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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anisse Gross 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 her a little better with this Q+A, in which she talks about her karaoke catalogue, peaking at six years old, and much more!\u003c/p>\n\u003cp>\u003cb>What does a normal day in the life of Anisse look like?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anisse Gross:\u003c/b> There are no normal days in the life of Anisse. But a typical day involves me waking up to a view of the cargo ships coming into port, gliding by Alcatraz. Then I get into my vintage Mercedes (Maude), pick up an iced coffee, go to the beach and look at the waves. After my mind empties, I write in a cafe or my writing studio. I need to be out of the house to think. I’m drawn to really unhip coffee shops, which there are plenty of the further you leave the city center. Some of my days involve random gift art, and I’m always planning a scheme or two. At night, I like to hang out one-on-one with my dearest friends, and talk until we get asked to leave.\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>AG:\u003c/b> I was an extremely precocious child. I always joke that I peaked at six. I remember doing algebra in kindergarten and thinking that the sun was my best friend. I thought that adults were smarter than kids because they knew things. I wanted to be a math teacher when I grew up, though I was always writing weird stories even then. I was never popular, and I liked it that way. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" frameborder=\"0\" width=\"480\" height=\"360\" src=\"http://www.dailymotion.com/embed/video/x1xh6x?logo=0&hideInfos=1\">\u003c/iframe>\u003c/center> \n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>AG:\u003c/b> Beach Boys in fourth grade. They were playing in a football stadium, and they played “Kokomo,” and we all started screaming. \u003c/p>\n\u003cp>\u003cb>What’s the first book that made you fall in love with language?\u003c/b>\u003c/p>\n\u003cp>\u003cb>AG:\u003c/b> I began reading full books at age two, which freaked my parents out. Poor things thought I was going to be a genius. Anyway, the first book that made me fall in love with language was this incredible illustrated encyclopedia of things. Pages and pages of things with their names listed below them. 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"content": "\u003cp>The Mechanics’ Institute Library & Chess Club sounds like an organization from a bygone era. And truthfully, it is. Founded in 1854 to serve the needs of San Francisco’s failed gold miners, the Institute grew steadily through the end of the 19th century, accumulating members and adding pertinent volumes to its collection. Hosting lectures, industrial fairs, and chess tournaments, the Institute was both a social and cultural fixture in the lives of its members. Today it functions in nearly exactly the same way, continuing a tradition of earnest self-education that sparked its original inception.\u003c/p>\n\u003cp>The history of the Mechanics’ Institute parallels the history of San Francisco itself. Benefiting from a rising tide of trade and prosperity in the city, the Mechanics’ Institute built a permanent home on Post Street in 1866, garnered support from the University of California, and a bequest from James Lick (the wealthiest man in the state at the time of his death). In January 1906, the library absorbed a vast humanities-based collection held by the local Mercantile Library, bringing the library holdings to 200,000 books, give or take a few.\u003c/p>\n\u003cp>Four months later, the 1906 earthquake and fire destroyed everything. That is, everything except the contents of two safes and a bronze cast of Lick. A new building, a new collection, and 157 years later, the Mechanics’ Institute Library now boasts approximately 5,000 members and 165,000 volumes, but its original purpose — acting as a hub for the exchange of ideas and skills — is its most unique asset.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/mechanics1.jpg\" alt=\"\">\u003c/p>\n\u003cp>Since its founding, members could select from a spate of what we today consider “continuing education” classes: geometric drawing, wood carving, applied mathematics. Now the offerings read something like this: Facebook, Twitter, Google+. If this list seems to fit a certain demographic, it might not deceive. Luddites will find themselves catered to, but the Institute’s busy schedule of author appearances, CinemaLit screenings, chess classes, and book clubs proves its vitality and contemporary relevance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/mechanics3.jpg\" alt=\"\">\u003c/p>\n\u003cp>The building itself (San Francisco Historic Landmark #124) is refreshingly out of step with time. The library occupies just the lower floors, while an eclectic group of rent-paying small businesses are housed above. Entering the building from the bustle of the Financial District, marble floors lead to a majestic spiral staircase and the main floors of the library. With the swipe of a member’s card, glass doors open onto spacious reading areas filled with deep leather armchairs. Flanking this central atrium, three levels of stacks are supported by substantial Corinthian columns. In the narrow passageways between shelves of books, the floor alternates between metal plates and thick frosted glass. And the ceilings are frequently low enough to convey the distinct impression that people were — as a general rule — shorter when this building was erected.\u003c/p>\n\u003cp>Smaller rooms lined with locked glass cases exhibit some of the library’s rarer holdings, surrounding expansive wood tables, perfect for spreading out for a good day of reading or writing. Overall, the Mechanics’ Institute is a weird and wonderful refuge for book-lovers, a library the likes of which you won’t find in any of San Francisco’s neighborhood branches. The general ambiance is one of quiet studiousness — except, perhaps, in the chess room, where I was greeted with a territorial glare and, “\u003ci>Yes\u003c/i>, this is the chess club.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/mechanics2.jpg\" alt=\"\">\u003c/p>\n\u003cp>In 1927, the Institute’s president noted, “The cost of membership is so low that no one need be without it.” In 2011, an individual can enjoy a year’s membership for $95. If this seems steep, try a free guided tour any Wednesday at noon. If you’re still in doubt, I’ll supply one additional reason to investigate further: where else can you find the oldest library on the West Coast, the oldest continuously operating chess club in the United States, and tenant of room 808, the International \u003ci>Wizard of Oz\u003c/i> Club, all under the same roof?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Mechanics’ Institute Library & Chess Room is located at 57 Post Street in San Francisco. For \u003ca href=\"http://http://www.milibrary.org/\">more information\u003c/a> visit milibrary.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Mechanics’ Institute Library & Chess Club sounds like an organization from a bygone era. And truthfully, it is. Founded in 1854 to serve the needs of San Francisco’s failed gold miners, the Institute grew steadily through the end of the 19th century, accumulating members and adding pertinent volumes to its collection. Hosting lectures, industrial fairs, and chess tournaments, the Institute was both a social and cultural fixture in the lives of its members. Today it functions in nearly exactly the same way, continuing a tradition of earnest self-education that sparked its original inception.\u003c/p>\n\u003cp>The history of the Mechanics’ Institute parallels the history of San Francisco itself. Benefiting from a rising tide of trade and prosperity in the city, the Mechanics’ Institute built a permanent home on Post Street in 1866, garnered support from the University of California, and a bequest from James Lick (the wealthiest man in the state at the time of his death). In January 1906, the library absorbed a vast humanities-based collection held by the local Mercantile Library, bringing the library holdings to 200,000 books, give or take a few.\u003c/p>\n\u003cp>Four months later, the 1906 earthquake and fire destroyed everything. That is, everything except the contents of two safes and a bronze cast of Lick. A new building, a new collection, and 157 years later, the Mechanics’ Institute Library now boasts approximately 5,000 members and 165,000 volumes, but its original purpose — acting as a hub for the exchange of ideas and skills — is its most unique asset.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/mechanics1.jpg\" alt=\"\">\u003c/p>\n\u003cp>Since its founding, members could select from a spate of what we today consider “continuing education” classes: geometric drawing, wood carving, applied mathematics. Now the offerings read something like this: Facebook, Twitter, Google+. If this list seems to fit a certain demographic, it might not deceive. Luddites will find themselves catered to, but the Institute’s busy schedule of author appearances, CinemaLit screenings, chess classes, and book clubs proves its vitality and contemporary relevance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/mechanics3.jpg\" alt=\"\">\u003c/p>\n\u003cp>The building itself (San Francisco Historic Landmark #124) is refreshingly out of step with time. The library occupies just the lower floors, while an eclectic group of rent-paying small businesses are housed above. Entering the building from the bustle of the Financial District, marble floors lead to a majestic spiral staircase and the main floors of the library. With the swipe of a member’s card, glass doors open onto spacious reading areas filled with deep leather armchairs. Flanking this central atrium, three levels of stacks are supported by substantial Corinthian columns. In the narrow passageways between shelves of books, the floor alternates between metal plates and thick frosted glass. And the ceilings are frequently low enough to convey the distinct impression that people were — as a general rule — shorter when this building was erected.\u003c/p>\n\u003cp>Smaller rooms lined with locked glass cases exhibit some of the library’s rarer holdings, surrounding expansive wood tables, perfect for spreading out for a good day of reading or writing. Overall, the Mechanics’ Institute is a weird and wonderful refuge for book-lovers, a library the likes of which you won’t find in any of San Francisco’s neighborhood branches. The general ambiance is one of quiet studiousness — except, perhaps, in the chess room, where I was greeted with a territorial glare and, “\u003ci>Yes\u003c/i>, this is the chess club.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/mechanics2.jpg\" alt=\"\">\u003c/p>\n\u003cp>In 1927, the Institute’s president noted, “The cost of membership is so low that no one need be without it.” In 2011, an individual can enjoy a year’s membership for $95. If this seems steep, try a free guided tour any Wednesday at noon. If you’re still in doubt, I’ll supply one additional reason to investigate further: where else can you find the oldest library on the West Coast, the oldest continuously operating chess club in the United States, and tenant of room 808, the International \u003ci>Wizard of Oz\u003c/i> Club, all under the same roof?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Mechanics’ Institute Library & Chess Room is located at 57 Post Street in San Francisco. For \u003ca href=\"http://http://www.milibrary.org/\">more information\u003c/a> visit milibrary.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The great panoramic social novel that Los Angeles deserves — a twenty-first century, West Coast \u003cb>Bonfire of the Vanities\u003c/b> by the only writer qualified to capture the city in all its glory and complexity.\u003c/p>\n\u003cp>With \u003cb>The Barbarian Nurseries\u003c/b>, Hector Tobar gives our most misunderstood metropolis its great contemporary novel, taking us beyond the glimmer of Hollywood and deeper than camera-ready crime stories to reveal Southern California life as it really is, across its vast, sunshiny sprawl of classes, languages, dreams, and ambitions.\u003c/p>\n\u003cp>Araceli is the live-in maid in the Torres-Thompson household — one of three Mexican employees in a Spanish-style house with lovely views of the Pacific. She has been responsible strictly for the cooking and cleaning, but the recession has hit, and suddenly Araceli is the last Mexican standing — unless you count Scott Torres, though you’d never suspect he was half Mexican but for his last name and an old family photo with central L.A. in the background. The financial pressure is causing the kind of fights that even Araceli knows the children shouldn’t hear, and then one morning, after a particularly dramatic fight, Araceli wakes to an empty house — except for the two Torres-Thompson boys, little aliens she’s never had to interact with before. Their parents are unreachable, and the only family member she knows of is Señor Torres, the subject of that old family photo. So she does the only thing she can think of and heads to the bus stop to seek out their grandfather. It will be an adventure, she tells the boys. If she only knew…\u003c/p>\n\u003cp>With a precise eye for the telling detail and an unerring way with character, soaring brilliantly and seamlessly among a panorama of viewpoints, Tobar calls on all of his experience — as a novelist, a father, a journalist, a son of Guatemalan immigrants, and a native Angeleno — to deliver a novel as broad, as essential, as alive as the city itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great panoramic social novel that Los Angeles deserves — a twenty-first century, West Coast \u003cb>Bonfire of the Vanities\u003c/b> by the only writer qualified to capture the city in all its glory and complexity.\u003c/p>\n\u003cp>With \u003cb>The Barbarian Nurseries\u003c/b>, Hector Tobar gives our most misunderstood metropolis its great contemporary novel, taking us beyond the glimmer of Hollywood and deeper than camera-ready crime stories to reveal Southern California life as it really is, across its vast, sunshiny sprawl of classes, languages, dreams, and ambitions.\u003c/p>\n\u003cp>Araceli is the live-in maid in the Torres-Thompson household — one of three Mexican employees in a Spanish-style house with lovely views of the Pacific. She has been responsible strictly for the cooking and cleaning, but the recession has hit, and suddenly Araceli is the last Mexican standing — unless you count Scott Torres, though you’d never suspect he was half Mexican but for his last name and an old family photo with central L.A. in the background. The financial pressure is causing the kind of fights that even Araceli knows the children shouldn’t hear, and then one morning, after a particularly dramatic fight, Araceli wakes to an empty house — except for the two Torres-Thompson boys, little aliens she’s never had to interact with before. Their parents are unreachable, and the only family member she knows of is Señor Torres, the subject of that old family photo. So she does the only thing she can think of and heads to the bus stop to seek out their grandfather. It will be an adventure, she tells the boys. If she only knew…\u003c/p>\n\u003cp>With a precise eye for the telling detail and an unerring way with character, soaring brilliantly and seamlessly among a panorama of viewpoints, Tobar calls on all of his experience — as a novelist, a father, a journalist, a son of Guatemalan immigrants, and a native Angeleno — to deliver a novel as broad, as essential, as alive as the city itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The pages in Peter Sis’ new illustrated book aren’t numbered, so I counted them. I didn’t really need an accurate figure — the counting was just an excuse to leaf through the book’s textured pages, which feel something like silken cheesecloth fingerprints. And I mean that in the best possible way.\u003c/p>\n\u003cp>At 146 pages (OK — so I used the figure after all), \u003cb>The Conference of the Birds\u003c/b> is lengthier than any of Sis’ other titles. The celebrated children’s book author, who’s speaking at The Booksmith this Sunday, is usually constrained to page limits determined by a book’s target age group. He’s won Caldecott Honors for his children’s books, including \u003cb>The Wall: Growing Up Behind the Iron Curtain\u003c/b> and \u003cb>Starry Messenger: Galileo Galilei\u003c/b>, and he’s a six-time winner of \u003ci>The New York Times Book Review\u003c/i> Best Illustrated Book of the Year.\u003c/p>\n\u003cp>When Sis decided to make his first book for adults, he encountered no cap on page number, which he admits made \u003cb>The Conference of the Birds\u003c/b> difficult to finish. “I would just paint and paint and paint,” he said. He didn’t change his working process much, which makes sense, because children’s books are already partly designed to please the adult who’s obliged to read the book at bedtime again — and again — and again. If I have kids, I’ll be employing reverse psychology each night to covertly encourage a \u003cb>Conference of the Birds\u003c/b> habit.\u003c/p>\n\u003cp>In its pages, graceful, questing birds are swept into spirals and sorted into grids. They catapult through terrain punctuated by embedded labyrinths. They’re pieced together into monochromatic Rorschach patterns. As Sis’ birds migrate, the illustrations travel along in a hypnotic rhythm of threes — a long view of surrealist mountain topography, the flock’s sinuous passage through new landscape, and desaturated diagrams of amorphous shapes where time goes missing. The rich color, flowing pattern and Sis’ trademark laborious line work are mesmerizing.\u003c/p>\n\u003cp>Sis, who grew up in Cold War-era Prague and immigrated to the United States in 1984, has been drawing birds as symbols of freedom since he was illustrating album covers in his early days in the U.S. He first illustrated the winged creature Simorgh — who appears in \u003cb>The Conference of the Birds\u003c/b> — for Jorge Luis Borges’ \u003cb>The Book of Imaginary Beings\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So illustrating a great feathery migration was a natural continuation of Sis’ early work. An adaptation of a 12th century epic Persian poem, \u003cb>The Conference of the Birds\u003c/b> features a visionary poet-turned-bird who leads a congregation of his disillusioned peers to find King Simorgh, a liberator expected to rescue the birds from their despair. As the often-skeptical birds migrate, they pass through seven expansive valleys, each with its own majestic, ambiguous character.\u003c/p>\n\u003cp>While hardships abound in the valleys, the obstacles aren’t indisputably evil. Yes, the birds emerge battered, but their journey was complex. Some of their experiences held ambiguous meaning. In the Valley of Detachment, the birds learn that “a tiny fish is mightier than a whale and nobody can say why.” By emphasizing the variable nature of the birds’ journey, Sis builds a story relevant to the ambiguity of our own changeable lives.\u003c/p>\n\u003cp>\u003cb>The Conference of the Birds\u003c/b> is constructed in a format many mature urban adults might think they’ve outgrown. There’s more image than text, and lots of earnest metaphor for shared human experience. Sometimes a culture of skepticism encourages us to interpret sincerity as tired and unpalatable. I’m certainly guilty of this automatic response at times — and sometimes it’s warranted. But there’s none of that here. This is powerful, heartfelt stuff.\u003c/p>\n\u003cp>Go ahead and get lost following the birds. It’s easy to do — the book has no page numbers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Illustrator Peter Sis will speak about his new book, \u003cb>The Conference of the Birds\u003c/b>, at The Booksmith on Sunday, November 20, 2011 at 4pm. For \u003ca href=\"http://www.booksmith.com/\">more information\u003c/a>, visit http://www.booksmith.com\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pages in Peter Sis’ new illustrated book aren’t numbered, so I counted them. I didn’t really need an accurate figure — the counting was just an excuse to leaf through the book’s textured pages, which feel something like silken cheesecloth fingerprints. And I mean that in the best possible way.\u003c/p>\n\u003cp>At 146 pages (OK — so I used the figure after all), \u003cb>The Conference of the Birds\u003c/b> is lengthier than any of Sis’ other titles. The celebrated children’s book author, who’s speaking at The Booksmith this Sunday, is usually constrained to page limits determined by a book’s target age group. He’s won Caldecott Honors for his children’s books, including \u003cb>The Wall: Growing Up Behind the Iron Curtain\u003c/b> and \u003cb>Starry Messenger: Galileo Galilei\u003c/b>, and he’s a six-time winner of \u003ci>The New York Times Book Review\u003c/i> Best Illustrated Book of the Year.\u003c/p>\n\u003cp>When Sis decided to make his first book for adults, he encountered no cap on page number, which he admits made \u003cb>The Conference of the Birds\u003c/b> difficult to finish. “I would just paint and paint and paint,” he said. He didn’t change his working process much, which makes sense, because children’s books are already partly designed to please the adult who’s obliged to read the book at bedtime again — and again — and again. If I have kids, I’ll be employing reverse psychology each night to covertly encourage a \u003cb>Conference of the Birds\u003c/b> habit.\u003c/p>\n\u003cp>In its pages, graceful, questing birds are swept into spirals and sorted into grids. They catapult through terrain punctuated by embedded labyrinths. They’re pieced together into monochromatic Rorschach patterns. As Sis’ birds migrate, the illustrations travel along in a hypnotic rhythm of threes — a long view of surrealist mountain topography, the flock’s sinuous passage through new landscape, and desaturated diagrams of amorphous shapes where time goes missing. The rich color, flowing pattern and Sis’ trademark laborious line work are mesmerizing.\u003c/p>\n\u003cp>Sis, who grew up in Cold War-era Prague and immigrated to the United States in 1984, has been drawing birds as symbols of freedom since he was illustrating album covers in his early days in the U.S. He first illustrated the winged creature Simorgh — who appears in \u003cb>The Conference of the Birds\u003c/b> — for Jorge Luis Borges’ \u003cb>The Book of Imaginary Beings\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So illustrating a great feathery migration was a natural continuation of Sis’ early work. An adaptation of a 12th century epic Persian poem, \u003cb>The Conference of the Birds\u003c/b> features a visionary poet-turned-bird who leads a congregation of his disillusioned peers to find King Simorgh, a liberator expected to rescue the birds from their despair. As the often-skeptical birds migrate, they pass through seven expansive valleys, each with its own majestic, ambiguous character.\u003c/p>\n\u003cp>While hardships abound in the valleys, the obstacles aren’t indisputably evil. Yes, the birds emerge battered, but their journey was complex. Some of their experiences held ambiguous meaning. In the Valley of Detachment, the birds learn that “a tiny fish is mightier than a whale and nobody can say why.” By emphasizing the variable nature of the birds’ journey, Sis builds a story relevant to the ambiguity of our own changeable lives.\u003c/p>\n\u003cp>\u003cb>The Conference of the Birds\u003c/b> is constructed in a format many mature urban adults might think they’ve outgrown. There’s more image than text, and lots of earnest metaphor for shared human experience. Sometimes a culture of skepticism encourages us to interpret sincerity as tired and unpalatable. I’m certainly guilty of this automatic response at times — and sometimes it’s warranted. But there’s none of that here. This is powerful, heartfelt stuff.\u003c/p>\n\u003cp>Go ahead and get lost following the birds. It’s easy to do — the book has no page numbers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Illustrator Peter Sis will speak about his new book, \u003cb>The Conference of the Birds\u003c/b>, at The Booksmith on Sunday, November 20, 2011 at 4pm. For \u003ca href=\"http://www.booksmith.com/\">more information\u003c/a>, visit http://www.booksmith.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I first met William Taylor Jr. he was sitting alone in a chair, quietly sipping one of many glasses of red wine he would have throughout the evening. He drank with a measured, matter-of-fact composure that assured anyone who might be watching he would not break with sadness — though, clearly, it weighed on him. I knew, because I too had been a reclusive poet. I, too, had spent the majority of my time isolated from other people, measuring my own worth with the size of the world. It was one of those rare times when someone says, “You absolutely have to know this person…” and instantly I felt they had been right.\u003c/p>\n\u003cp>Immediate kinship aside, I was still surprised by the meek greeting I received, an alchemical mixture of sincerity and timidity by which I recognized The Real Thing.\u003c/p>\n\u003cp>William’s poems are transcendent, heartbreaking, the type of writing that turns a cliché inside out and exposes the hollow, discarded husk of expression hallowed, being stretched to the limit, ringing.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=WdVnGB5oK9Y&w=480&h=355]\u003c/p>\n\u003cp>The progression of his poems — he has been published widely over the years in the independent presses — hones an unflinching gaze at the more sordid aspects of the world around us, internal and external, into a calm (even when desperate there is resignation) attitude. Alternately, one has the sense of accepting the world and everything in it for what it is — of burying one’s face in one’s hands, or throwing them in the air and running for the nearest bridge, depending on the afternoon. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So often romanticism dies with familiarity — even with the most beautiful of persons, places, or even ideas. As Henry Miller said, “One’s destination is never a place, but rather a new way of looking at things.” We live in a place and if we are strong or persistent we grow into it in the same way a plant grows into a pot, or an animal a cage; we come to the city with a certain self-awareness and maybe a glint of destination, however vague, in the heart.\u003c/p>\n\u003cp>Having maintained residency in the same Tenderloin apartment for the past 8 years, this is something William Taylor Jr. has confronted on a regular basis. So, when he seemed to disappear from public events over the past year, I thought I had good reason to worry.\u003c/p>\n\u003cp>Lately, though, he has re-emerged, shining, with a warm smile and friendly eyes, a steady and even inviting presence. When we met at Vesuvio recently I asked if anything had changed in his personal life. “Not really,” he said. “Sometimes I’m kind of reclusive; I tend to go back and forth as far as getting out there a lot, and then staying home a lot.”\u003c/p>\n\u003cp>The cause for his recent change may well be his first book of fiction, \u003cem>\u003ca href=\"http://www.epicrites.org/an-age-of-monsters.html\">An Age of Monsters\u003c/a>\u003c/em> (Epic Rites Press). The collection, which includes 15 stories, some of which date back as far as 10 and 15 years, was an unexpected result of sending one in to the zine \u003cem>Tree Killer Ink\u003c/em>; the editor, Wolf Carstens, asked William if he had any others. “I’ve been writing stories as long as I’ve been writing poems,” he told me, “but I’m slower with them so they get kind of scattered over the years, and I went over all the stories that I’ve written and found a fair amount I still like, and wrote some new ones, and they all kind of worked together eventually.”\u003c/p>\n\u003cp>When asked if there was a noticeable difference in how he approaches story writing as opposed to poetry, William replied: “My fiction I tend to write it when I’m in a better mood, and… there’s a lot of darkness to a lot of it, and greediness, I guess, but I think I put more humor in my stories sometimes, and I have fun with them because a lot of times I’m not as personal as the poetry. I’m not digging down into some dark thing, you know; I’m just kind of telling a story and having fun.” He pauses, and the silence between us is comfortable. “I tend to be more lighthearted, I guess.”\u003c/p>\n\u003cp>Those worried that the fragile balance of beauty and sadness that typifies much of William’s poetry might eventually give way to a desperation or depression that would render the author unable to write can breathe easy, at least for now. To me, at least, it is clear that William Taylor Jr. has seen the city with new eyes. He has continued to create without ulterior motive: he wants to be pure, to express his changing self, to fight the crystallization of self into place.\u003c/p>\n\u003cp>To celebrate, he has asked some of his friends and favorite local authors to read with him at Space Gallery this Thursday night. The bonus? Both William and Julie Michelle, who contributed a title-page photo to each of the stories, were born this week and will celebrate their birthdays together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>William Taylor Jr. celebrates the release of \u003cem>An Age of Monsters\u003c/em> on Thursday, November 17, 2011 at 7pm at Space Gallery, 1141 Polk Street in San Francisco. For \u003ca href=\"http://www.facebook.com/event.php?eid=219634114767317\">more information\u003c/a> visit williamtaylorjr.net.\u003c/p>\n\n",
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"content": "\u003cp>For American poetry, San Francisco, and North Beach in particular, is sacred ground. The neighborhood even has \u003ca href=\"http://www.thebeatmuseum.org/index.html\">a museum\u003c/a> dedicated solely to the group of poets who congregated in San Francisco starting in the 1950s, who brought poetry into popular culture and, as crazy as this seems now, made it relevant to a whole generation of Americans. There was a danger then at Monday (November 7, 2011) night’s reading with Gary Snyder and Lawrence Ferlinghetti at Club Fugazi, a benefit for \u003ca href=\"http://www.sfsu.edu/~poetry/\">the Poetry Center & American Poetry Archive at San Francisco State University\u003c/a>, that it would be two hours of self-congratulation about how great poetry used to be, in the good ole days. But Steve Dickison, the director of the Poetry Center, and the readers themselves, seemed to be on a mission to prove that even in 2011, two guys reading poetry on a stage in North Beach can still be relevant to the audience and the world.\u003c/p>\n\u003cp>The reading was structured to pay homage to the rich history Snyder and Ferlinghetti have with San Francisco, while juxtaposing it with the present reality of these two men, now much older. Before each man came out on stage for his first set (each did two 15 minute sets), films of them were projected on a large screen on stage, taken from old KQED/Poetry Center collaborative television segments on poetry, from the 1960s. In the first video, Gary Snyder is a wide-faced, smiling young man with deep dimples in his cheeks, standing in front of a bush of some kind, talking about Coyote the Trickster and the connections between the myths of all religions. When the video was done and Snyder walked out on stage, I was slightly shocked by his white hair and age, though when I realized he is 81, I was shocked again, this time that he looks so good and seems so healthy.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/snyderthen.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Gary Snyder then\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>I have to admit, I am a long-time Gary Snyder fan. His poetry was the only contemporary poetry I ever found in my house growing up, and this is because he writes about the things my family loves: Oregon, rivers, trees, mountains, families, myths, rationality, the apocalypse. I automatically relate him with my dad, because my dad is a botanist who could have been a poet and Snyder is a poet who could have been a botanist. My love for him is personal, and since I had never seen him read, I had high expectations. On Monday, he didn’t disappoint me at all. The poems he read were about all my favorite topics (see above), and every story he told made me want to move in with him in his house in the pine forest of the Sierra Nevada. He’s lived off the grid for 45 years and when he said this and the crowd applauded, he added, “Before you clap, try it. The alternative lifestyle is a pain in the ass.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fergiethen.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Lawrence Ferlinghetti then\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>It was this self-reflection and refusal to objectify themselves that made both Snyder and Ferlinghetti so charming and watchable. The video that played before Ferlinghetti came out showed a young man in a fur cap joking around with his dog and reading poetry at home plate on an abandoned baseball diamond. The man who came out when that video was over seemed a little older, but still just as engaged with language and the world as he had been when he was young — with just as much style. Ferlinghetti was dressed in spray painted red and gold skater shoes, with a matching red scarf and red plastic glasses. The most amazing part of this ensemble was that he looked incredibly cool. I don’t know how it is possible for a 92 year old (for real, he is 92) to wear skater shoes and look cool, but I promise you, it happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fergie1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Lawrence Ferlinghetti now\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Ferlinghetti’s work is a little more difficult for me to connect with. He is more overt than Snyder, and I don’t have the same love for his subject matter (women and politics, mainly). 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And it was well deserved, because while poetry readings may not be televised anymore, Gary Snyder and Lawrence Ferlinghetti showed the sold-out crowd that poetry can still be magic and no matter how old they are, they certainly aren’t irrelevant yet.\u003c/p>\n\n",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"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.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"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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},
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"id": "fresh-air",
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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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"hidden-brain": {
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"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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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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},
"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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"order": 18
},
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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/",
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},
"link": "/radio/program/latino-usa",
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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": {
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"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"
},
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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