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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>SGB:\u003c/b> Lots of recreational drugs. I’m kidding, but honestly I always feel like I should be writing more than I do. When I do get focused on a project, I tend to be single-minded and don’t do much of anything else. When I’m not focused, I’m easily distracted by sunny days and friends calling me to come out and play.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.petshopboxstudio.com/blog/wp-content/uploads/2011/04/Star-Wars-Posters-Yavin-IV-by-Justin-Van-Genderen.jpg\"> \u003c/p>\n\u003cp>\u003cb>Both \u003ci>Breathers\u003c/i> and your latest book, \u003ci>Fated\u003c/i>, deal with the supernatural. What TV show, movie, or book in the sci-fi genre makes you geek out the most?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>SGB:\u003c/b> I was a pretty big X-Files geek. And I forgave LOST a lot of its faults because I loved the characters so much. But if I had to pick just one, I’d have to go with Star Wars. It awed me like no other film before or since and I can quote almost every line in the movie. Though I still wonder why the Death Star didn’t just blow up the planet Yavin to get to the rebel base on the moon on the other side of the planet rather than going into a thirty-minute orbit around it.\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>SGB:\u003c/b> I watched a lot of TV as a kid and I threw a lot of temper tantrums. My parents told me I went through the terrible twos until I was eleven. Around that time, I decided I wanted to be Farrah Fawcett’s husband, but after she married Lee Majors I opted for a career as an NFL wide receiver. That didn’t last long. I’m 5’11” and 165 pounds. Enough said.\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/ENbBPWjYtPM'\n title='//www.youtube.com/embed/ENbBPWjYtPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SGB:\u003c/b> “Mack the Knife” by Bobby Darin. I croon better than I sing.\u003c/p>\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>SGB:\u003c/b> John Lennon, Chuck Palahniuk, and Vincent van Gogh. Because they have inspired me with their own contributions to the world of music, literature, and art.\u003c/p>\n\u003cp>\u003cb>What’s something about you that might surprise people?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SGB:\u003c/b> I started off college as an engineering major. I loved math and I had no idea what I wanted to do to earn a living, so it seemed like a good fit. But after I got a C- in physics my first year and kept falling asleep in my thermodynamics class my second year, I realized I should probably reconsider my options.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.geeksix.com/wp-content/uploads/2010/09/bl-dude.jpg\"> \u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SGB:\u003c/b> The Big Lebowski. The Dude abides. And I’m a big fan of the Coen brothers.\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>SGB:\u003c/b> Taking a page from Woody Allen’s \u003cb>Midnight in Paris\u003c/b>, I’d visit Paris in the 1920s and rub elbows with Hemingway, Fitzgerald, Picasso, Dali, and Gertrude Stein. It would be the perfect blend of place and history for a writer. Plus I love Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for S.G. Browne’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, August 10, 2011 at kqed.org/writersblock. 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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"content": "\u003cp>From a 5 Under 35 winner, comes a razor-sharp, hilarious, and touching story of a son searching for his father…through quantum space-time.\u003c/p>\n\u003cp>Every day in Minor Universe 31, people get into time machines and try to change the past. That’s where Charles Yu, time travel technician, steps in. He helps save people from themselves. Literally. When he’s not taking client calls, Yu visits his mother and searches for his father, who invented time travel and then vanished. The key to locating his father may be found in a book. It’s called \u003cb>How to Live Safely in a Science Fictional Universe\u003c/b>, and somewhere inside it is information that will help him. It may even save his life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Charles Yu, the author behind \u003cb>How to Live Safely in a Science Fictional Universe\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>, which will be released next week. Until then, get to know him a little better with this Q+A, in which he talks about the injury he sustained while wearing Spider Man underoos and the do’s and don’ts of time travel.\u003c/p>\n\u003cp>\u003cb>Your novel, \u003ci>How to Live Safely in a Science Fictional Universe\u003c/i>, tells the story of Charles Yu, a time travel technician and resident of Minor Universe 31, who travels to crucial moments in the past to save people from themselves. If you were able to travel to a past era, which would it be and what would you do there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Charles Yu:\u003c/b> I have to start by saying I would try as hard as I could not to actually “do” anything in the past, only watch. Not just because I am a very moral and ethical time traveler, but because I want to conform to the rules of Minor Universe 31, which allow you to observe your own past but not change it. And basically I do believe what is says in the novel, that changing your own past is the worst thing you can do with time travel. If we really were able to do that, we would no longer be living our own lives. Our choices, once they became reversible, would not be choices anymore. That might take a lot of the pain and regret out of life, but it would also take the life out of life, too, right? We already have a time machine, in our heads, called memory, and I think it is essential to living. Nobody lives in a straight-line chronology, not mentally, not emotionally.\u003c/p>\n\u003cp>So I didn’t really answer that question, did I? I guess I would like to go back in time 3 or 4 minutes ago, and re-start my answer. But no! That would be contradict everything I just said. I must stick to my principles and live with this answer, however unsatisfactory it may be to you and to me.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://images.barnesandnoble.com/images/69500000/69505987.JPG\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Since you’ve done a lot of research and thinking about time travel,what do you imagine the future looking like? And what are some tips you can give to prospective time travelers?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> I think the near future, 40-50 years, looks a lot like the present. I mean, If you look at pictures from the 1960s and 1970s, the cars now are more rounded and bubble-like, and clothing and hairstyles are a little different, but things don’t look radically different. We just have a lot more invisible messages traveling through the air now. And the space inside of our heads is different, too. We organize our lives different, temporally, and we conceive of the world differently in a spatial sense. But the actual physical world isn’t changing as fast as our inner conceptual world.\u003c/p>\n\u003cp>The advice I have for time travelers is to watch out for anyone that looks like they might be an ancestor of yours and make sure you do not: (i) kill them, or (ii) mate with them. You don’t want to do (i) because you might erase your own existence and/or cause a paradox. And obviously (ii) would just be disgusting.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=4o29VoxtsFk&version=3&hl=en_US&showinfo=0&rel=0]\u003c/p>\n\u003cp>\u003cb>I know that you’ve spoken at Comic Con. What has been your geekiest moment?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> We had Venetian blinds in our family room when I was a kid, covering a window that was up kind of high. When I was five, I put on my Spider-Man Underoos, climbed up on the couch under that window, put the pull cord for the blinds between my teeth, and jumped off the couch. My two front teeth popped out, clean. Like, plop, instantaneously, they were out. A dentist could not have done a cleaner job. The teeth came out, followed by a lot of blood just streaming from the holes in my gums where the teeth had been. My mom rushed in, saw the scene, and freaked out, of course. The thing is, what was I doing? I don’t mean why would a 5-year-old boy be stupid enough to jump off a couch with a Venetian blind pull cord between his teeth? Obviously that was stupid. I paid dearly for that, not just physically with the bloody mouth and all, but I also paid a very steep price socially for the next few years, because I just had to wait until my permanent teeth came in. Nothing I could do would make my teeth grow in faster. From first grade to maybe the middle of third grade, I had a gaping hole in my mouth. But no, that’s still not the stupidest thing about that story. The stupidest thing about that story is, why my TEETH? Spider-Man swings from his webs by his hands. He doesn’t swing by his teeth. No one does. Becaue that is ridiculous.\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>CY:\u003c/b> \u003cb>White Noise\u003c/b>, by Don DeLillo. I read it my freshman year in college. The scene with Jack Gladney and Murray Jay Siskind in the supermarket, talking about brand names. In high school, we’d read lots of the curricular classics for AP English. But reading DeLillo, someone I’d never even heard of before it was assigned for my class, was an experience I have never forgotten. I remember being in my dorm room, reading \u003cb>White Noise\u003c/b> and feeling like I was reading a book for the first time in my life. Like I had never understood before what a book could be, what it could do to you.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=vwZhAP4Uiqw&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> “How Deep Is Your Love,” by the Bee Gees. Is that an invitation? Or a dare? Because we could go right now. I’m always up for karaoke.\u003c/p>\n\u003cp>\u003cb>What kind of kid were you and what did you want to be when you grewup?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> As previously established, I was, at least at the age of 6, an extraordinarily stupid and short-sighted kid, and one who watched too many cartoons. I also tended toward the “husky” side (which is what they called the size of jeans that I wore), was usually kind of a loner, got picked on a lot, and read books to escape pretty much all of that. I wanted to be a physicist when I was a kid, although I’m not sure I knew what physics was. I think I just wanted to wear a lab coat and look at liquids in beakers.\u003c/p>\n\u003cp>\u003cb>What’s a talent of yours that most people don’t know about?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> I have 400 digits of pi memorized (and am working toward more). I don’t think that’s a talent, really, but that’s all I got.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://wae.blogs.starnewsonline.com/files/2011/02/groundhogday2.jpg\">\u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> I would live inside \u003cb>Groundhog Day\u003c/b>, with Bill Murray. I think that’s pretty much a perfect movie. I would do exactly what Murray’s character did, and teach myself all kinds of new tricks. I would start a new novel every day, knowing it would be erased by the end of the day.\u003c/p>\n\u003cp>\u003cb>If you could invite 3 people (dead/alive/fictional) to your dinnerparty, who would they be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> Isaac Newton, Albert Einstein and Richard Feynman. First, I would have Einstein explain to Newton about 20th century physics, and watch Newton’s mind get blown. Then I would force all 3 of them to figure out how to unify quantum mechanics and general relativity until they had the grand unified theory. We would have hamburgers and milk shakes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Look for Charles Yu’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, August 3, 2011 at kqed.org/writersblock. 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>\u003c/p>\n\u003cp>\u003cb>Since you’ve done a lot of research and thinking about time travel,what do you imagine the future looking like? And what are some tips you can give to prospective time travelers?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> I think the near future, 40-50 years, looks a lot like the present. I mean, If you look at pictures from the 1960s and 1970s, the cars now are more rounded and bubble-like, and clothing and hairstyles are a little different, but things don’t look radically different. We just have a lot more invisible messages traveling through the air now. And the space inside of our heads is different, too. We organize our lives different, temporally, and we conceive of the world differently in a spatial sense. But the actual physical world isn’t changing as fast as our inner conceptual world.\u003c/p>\n\u003cp>The advice I have for time travelers is to watch out for anyone that looks like they might be an ancestor of yours and make sure you do not: (i) kill them, or (ii) mate with them. You don’t want to do (i) because you might erase your own existence and/or cause a paradox. And obviously (ii) would just be disgusting.\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/4o29VoxtsFk'\n title='//www.youtube.com/embed/4o29VoxtsFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>I know that you’ve spoken at Comic Con. What has been your geekiest moment?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> We had Venetian blinds in our family room when I was a kid, covering a window that was up kind of high. 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Like I had never understood before what a book could be, what it could do to you.\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/vwZhAP4Uiqw'\n title='//www.youtube.com/embed/vwZhAP4Uiqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CY:\u003c/b> “How Deep Is Your Love,” by the Bee Gees. Is that an invitation? Or a dare? Because we could go right now. 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"content": "\u003cp>Jesse Ball, the author behind \u003cb>The Curfew\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>, which will be released later this week. Until then, get to know him a little better with this Q+A, in which he talks about his past incarnation and his costume from Halloween 1982.\u003c/p>\n\u003cp>\u003cb>The Curfew is partly about revolution and taking down the government. If you were to lead a resistance effort, what would it look like?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jesse Ball:\u003c/b> I would never lead anything, least of all a resistance effort. \u003c/p>\n\u003cp>\u003cb>What’s the one place on earth you feel most at home?\u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> In baba yaga’s hut. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://simpsonswiki.net/w/images/thumb/5/5a/SimpBumblebeeMan_f.png/250px-SimpBumblebeeMan_f.png\">\u003c/p>\n\u003cp>\u003cb>Having been a photographer in India, participated in a residency in a Scottish castle, and spent time in Iceland, it seems as though you’ve lived many different lives. If you had to imagine your past incarnation, where would you have been and what would you have been doing? \u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> An eighteenth century Russian serf. Or the bumblebee that is watching him. \u003c/p>\n\u003cp>\u003cb>What’s the first book that made you fall in love with language and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> My parents gave me a dictionary when I was very small and I read it cover to cover. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://boudoirqueen.typepad.com/.a/6a00e5518490a088340134880f3a54970c-800wi\">\u003c/p>\n\u003cp>\u003cb>You’ve said that film is one of the greatest luxuries of our time and one you couldn’t live without. If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> \u003cb>Les Enfantes Du Paradis\u003c/b>\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>JB:\u003c/b> Wild, bashful, secretive. When I was four, I wanted to be a garbageman. Also, I was a carpenter for Halloween that year (1982). \u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=mQiDs9tKZv4&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> Summer Wine (duet) — Lee Hazelwood. \u003c/p>\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>JB:\u003c/b> Bachelard. Darger. Elizabeth Cotten. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for Jesse Ball’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, July 27, 2011 at kqed.org/writersblock. 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>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://simpsonswiki.net/w/images/thumb/5/5a/SimpBumblebeeMan_f.png/250px-SimpBumblebeeMan_f.png\">\u003c/p>\n\u003cp>\u003cb>Having been a photographer in India, participated in a residency in a Scottish castle, and spent time in Iceland, it seems as though you’ve lived many different lives. If you had to imagine your past incarnation, where would you have been and what would you have been doing? \u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> An eighteenth century Russian serf. Or the bumblebee that is watching him. \u003c/p>\n\u003cp>\u003cb>What’s the first book that made you fall in love with language and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> My parents gave me a dictionary when I was very small and I read it cover to cover. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://boudoirqueen.typepad.com/.a/6a00e5518490a088340134880f3a54970c-800wi\">\u003c/p>\n\u003cp>\u003cb>You’ve said that film is one of the greatest luxuries of our time and one you couldn’t live without. If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> \u003cb>Les Enfantes Du Paradis\u003c/b>\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>JB:\u003c/b> Wild, bashful, secretive. When I was four, I wanted to be a garbageman. Also, I was a carpenter for Halloween that year (1982). \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/mQiDs9tKZv4'\n title='//www.youtube.com/embed/mQiDs9tKZv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> Summer Wine (duet) — Lee Hazelwood. \u003c/p>\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>JB:\u003c/b> Bachelard. Darger. Elizabeth Cotten. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for Jesse Ball’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, July 27, 2011 at kqed.org/writersblock. 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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"content": "\u003cp>Do books matter anymore? It was hard not to think about this question on recent visits to the Cantor Arts Center to see \u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b>, through August 28, 2011, and the San Jose Museum of Art to ponder \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b>, through September 25. During the week I attended these shows, Borders announced it would finally shutter its doors. A few days later, a movie based on a book, \u003cb>Harry Potter and the Deathly Hallows: Part 2\u003c/b>, sold roughly half-a-billion bucks in tickets worldwide.\u003c/p>\n\u003cp>Clearly we prefer noisy spectacles to clean, well-lighted places where we’re invited to curl up with a good book. On the other hand, I’ve read more books in the past couple of years than at any time in my life, but I have a Kindle to thank for that. Sorry, Borders; sorry Kepler’s, Cody’s and all the other independent bookstores either hanging by a thread or already gone. Print is dead.\u003c/p>\n\u003cp>No doubt the artists and printers represented at the Cantor would take issue with this statement, but they have the luxury of not having to concern themselves with mere cultural trends, let alone selling their work on a mass retail scale. These presses typically produce less than 100 copies of their hand-bound, hand-set, elaborately packaged books, whose pages are called leaves by people in the know. At best, their books are works of art, more like sculpture than prints even though they are printed. At worst, they are precious, insignificant indulgences.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/turkeypress.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Turkey Press, “The Standard,” 1997, Stanford Library Special Collections.\u003c/p>\n\u003cp>The Cantor show, which is beautifully presented — with the exception of a distracting video that drones on endlessly from one corner of the gallery — gives us a bit of both. On the plus side there are pieces like \u003cb>33 1/3: Off the Record\u003c/b> which consists of LP-shaped rubbings, prints, drawings, and paintings by Harry Reese of Turkey Press. As with many books in the show, the binding on this one is designed so pages can be removed and framed like traditional works of art. Also by Reese is a marvelously Duchampian work called \u003cb>The Standard\u003c/b>, whose glowing gold box encases a slender vertical book, plus a rat trap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to numerous examples of books whose pages resemble accordions (\u003cb>The Real World of Manuel Córdova\u003c/b> by W.S. Merwin from Ninja Press is printed on handmade persimmon-washed-and-smoked paper that extends for 15 feet), there are plenty of titles whose complicated engineering and attention to detail are marvels to behold. Peter Rutledge Koch’s \u003cb>UR-Text vol. III\u003c/b> features covers of acid-etched zinc on one side, oxidized brass on the other. The book’s pages, whose edges are tinted black, are sewn to the book’s brass-and-aluminum spine with braided Dacron thread, while the covers are attached with braided silk. Naturally the portfolio protecting this exercise in magnificence boasts a hidden magnetic flap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kochprinters.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Koch Printers, “UR-Text vol. II,” 1994. Courtesy of Peter Rutledge Koch.\u003c/p>\n\u003cp>You’re not supposed to judge a book by its cover, though, which in this case is good advice since Koch’s text consists solely of the word “words” repeated without spaces on every single page. While the juxtaposition between the book’s richly detailed presentation and its despairing content is obviously the point of the piece, \u003cb>UR-Text vol. III\u003c/b>, I fear, is just one more book that does not matter, regardless of its beauty or price.\u003c/p>\n\u003cp>R. Crumb’s pen-and-ink drawings for all 50 chapters of the Book of Genesis at the San Jose Museum of Art presents a different problem. They deliver too much information, but it wasn’t until I was several chapters into the thing that I realized there was no way I was going to read and absorb all of Crumb’s 207 pages in one sitting. Besides, while Genesis begins and ends well, its middle chapters, with all their smiting, begetting and occasional daughters-on-drunk-dad action (see Chapter 19), would likely make \u003cb>A Game of Thrones\u003c/b> author, George R. R. Martin, blush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crumb-genesis.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“The Book of Genesis Illustrated by R. Crumb,” 2009, Chapter 8, page 24; Courtesy the artist; Paul Morris; and David Zwirner, New York\u003c/p>\n\u003cp>We get sucked in, though, because the content of Crumb’s Genesis is less about the word of God than the line of Crumb. I could look at his rain all day, and Crumb has no equal when it comes to depicting a woman’s thigh. Not important, I know, and it’s probably Crumb’s refusal to be high-minded that will keep his work from commanding the same level of academic respect as some of his peers at the Cantor. But I think Crumb’s correct to put his energy into the content between the covers of his book rather than preoccupying himself with questions about what those covers are made of.\u003c/p>\n\u003cp>\u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b> runs though August 28, 2011 at the Cantor Arts Center in Palo Alto. For \u003ca href=\"http://museum.stanford.edu/news_room/book-as-art.html\">more information\u003c/a> visit museum.stanford.edu. \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b> runs through September 25, 2011 at the San Jose Museum of Art. For \u003ca href=\"http://www.sanjosemuseumofart.org/r-crumb\">tickets and information\u003c/a> visit sanjosemuseumofart.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do books matter anymore? It was hard not to think about this question on recent visits to the Cantor Arts Center to see \u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b>, through August 28, 2011, and the San Jose Museum of Art to ponder \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b>, through September 25. During the week I attended these shows, Borders announced it would finally shutter its doors. A few days later, a movie based on a book, \u003cb>Harry Potter and the Deathly Hallows: Part 2\u003c/b>, sold roughly half-a-billion bucks in tickets worldwide.\u003c/p>\n\u003cp>Clearly we prefer noisy spectacles to clean, well-lighted places where we’re invited to curl up with a good book. On the other hand, I’ve read more books in the past couple of years than at any time in my life, but I have a Kindle to thank for that. Sorry, Borders; sorry Kepler’s, Cody’s and all the other independent bookstores either hanging by a thread or already gone. Print is dead.\u003c/p>\n\u003cp>No doubt the artists and printers represented at the Cantor would take issue with this statement, but they have the luxury of not having to concern themselves with mere cultural trends, let alone selling their work on a mass retail scale. These presses typically produce less than 100 copies of their hand-bound, hand-set, elaborately packaged books, whose pages are called leaves by people in the know. At best, their books are works of art, more like sculpture than prints even though they are printed. At worst, they are precious, insignificant indulgences.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/turkeypress.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Turkey Press, “The Standard,” 1997, Stanford Library Special Collections.\u003c/p>\n\u003cp>The Cantor show, which is beautifully presented — with the exception of a distracting video that drones on endlessly from one corner of the gallery — gives us a bit of both. On the plus side there are pieces like \u003cb>33 1/3: Off the Record\u003c/b> which consists of LP-shaped rubbings, prints, drawings, and paintings by Harry Reese of Turkey Press. As with many books in the show, the binding on this one is designed so pages can be removed and framed like traditional works of art. Also by Reese is a marvelously Duchampian work called \u003cb>The Standard\u003c/b>, whose glowing gold box encases a slender vertical book, plus a rat trap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to numerous examples of books whose pages resemble accordions (\u003cb>The Real World of Manuel Córdova\u003c/b> by W.S. Merwin from Ninja Press is printed on handmade persimmon-washed-and-smoked paper that extends for 15 feet), there are plenty of titles whose complicated engineering and attention to detail are marvels to behold. Peter Rutledge Koch’s \u003cb>UR-Text vol. III\u003c/b> features covers of acid-etched zinc on one side, oxidized brass on the other. The book’s pages, whose edges are tinted black, are sewn to the book’s brass-and-aluminum spine with braided Dacron thread, while the covers are attached with braided silk. Naturally the portfolio protecting this exercise in magnificence boasts a hidden magnetic flap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kochprinters.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Koch Printers, “UR-Text vol. II,” 1994. Courtesy of Peter Rutledge Koch.\u003c/p>\n\u003cp>You’re not supposed to judge a book by its cover, though, which in this case is good advice since Koch’s text consists solely of the word “words” repeated without spaces on every single page. While the juxtaposition between the book’s richly detailed presentation and its despairing content is obviously the point of the piece, \u003cb>UR-Text vol. III\u003c/b>, I fear, is just one more book that does not matter, regardless of its beauty or price.\u003c/p>\n\u003cp>R. Crumb’s pen-and-ink drawings for all 50 chapters of the Book of Genesis at the San Jose Museum of Art presents a different problem. They deliver too much information, but it wasn’t until I was several chapters into the thing that I realized there was no way I was going to read and absorb all of Crumb’s 207 pages in one sitting. Besides, while Genesis begins and ends well, its middle chapters, with all their smiting, begetting and occasional daughters-on-drunk-dad action (see Chapter 19), would likely make \u003cb>A Game of Thrones\u003c/b> author, George R. R. Martin, blush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crumb-genesis.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“The Book of Genesis Illustrated by R. Crumb,” 2009, Chapter 8, page 24; Courtesy the artist; Paul Morris; and David Zwirner, New York\u003c/p>\n\u003cp>We get sucked in, though, because the content of Crumb’s Genesis is less about the word of God than the line of Crumb. I could look at his rain all day, and Crumb has no equal when it comes to depicting a woman’s thigh. Not important, I know, and it’s probably Crumb’s refusal to be high-minded that will keep his work from commanding the same level of academic respect as some of his peers at the Cantor. But I think Crumb’s correct to put his energy into the content between the covers of his book rather than preoccupying himself with questions about what those covers are made of.\u003c/p>\n\u003cp>\u003cb>The Art of the Book in California: Five Contemporary Presses\u003c/b> runs though August 28, 2011 at the Cantor Arts Center in Palo Alto. For \u003ca href=\"http://museum.stanford.edu/news_room/book-as-art.html\">more information\u003c/a> visit museum.stanford.edu. \u003cb>The Bible Illuminated: R. Crumb’s Book of Genesis\u003c/b> runs through September 25, 2011 at the San Jose Museum of Art. For \u003ca href=\"http://www.sanjosemuseumofart.org/r-crumb\">tickets and information\u003c/a> visit sanjosemuseumofart.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The beloved Pulitzer Prize-winning novelist turns his pen to the real people and places that have influenced his life and, in turn, his literature. Growing up in 1950s working-class New York City to Cuban immigrants, Hijuelos journey to literary acclaim is the evolution of an unlikely writer.\u003c/p>\n\u003cp>Born in Manhattan’s Morningside Heights to Cuban immigrants in 1951, Hijuelos introduces readers to the colorful circumstances of his upbringing. The son of a Cuban hotel worker and exuberant poetry-writing mother, his story, played out against the backdrop of an often prejudiced working-class neighborhood, takes on an even richer dimension when his relationship to his family and culture changes forever. During a sojourn in pre-Castro Cuba with his mother, he catches a disease that sends him into a Dickensian home for terminally ill children. The yearlong stay estranges him from the very language and people he had so loved.\u003c/p>\n\u003cp>With a cast of characters whose stories are both funny and tragic, \u003cb>Thoughts Without Cigarettes\u003c/b> follows Hijuelos’s subsequent quest for his true identity into adulthood, through college and beyond — a mystery whose resolution he eventually discovers hidden away in the trappings of his fiction, and which finds its most glorious expression in his best-known book, \u003cb>The Mambo Kings Play Songs of Love\u003c/b>. Illuminating the most dazzling scenes from his novels, \u003cb>Thoughts Without Cigarettes\u003c/b> reveals the true stories and indelible memories that shaped a literary genius.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The beloved Pulitzer Prize-winning novelist turns his pen to the real people and places that have influenced his life and, in turn, his literature. Growing up in 1950s working-class New York City to Cuban immigrants, Hijuelos journey to literary acclaim is the evolution of an unlikely writer.\u003c/p>\n\u003cp>Born in Manhattan’s Morningside Heights to Cuban immigrants in 1951, Hijuelos introduces readers to the colorful circumstances of his upbringing. The son of a Cuban hotel worker and exuberant poetry-writing mother, his story, played out against the backdrop of an often prejudiced working-class neighborhood, takes on an even richer dimension when his relationship to his family and culture changes forever. During a sojourn in pre-Castro Cuba with his mother, he catches a disease that sends him into a Dickensian home for terminally ill children. The yearlong stay estranges him from the very language and people he had so loved.\u003c/p>\n\u003cp>With a cast of characters whose stories are both funny and tragic, \u003cb>Thoughts Without Cigarettes\u003c/b> follows Hijuelos’s subsequent quest for his true identity into adulthood, through college and beyond — a mystery whose resolution he eventually discovers hidden away in the trappings of his fiction, and which finds its most glorious expression in his best-known book, \u003cb>The Mambo Kings Play Songs of Love\u003c/b>. Illuminating the most dazzling scenes from his novels, \u003cb>Thoughts Without Cigarettes\u003c/b> reveals the true stories and indelible memories that shaped a literary genius.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oscar Hijuelos, the author behind \u003cb>The Mambo Kings Play Songs of Love\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>, which will be released later this week. Until then, get to know him a little better with this Q+A, in which he talks about his Cuban roots and the closest he’s ever come to being thrown in the clink.\u003c/p>\n\u003cp>\u003cb>You were honored as the first Latino to win the Pulitzer. How do you feel your Cuban heritage has influenced the man, as well as the writer, you’ve become.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Oscar Hijuelos:\u003c/b> I feel rather fragmented in a way. Since I mainly live in the wider world, I miss my Cuban friends and family; on the other hand, I find them again in my fiction. Still, I owe my Cuban roots much that is good.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.oregonlive.com/books_impact/photo/9684117-large.jpg\">\u003c/p>\n\u003cp>\u003cb>Before you became a writer, you worked for many years on Madison Avenue. What’s something else about you that might surprise people?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> Having grown up under very modest circumstances, I have been a compulsive collector. Or to put it differently, I went through an intense phase of collecting things (even when I couldn’t afford them). These have included Roman, Egyptian and Persian antiquities (until my taste and therefore the object of my desires far exceeded my pocketbook), antique toy soldiers — a throwback to my childhood when I would gaze furtively into toy store windows — and because it gave me something to do while on tour (especially in Europe). I’ve also collected books, books, books along certain themes: for example, I have a small collection of antique books whose front pages contain Christmas greetings. One of them is from Rudyard Kipling, as in “Have a Jolly Christmas, Rudy Kipling…1913.”\u003c/p>\n\u003cp>\u003cb>You have a great anecdote from your past about how you narrowly escapedgetting mugged by explaining to the would-be robber that city college studentsare often poor and Columbia would be a better target. Is that the closestyou’ve come to being an indirect accomplice to a crime? What’s the closestyou’ve ever come to getting in trouble with the law?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> Lordy, I “permanently borrowed” my first electric guitar from a music store window, and ran down the street with it past a parked police car — the cops were having coffee — I write about that in \u003cb>Thoughts without Cigarettes\u003c/b>: but that’s about the closest I ever came to getting into trouble, though I used to hang out with guys who were always going in and out of detention centers as kids, later jail as adults.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://30.media.tumblr.com/tumblr_lo6ub2z0Ue1qlz1d6o1_500.jpg\">\u003c/p>\n\u003cp>\u003cb>Your novel, \u003ci>Mambo Kings Play Songs of Love\u003c/i>, was adapted into a film. If your memoir, \u003ci>Thoughts without Cigarettes\u003c/i>, made the same leap to the silver screen, who would you want to play you and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> If I could get into a time machine, it would be a young Michael Caine or Brad Pitt; no wait, how about Antonio Banderas in his prime? Actually, the only actor who would more closely resemble me as a guy in his 20s and 30s might be the young Gene Wilder.\u003c/p>\n\u003cp>\u003cb>You have a background in music and there is a definite musicality and melody to your writing. What’s one album you can’t live without?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> There’s no album I can’t live without, though I think if the cantatas and instrumental suites of Bach or the jazz trumpeting of Clifford Brown disappeared off the face of the earth, I’d truly despair.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Xxcn23cyxOg&version=3&hl=en_US&showinfo=0&rel=0]\u003c/p>\n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> I recall attending a James Brown concert at the Apollo Theater in Harlem for a dollar. I think I was thirteen or so. Also, speaking of things that were ridiculously cheap when I was a kid, I attended a Rolling Stones concert at the old Academy of Music on 14th Street in 1964 or so, also at thirteen. They played with sluggish old amps, no big sound systems, and first balcony seats cost about $2.50. Maybe that’s why when I hear of what (the very greedy) concert guys charge now, I turn purple. (Of course, almost fifty years have passed since then, but hey, how on earth is it that Mick Jagger and those other guys are still performing and drawing crowds? Talk about corporate branding!)\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> The first song that pops into my head is “Little Red Riding Hood” by Sam the Sham and the Pharoahs (greatest old time band name ever, along with Question Mark and the Mysterions). Second song, “Werewolf of London,” by Warren Zevon. (Must have wolves in my head.)\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>OH:\u003c/b> I was a wise guy, very funny and evasive on the outside, very delicious and nutritious, but secretly pensive and very serious on the inside. I had no goals when I was a kid. Because I had been so sick as a child, I suppose I didn’t really think about the future.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://3.bp.blogspot.com/_E_o_0Bdm4GA/S5ef4ee03kI/AAAAAAAAt-M/oueaDxnMLgA/s400/A+medieval+baker+with+his+apprentice.+The+Bodleian+Library,+Oxford.jpg\">\u003c/p>\n\u003cp>\u003cb>If you had to imagine your past incarnation, where would you have been andwhat would you have been doing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> A baker in Rome, probably along one of those streets in Trastevere, perhaps la via dei panieri, which, in fact, went back to ancient times. (And why? Maybe because I remember, so clearly, a bakery next door to my aunt’s house in Cuba, where I visited as a kid. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> Having grown up under very modest circumstances, I have been a compulsive collector. Or to put it differently, I went through an intense phase of collecting things (even when I couldn’t afford them). These have included Roman, Egyptian and Persian antiquities (until my taste and therefore the object of my desires far exceeded my pocketbook), antique toy soldiers — a throwback to my childhood when I would gaze furtively into toy store windows — and because it gave me something to do while on tour (especially in Europe). I’ve also collected books, books, books along certain themes: for example, I have a small collection of antique books whose front pages contain Christmas greetings. One of them is from Rudyard Kipling, as in “Have a Jolly Christmas, Rudy Kipling…1913.”\u003c/p>\n\u003cp>\u003cb>You have a great anecdote from your past about how you narrowly escapedgetting mugged by explaining to the would-be robber that city college studentsare often poor and Columbia would be a better target. Is that the closestyou’ve come to being an indirect accomplice to a crime? What’s the closestyou’ve ever come to getting in trouble with the law?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> Lordy, I “permanently borrowed” my first electric guitar from a music store window, and ran down the street with it past a parked police car — the cops were having coffee — I write about that in \u003cb>Thoughts without Cigarettes\u003c/b>: but that’s about the closest I ever came to getting into trouble, though I used to hang out with guys who were always going in and out of detention centers as kids, later jail as adults.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://30.media.tumblr.com/tumblr_lo6ub2z0Ue1qlz1d6o1_500.jpg\">\u003c/p>\n\u003cp>\u003cb>Your novel, \u003ci>Mambo Kings Play Songs of Love\u003c/i>, was adapted into a film. If your memoir, \u003ci>Thoughts without Cigarettes\u003c/i>, made the same leap to the silver screen, who would you want to play you and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> If I could get into a time machine, it would be a young Michael Caine or Brad Pitt; no wait, how about Antonio Banderas in his prime? Actually, the only actor who would more closely resemble me as a guy in his 20s and 30s might be the young Gene Wilder.\u003c/p>\n\u003cp>\u003cb>You have a background in music and there is a definite musicality and melody to your writing. What’s one album you can’t live without?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> There’s no album I can’t live without, though I think if the cantatas and instrumental suites of Bach or the jazz trumpeting of Clifford Brown disappeared off the face of the earth, I’d truly despair.\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/Xxcn23cyxOg'\n title='//www.youtube.com/embed/Xxcn23cyxOg'\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 your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> I recall attending a James Brown concert at the Apollo Theater in Harlem for a dollar. I think I was thirteen or so. Also, speaking of things that were ridiculously cheap when I was a kid, I attended a Rolling Stones concert at the old Academy of Music on 14th Street in 1964 or so, also at thirteen. They played with sluggish old amps, no big sound systems, and first balcony seats cost about $2.50. Maybe that’s why when I hear of what (the very greedy) concert guys charge now, I turn purple. (Of course, almost fifty years have passed since then, but hey, how on earth is it that Mick Jagger and those other guys are still performing and drawing crowds? Talk about corporate branding!)\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> The first song that pops into my head is “Little Red Riding Hood” by Sam the Sham and the Pharoahs (greatest old time band name ever, along with Question Mark and the Mysterions). Second song, “Werewolf of London,” by Warren Zevon. (Must have wolves in my head.)\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>OH:\u003c/b> I was a wise guy, very funny and evasive on the outside, very delicious and nutritious, but secretly pensive and very serious on the inside. I had no goals when I was a kid. Because I had been so sick as a child, I suppose I didn’t really think about the future.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://3.bp.blogspot.com/_E_o_0Bdm4GA/S5ef4ee03kI/AAAAAAAAt-M/oueaDxnMLgA/s400/A+medieval+baker+with+his+apprentice.+The+Bodleian+Library,+Oxford.jpg\">\u003c/p>\n\u003cp>\u003cb>If you had to imagine your past incarnation, where would you have been andwhat would you have been doing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OH:\u003c/b> A baker in Rome, probably along one of those streets in Trastevere, perhaps la via dei panieri, which, in fact, went back to ancient times. (And why? 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for Oscar Hijuelos’ episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, July 13, 2011 at kqed.org/writersblock. 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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"content": "\u003cp>It’s hard to believe that Litquake, now the West Coast’s largest literary festival, started life as a single day event when it first launched in 1999. Now the organization responsible for the nine-day festival, which hosts 600 authors and 10,000 attendees, has evolved into an almost inexplicable behemoth of literary events.\u003c/p>\n\u003cp>Last year, Litquake gained nonprofit status and started programming year round. Since then, the programming committee has congealed into a machine, producing events impressive for their quality, creativity, and — most importantly — their ability to incorporate other members of the literary community. This week’s \u003cb>Cabaret Bastille\u003c/b>, which will celebrate Bastille Day and the bohemian spirit of 1920s Paris, should be a perfect example of both the diverse culture Litquake has generated and the import such communities might have when they are brought together.\u003c/p>\n\u003cp>Traditionally, Litquake has depended on big names to bolster attendance, often featuring the same writers year after year. But by hooking up with other local groups and paying attention to what was previously beneath its radar, Litquake is sewing together the local lit community from the bottom up, forging a strong foundation and giving other voices a chance to become part of the conversation.\u003c/p>\n\u003cp>On a fundamental level, this shift in thought evokes the destruction of the Bastille, which, amongst other things, was significant for imprisoning those whose writing had displeased the government. For this reason, the Storming of the Bastille, which occurred on July 14, 1789, represented the end of the monarchy’s absolutism and a new era of government and culture created by and for the people.\u003c/p>\n\u003cp>For an evening, Litquake looks to 1920s Paris, when important cultural thinkers spent their days in outdoor cafes and literature was literally in the air. “The exchange of ideas, mutual support and inspiration, and the closeness of our community connects us, in at least a small way, with the expat writers of yesteryear,” says Alia Volz, who will channel Anaïs Nin at the event. Volz was only last year selected to read at Barely Published Authors — an annual event geared toward the presentation of emerging writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A whole cast of similarly bright writers (Josh Mohr, Sarah Fran Wisby, Alan Black, Daphne Gottlieb, et al.) will evoke a generation that gave emerging thinkers influence to profound results. At the forefront of our own cultural revolution, we will visit altogether another period of time, as if to say, “Please introduce yourselves to us, 1920’s Paris, and tell us about what you did… and how you did it. We’re curious and want to hear all about you.”\u003c/p>\n\u003cp>But also, we want to drink and dance and celebrate the possibilities in front of us. Culture isn’t drafted in boardrooms by small groups of people, and Litquake has taken great care to create more than a strong roster of readers. French wine will be served with tricolor cocktails, vintage blue movies will be screened and flappers and dandies will dance exotic to the accordion stylings of Angus Martin, with accompaniment by Gabrielle Ekedal. There will be activities that range from exquisite corpse to make-your-own-Matisse, designed to bring out the artist in each of us and to bring us together, according to our particular whimsies.\u003c/p>\n\u003cp>As \u003cb>Cabaret Bastille\u003c/b> suggests: the scene is set, the soapbox amplified and ready for action. What happens, as a new community steps forward, is anyone’s guess. It could also be anyone’s idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cabaret Bastille\u003c/b> is Thursday, Jul 14, 2011, 8pm at CELLspace, 2050 Bryant Street in San Francisco. For \u003ca href=\"http://www.litquake.org/events/cabaret-bastille\">more information\u003c/a> visit litquake.org. The event is $13 \u003ca href=\"https://www.brownpapertickets.com/event/180828\">in advance\u003c/a> and $15 at the door.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to believe that Litquake, now the West Coast’s largest literary festival, started life as a single day event when it first launched in 1999. Now the organization responsible for the nine-day festival, which hosts 600 authors and 10,000 attendees, has evolved into an almost inexplicable behemoth of literary events.\u003c/p>\n\u003cp>Last year, Litquake gained nonprofit status and started programming year round. Since then, the programming committee has congealed into a machine, producing events impressive for their quality, creativity, and — most importantly — their ability to incorporate other members of the literary community. This week’s \u003cb>Cabaret Bastille\u003c/b>, which will celebrate Bastille Day and the bohemian spirit of 1920s Paris, should be a perfect example of both the diverse culture Litquake has generated and the import such communities might have when they are brought together.\u003c/p>\n\u003cp>Traditionally, Litquake has depended on big names to bolster attendance, often featuring the same writers year after year. But by hooking up with other local groups and paying attention to what was previously beneath its radar, Litquake is sewing together the local lit community from the bottom up, forging a strong foundation and giving other voices a chance to become part of the conversation.\u003c/p>\n\u003cp>On a fundamental level, this shift in thought evokes the destruction of the Bastille, which, amongst other things, was significant for imprisoning those whose writing had displeased the government. For this reason, the Storming of the Bastille, which occurred on July 14, 1789, represented the end of the monarchy’s absolutism and a new era of government and culture created by and for the people.\u003c/p>\n\u003cp>For an evening, Litquake looks to 1920s Paris, when important cultural thinkers spent their days in outdoor cafes and literature was literally in the air. “The exchange of ideas, mutual support and inspiration, and the closeness of our community connects us, in at least a small way, with the expat writers of yesteryear,” says Alia Volz, who will channel Anaïs Nin at the event. Volz was only last year selected to read at Barely Published Authors — an annual event geared toward the presentation of emerging writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A whole cast of similarly bright writers (Josh Mohr, Sarah Fran Wisby, Alan Black, Daphne Gottlieb, et al.) will evoke a generation that gave emerging thinkers influence to profound results. At the forefront of our own cultural revolution, we will visit altogether another period of time, as if to say, “Please introduce yourselves to us, 1920’s Paris, and tell us about what you did… and how you did it. We’re curious and want to hear all about you.”\u003c/p>\n\u003cp>But also, we want to drink and dance and celebrate the possibilities in front of us. Culture isn’t drafted in boardrooms by small groups of people, and Litquake has taken great care to create more than a strong roster of readers. French wine will be served with tricolor cocktails, vintage blue movies will be screened and flappers and dandies will dance exotic to the accordion stylings of Angus Martin, with accompaniment by Gabrielle Ekedal. There will be activities that range from exquisite corpse to make-your-own-Matisse, designed to bring out the artist in each of us and to bring us together, according to our particular whimsies.\u003c/p>\n\u003cp>As \u003cb>Cabaret Bastille\u003c/b> suggests: the scene is set, the soapbox amplified and ready for action. What happens, as a new community steps forward, is anyone’s guess. It could also be anyone’s idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cabaret Bastille\u003c/b> is Thursday, Jul 14, 2011, 8pm at CELLspace, 2050 Bryant Street in San Francisco. For \u003ca href=\"http://www.litquake.org/events/cabaret-bastille\">more information\u003c/a> visit litquake.org. The event is $13 \u003ca href=\"https://www.brownpapertickets.com/event/180828\">in advance\u003c/a> and $15 at the door.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Of The Louvre, On A Single Canvas",
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"content": "\u003cp>Beginning on Sunday, June 3, the National Gallery of Art in Washington, D.C., will exhibit Samuel Morse’s painting \u003cem>Gallery of the Louvre.\u003c/em> The American better known for inventing the telegraph and the communication code that bears his name, painted the large work — it’s 6 feet tall and 9 feet wide — starting in 1831, while living in Paris.\u003c/p>\n\u003cp>David McCullough writes about Morse and his painting in his new book, \u003cem>The Greater Journey: Americans in Paris. \u003c/em>McCullough says Morse created the painting in order to show Europe’s great works of art to Americans.\u003c/p>\n\u003cp>“There were no museums here, as yet, in the 1830s, and no color representations of paintings,” McCullough tells NPR’s Susan Stamberg. “So he was going to bring the culture of Europe — mainly the Renaissance Italian masterpieces in the Louvre collection — back to the United States for the benefit of his countrymen.”\u003c/p>\n\u003cp>In \u003cem>Gallery of the Louvre,\u003c/em> Morse shows a large red-colored room, its walls hung with more than three dozen works of art. McCullough says the works themselves were all on view at the Louvre, but not in the same room.\u003c/p>\n\u003cp>“He had to go through the entire collection of the Louvre, which was enormous, but well over a thousand paintings, and pick out those masterpieces which he thought merited the attention of his countrymen back home. So it’s his pick of the Louvre masterpieces, and it includes most of the major Italian Renaissance painters. Titian and Leonardo da Vinci and Rembrandt to be sure, and others. He had to not only reduce them down to miniature size in the painting, but he had to capture the essence of their style and their genius.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the very bottom of his painted textbook, Morse faithfully copies da Vinci’s \u003cem>Mona Lisa.\u003c/em>\u003c/p>\n\u003cp>“It was an extremely ambitious undertaking because many of the paintings that he was copying were hung very high up. And so he had to build a movable platform, or scaffold, that he wheeled about the galleries of the Louvre to reach his subjects. And he and the movable scaffold became a tourist attraction themselves,” McCullough says with a laugh. “His ambition was very great and he felt strongly that this painting would make the mark, would make him known everywhere. And in a way, it did. It’s certainly his masterpiece.”\u003c/p>\n\u003cp>Today, in Paris and elsewhere, artists are still found in museum galleries, copying famous works. McCullough says the tradition of reproducing works stated in the 17th century and was often done for wealthy people who had very valuable private collections.\u003c/p>\n\u003cp>Morse was the first American to do such copying, but the painting itself shows just how common the practice was in Europe: Figures in his composite gallery paint reproductions of the work on the walls, just as Morse himself was doing.\u003c/p>\n\u003cp>“One of the things that impressed Americans — Winslow Homer did an illustration, a magazine illustration — [was] how many of the students were women, and that art was not closed off to women in France,” McCullough says. “And that was considered to be quite a radical and welcome change. And of course Morse is showing that very clearly in his painting.”\u003c/p>\n\u003cp>What he’s not showing is also notable. McCullough says Morse didn’t include the French Romantics of the time. No Delecroix or Gericault, he only shows classics from the Italian Renaissance.\u003c/p>\n\u003cp>The selection process alone must have taken weeks, McCullough says. And Morse was dedicated to the task.\u003c/p>\n\u003cp>“He came every day the museum was open. As soon as it opened he was in there at work, and he stayed as long as they would allow him. He was a determined man. And he had hoped this painting was going to make his career, but also get him out of debt,” McCullough says. “He was going to put it on exhibit and charge admission fees. Well, it didn’t work. The crowds did not come. And then he sold it for much, much less than he ever anticipated. But years later, in the 1980s, that painting sold for over $3 million, which was the largest sum ever paid — until then — the largest sum ever paid for an American work of art.”\u003c/p>\n\u003cp>The painting was not the only contribution to culture that Morse brought to America. While he was working on \u003cem>Gallery of the Louvre\u003c/em>, he was also contemplating another idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He came back home from Paris [carrying] in effect two treasures. One was the painting. And the other was an idea he’d had because of something he’d seen while in France, and the idea was for the telegraph,” McCullough says. “And when he got home he perfected the telegraph, and then he went back some years later to try and secure a French patent for the telegraph. And while he was there met [Louis] Daguerre who’d invented photography, or the daguerreotype as it was then known, and with Daguerre’s permission, brought photography back to the United States. So he came home from Paris with three major contributions: the painting, the telegraph and the photography.” Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Samuel Morse, best known as the inventor of the telegraph, was also an accomplished painter. His masterpiece, \u003cem>Gallery of the Louvre\u003c/em>, was a composite painting of Italian Renaissance works he created as a way to bring the culture of Europe home to America.",
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"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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"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. ",
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"marketplace": {
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"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",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"order": 11
},
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"on-the-media": {
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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