=1324675530&s=1\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Voyager\u003c/i> by Srikanth Reddy\u003c/b>\u003c/p>\n\u003cp>Srikanth Reddy didn’t actually write any of the words in \u003ci>Voyager\u003c/i>; he just took someone else’s words away. Which is to say that \u003ci>Voyager\u003c/i> is an erasure: A poetic composition created by means of elimination from another text. In this case, that text is the autobiography of Kurt Waldheim, the former secretary-general of the United Nations who was discovered in 1985 to have served as a Nazi SA officer in World War II. Reddy is fascinated by the fact that this flawed man is one of the voices recorded in the Voyager spacecraft — that Waldheim literally speaks for humanity. If this project sounds complicated and bizarre, well, it is. But the book itself is mesmerizing, and Reddy’s lines are crisp and often eerily lovely, as when he writes in this poem (using only Waldheim’s words), “As a child, spelling out world was to open a world in myself, private and byzantine, with mountains by a pale, fragile sea, the coast stretching southwards in the curtained, evening hours.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/t/the-needle/9780547444123_custom.jpg?t=1324675686&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>The Needle\u003c/i> by Jennifer Grotz\u003c/b>\u003c/p>\n\u003cp>Jennifer Grotz is a romantic who is drawn — as smart romantics so often are — to irony. In the tight, carefully assembled poems in \u003ci>The Needle\u003c/i>, including “Ghost,” these tendencies are in constant competition, with the edge going to romance. In “The Jetty,” for instance, Grotz plays with one of the oldest romantic dilemmas — when and how much a poet ought to view the natural world through the prism of her own mental states. She admits, “it is imprecise to say the gulf water sings, / that it is a very old song,” yet nonetheless “it will be correct to state / that the tall beach grasses lean down / because all day the wind subdues them.” As you might expect, the strongest poems here are ones in which Grotz contends with something outside herself, whether it be a lover (“Aubade”) or the idea of God (“Medusa”), allowing sentiment and distance to elegantly overlap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/t/traveler/9780374279332_custom.jpg?t=1324675219&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Traveler\u003c/i> by Devin Johnston\u003c/b>\u003c/p>\n\u003cp>Devin Johnston’s \u003ci>Traveler\u003c/i> is, as its title implies, a book about passing through states. So we have poems about birth, Marco Polo, journeys (as in the title poem), the etymological variants of “dragonfly,” bird migrations, house wreckers and (why not?) Scotland. Johnston is a formal master who can handle some of poetry’s trickiest structures — the two beat lines in “Expecting,” for instance — with such ease that you hardly even notice his dexterity. Much of the work here has a dry, distanced tone that may seem odd to readers accustomed to thinking of poetry as a fountain of feeling. But Johnston’s writing suggests that it would be better to imagine poems as gemstones — and that we should value the perfection of the cut, not the gaudiness of the material. Traveler’s considerable ambition can be seen in the ways each piece quietly, even tenderly tests the barriers it assembles; as Johnston puts it, “I like the sort of track that passes / out of English altogether.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/g/groundwork/9781926845258_custom.jpg?t=1324675296&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Groundwork\u003c/i> by Amanda Jernigan and John Haney\u003c/b>\u003c/p>\n\u003cp>Like Devin Johnston, the Canadian poet Amanda Jernigan possesses daunting formal skill — if you’re looking for someone who can turn out an effortless-seeming slant rhymed quatrain, \u003ci>Groundwork\u003c/i> is the book for you. As the title implies, much of Jernigan’s collection is concerned with exploring the past (and the idea of the past), whether that process involves the physical work of archaeological excavation (“The Fieldworker”) or the spiritual subtleties of myth (“Penelope in Heavy Weather”). Jernigan has put immense effort into making her work seem delicate, and her lines have an emotional intensity that is no less memorable for being understated. And she has a light, perfecting touch, particularly at the end of poems — “The Photographer” concludes with the cameraman at a dig looking at a broken-off marble hand and announcing, “I’ll bury / it again in the small night of my camera.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/2011/12/29/144197310/truth-and-beauty-2011s-best-american-poetry?ft=3&f=1032\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>2011 was a really great year for books and an even better one for KQED’s book-lovin’ podcast, \u003ci>The Writers’ Block\u003c/i>. Although, as the program’s Producer, every episode is a home run in my book, here’s a rundown of a few encounters with authors that truly blew me away.\u003c/p>\n\u003cp>One of the only Greek role models I had growing up was John Stamos. I don’t mean to knock the relevancy of \u003ca href=\"http://3.bp.blogspot.com/-PcZG_QPLJ9w/TfIOIvzgoQI/AAAAAAAAEQM/ci0gDLFidr8/s1600/0316091735_m_john_stamos_450.jpg\">Uncle Jesse\u003c/a>, but it’s good to add another name to that list. Jeffrey Eugenides isn’t exactly prolific, releasing three novels in the span of 18 years, yet his literary might is major. If you don’t believe me, just check out \u003ca href=\"http://blogs.villagevoice.com/runninscared/2011/10/the_jeffrey_eug.php\">this huge billboard\u003c/a>. When was the last time you saw promotion for a book on such a grand scale? Yeah, never. It’s no surprise that Jeffrey’s reading was one of the best I’ve heard in a long while. His delivery is exact and the writing, as always, is so rich you sometimes wish you had a machete to hack through it. And, just in case you’re wondering, yes, I did ask him for a photo and may or may not have said it was for my mom.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/blog/marriage-plot-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>Salman Rushdie is a literary great who needs no introduction. In the weeks leading up to meeting him, the fact that I would be in a studio with him seemed supremely unfeasible. So, when he stood in front of me on our recording day, I thought, \u003ci>Oh, snap, this is actually happening\u003c/i>. I could say that we discussed the appalling state of literacy in this country or metaphysics, but, truth be told, we talked about Harry Potter (he brought it up!). I’m also happy to say that, despite stressing over the pronunciation of his name \u003ca href=\"http://www.youtube.com/watch?v=tcIaT5D4Iwc\">à la Bridget Jones\u003c/a>, I didn’t embarrass myself at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/programs/writersblock/luka-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>San Francisco is a place for the black sheep in every family and Michelle Tea is our fairy godmother. Like most doe-eyed weirdos moving to the city by the Bay, I read all about Michelle’s exploits and adventures in \u003ci>Valencia\u003c/i> during my first month or two in town. I would have never guessed that, a few years later, I would meet this very woman. Michelle comes across as bigger than life in her writing, but, in person, she’s quite small, covered in gorgeous tattoos and sporting the warmest of auras. I told Michelle she could read whatever she wanted and she was kind enough to share an exclusive excerpt from her forthcoming book. And the thrills didn’t stop there; Michelle ended up inviting me to her house! That acute jealousy you’re experiencing right now will become more manageable with time. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/blog/black-wave-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>Justin Torres lives the dream of every wannabe writer. He went to the Iowa Writers’ Workshop, received the Rolón United States Artist Fellowship in Literature, was selected as a Wallace Stegner Fellow at Stanford, and has been published by \u003ci>The New Yorker\u003c/i>, \u003ci>Granta\u003c/i>, and \u003ci>Tin House\u003c/i>, among others. With that much luck, one almost wants to hate him, but that’s just impossible upon meeting him. He’s beyond amiable and clever and charming. And with \u003ci>We the Animals\u003c/i>, his blistering debut about three brothers tearing their way through childhood, he has created a raw, gut-punch of a novel. Read it right now! Or actually, listen to the episode first, \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=67754\">read his Q+A\u003c/a>, and \u003ci>then\u003c/i> read it!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/blog/we-animals-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>You would think that being on every prestigious list of the most promising young writers would go to someone’s head, but there isn’t the slightest hint of ego about Karen Russell. At 30, she’s already set tongues lolling with her short story collection, \u003ci>St. Lucy’s Home for Girls Raised by Wolves\u003c/i>, and \u003ci>Swamplandia!\u003c/i>, her debut novel about a family of alligator wrestlers that the \u003ci>New York Times\u003c/i> selected as one of their 10 Best Books of 2011. When I first met Karen, she was running a bit late, but for good reason: she was giving an interview to one of her hometown’s papers and wanted to make sure they got what they wanted. This urge to please extended to the studio where she delivered a riveting peek into her beautifully rendered version of the Everglades. After the business side of things was taken care of, Karen and I gabbed like old high school friends. It’s a little bit disconcerting that someone so down-to-earth could be such a literary powerhouse. Check out \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=45320\">my Q+A with her\u003c/a> to get just a taste of how wonderfully adorable she is.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/programs/writersblock/swamplandia-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For all of my other favorite readings, click \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/archive.jsp\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/programs/writersblock/luka-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>San Francisco is a place for the black sheep in every family and Michelle Tea is our fairy godmother. Like most doe-eyed weirdos moving to the city by the Bay, I read all about Michelle’s exploits and adventures in \u003ci>Valencia\u003c/i> during my first month or two in town. I would have never guessed that, a few years later, I would meet this very woman. Michelle comes across as bigger than life in her writing, but, in person, she’s quite small, covered in gorgeous tattoos and sporting the warmest of auras. I told Michelle she could read whatever she wanted and she was kind enough to share an exclusive excerpt from her forthcoming book. And the thrills didn’t stop there; Michelle ended up inviting me to her house! That acute jealousy you’re experiencing right now will become more manageable with time. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/blog/black-wave-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>Justin Torres lives the dream of every wannabe writer. He went to the Iowa Writers’ Workshop, received the Rolón United States Artist Fellowship in Literature, was selected as a Wallace Stegner Fellow at Stanford, and has been published by \u003ci>The New Yorker\u003c/i>, \u003ci>Granta\u003c/i>, and \u003ci>Tin House\u003c/i>, among others. With that much luck, one almost wants to hate him, but that’s just impossible upon meeting him. He’s beyond amiable and clever and charming. And with \u003ci>We the Animals\u003c/i>, his blistering debut about three brothers tearing their way through childhood, he has created a raw, gut-punch of a novel. Read it right now! Or actually, listen to the episode first, \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=67754\">read his Q+A\u003c/a>, and \u003ci>then\u003c/i> read it!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/blog/we-animals-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>You would think that being on every prestigious list of the most promising young writers would go to someone’s head, but there isn’t the slightest hint of ego about Karen Russell. At 30, she’s already set tongues lolling with her short story collection, \u003ci>St. Lucy’s Home for Girls Raised by Wolves\u003c/i>, and \u003ci>Swamplandia!\u003c/i>, her debut novel about a family of alligator wrestlers that the \u003ci>New York Times\u003c/i> selected as one of their 10 Best Books of 2011. When I first met Karen, she was running a bit late, but for good reason: she was giving an interview to one of her hometown’s papers and wanted to make sure they got what they wanted. This urge to please extended to the studio where she delivered a riveting peek into her beautifully rendered version of the Everglades. After the business side of things was taken care of, Karen and I gabbed like old high school friends. It’s a little bit disconcerting that someone so down-to-earth could be such a literary powerhouse. Check out \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=45320\">my Q+A with her\u003c/a> to get just a taste of how wonderfully adorable she is.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/programs/writersblock/swamplandia-200x200.jpg\">\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For all of my other favorite readings, click \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/archive.jsp\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
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