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"content": "\u003cp>You may not have noticed the storefront at the intersection of 20th and Folsom. No signage announces its presence. Press your face against the window and look in on a well-designed space that is both spare and elegant: polished concrete floors and pristine white walls. Fancy.\u003c/p>\n\u003cp>This is the San Francisco branch of the Paris-based \u003ca href=\"http://www.kadist.org/\">Kadist Art Foundation\u003c/a>. Run by program director Joseph del Pesco and program manager Devon Bella, Kadist SF is a remarkably unpretentious gathering place, given its outward austerity.\u003c/p>\n\u003cp>Since it opened in March, Wednesday nights here have seen everything from screenings and book readings to ping pong matches and performances. In contrast to these lively events, on Saturdays between 11am and 5pm, the space morphs into a reading room. With two tables flanked by benches and magazine racks leaning casually against the walls, the Kadist Reading Room is a mecca for those interested in perusing hard-to-find English-language arts magazines from around the world.\u003c/p>\n\u003cp>Bella and del Pesco, who formulated the idea for the Reading Room during Southern Exposure’s October 2010 \u003cb>Art Publishing Now\u003c/b> summit, maintain a narrow curatorial focus rather than stock every arts publication under the sun. The resulting inventory ranges from slick quarterlies to hand-folded zines, most sourced from the Vancouver branch of Motto, a like-minded publications distributor. What they demonstrate in combination, however, is the possibility of tapping into the interests and opinions of local art communities at a different level than that provided by, say, \u003ci>Artforum\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/kadist.jpg\" alt=\"\">The Reading Room’s offerings include, among many others, \u003ci>Bidoun\u003c/i>, covering arts and culture from the Middle East, \u003ci>Average\u003c/i>, a local effort produced by San Francisco artist Kate Pocrass, and \u003ci>Mousse\u003c/i>, a bimonthly Italian tabloid. These three magazines have little in common, except for the fact that I chanced on them all during visits to the Reading Room and will continue to read them there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Kadist Reading Room provides an uncluttered space for quiet discovery, encouraging visitors to browse, read and, most importantly, linger. “I meant to stop in for 15 minutes and the next thing I knew, an hour had gone by,” said first-time visitor Carey Lin. The significance of lingering is twofold. Firstly, it facilitates accidental exposure to unexpected images and ideas — exactly what is lost when information comes from all too familiar sources. Secondly, as you linger within the public reading space, you become part of a community of your own making. Stay long enough and you will strike up a conversation with a stranger or run into someone you know, I guarantee it.\u003c/p>\n\u003cp>Moving forward, Bella says, “Our goals are to increase readership and promote the printed page in the sphere of contemporary art as a primary medium of engagement.” You need not abandon San Francisco, the Reading Room demonstrates, to participate in a wider field of contemporary art.\u003c/p>\n\u003cp>While it may seem difficult to stop by the Kadist Reading Room with so many other demands on your precious weekend hours, it’s well worth a visit. Hours pass leisurely, yet you will leave inspired and excited, urging friends to join you next week. Complimentary coffee, homemade cake and the sound of turning pages await you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Kadist Reading Room will continue every Saturday through the end of July, resuming Saturday, September 10, 2011. For \u003ca href=\"http://kadist-sf.org/\">more information\u003c/a> visit kadist-sf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may not have noticed the storefront at the intersection of 20th and Folsom. No signage announces its presence. Press your face against the window and look in on a well-designed space that is both spare and elegant: polished concrete floors and pristine white walls. Fancy.\u003c/p>\n\u003cp>This is the San Francisco branch of the Paris-based \u003ca href=\"http://www.kadist.org/\">Kadist Art Foundation\u003c/a>. Run by program director Joseph del Pesco and program manager Devon Bella, Kadist SF is a remarkably unpretentious gathering place, given its outward austerity.\u003c/p>\n\u003cp>Since it opened in March, Wednesday nights here have seen everything from screenings and book readings to ping pong matches and performances. In contrast to these lively events, on Saturdays between 11am and 5pm, the space morphs into a reading room. With two tables flanked by benches and magazine racks leaning casually against the walls, the Kadist Reading Room is a mecca for those interested in perusing hard-to-find English-language arts magazines from around the world.\u003c/p>\n\u003cp>Bella and del Pesco, who formulated the idea for the Reading Room during Southern Exposure’s October 2010 \u003cb>Art Publishing Now\u003c/b> summit, maintain a narrow curatorial focus rather than stock every arts publication under the sun. The resulting inventory ranges from slick quarterlies to hand-folded zines, most sourced from the Vancouver branch of Motto, a like-minded publications distributor. What they demonstrate in combination, however, is the possibility of tapping into the interests and opinions of local art communities at a different level than that provided by, say, \u003ci>Artforum\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/kadist.jpg\" alt=\"\">The Reading Room’s offerings include, among many others, \u003ci>Bidoun\u003c/i>, covering arts and culture from the Middle East, \u003ci>Average\u003c/i>, a local effort produced by San Francisco artist Kate Pocrass, and \u003ci>Mousse\u003c/i>, a bimonthly Italian tabloid. These three magazines have little in common, except for the fact that I chanced on them all during visits to the Reading Room and will continue to read them there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Daniel Orozco, the author behind \u003cb>Orientation\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 (\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=59290\">listen to his episode\u003c/a>). Until then, get to know him a little better with this Q+A, in which he talks about his worst job and growing up in San Francisco.\u003c/p>\n\u003cp>\u003cb>Your roots are based in the Bay Area. Tell us about your experience growing up here. What were some of your favorite haunts?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Daniel Orozco:\u003c/b> I remember all the movie houses, the Fox Warfield and the Embassy downtown, the Surf, the Lumiere, the Tower and the El Capitan in the Mission district, and of course the Castro. I went to the movies a lot, something my father did. When I was ten or so years old, he got laid off and was unemployed for about half a year, and I remember a summer when we went to matinees several times a week, mostly to see spaghetti westerns and Blaxploitation pictures, all somewhat inappropriate for a kid, but he wanted to see what he wanted to see, not kid stuff. (I don’t think my mother was happy about that.) I remember watching \u003cb>2001: A Space Odyssey\u003c/b> with him, when it first came out. Most of my childhood haunts in San Francisco are indoors: movie houses; the Steinhart Aquarium, the Planetarium in the Hall of Science (I saw Laserium — that laser-light-show-with-music thing — ten times) and the dioramas there; shopping downtown with my mother at Macy’s and Penney’s and Woolworth’s, and taking the jam-packed old green Muni buses home. Also, dressing up for Sunday breakfast, and going out to Dick’s in the Mission, and then years later, to the Millbrae Pancake House.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.zyzzyva.org/wp-content/uploads/2011/06/orientation1.jpg\">\u003c/p>\n\u003cp>\u003cb>“Orientation,” the title story from your collection, explores the dynamics of a cubicled work environment, and some of your other stories also deal with the office as a stage for drama. What draws you to this subject matter?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> On the job is where we all have to be, whether we like it or not. My mother packed licorice in a factory for over twenty years, and came home tired but still human, and I am in awe of how she managed that. For most people, the workplace is an extremely structured and regulated environment. At home, you can play with the kids, or not; you can walk the dog, or not; you can sit in your underwear with a beer, or not. You get to choose. But at work you have to be civil to a boss or co-worker who drives you crazy; you have to show up at 8 and leave at 5 and take lunch from 12 to 1 (not 1 to 2, not 12:15 to 1:15); you have to spend all day with people that you didn’t choose to spend all day with, and you have to do it for about a quarter of every week for the rest of your life. This is what most jobs are like. How do you balance who you are with who you have to be at work? And after years and years, is there even a difference? Drama in story derives from this question: “Who am I?” In the arena of the workplace, the drama of identity is a drama of extremity, sharp and distilled. The workplace is where we reveal our true selves. It’s Hemingway’s “grace under pressure.”\u003c/p>\n\u003cp>\u003cb>What’s the worst job you’ve ever had?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> One summer between my junior and senior year in high school, I got a job in a fiberglass fabrication shop somewhere in South San Francisco. We worked with woven fiberglass, and mixtures of sand and polymers that we hardened with catalytic agents. It was a toxic place; we washed our hands in acetone to get the chemical binders and hardeners off, and our arms itched from the embedded glass fibers, and our boss was a jerk. I quit after six weeks. I remember working with a tiny and soft-spoken East Indian man named Khaista, who persevered at this crummy job with remarkable dignity. It was my summer job, but it was Khaista’s job job, and that floored me.\u003c/p>\n\u003cp>\u003cb>You’re known for being pretty meticulous with your writing, sometimes spending a month on the first page and poring over thesauruses and dictionaries looking for that ever-elusive “right word.” Where did you learn to be so patient and diligent?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> This answer may sound flip but basically, you learn to be patient and diligent by … being patient and diligent. After the story “Orientation” came out, I got calls from editors and agents asking for another story, or for the novel. But I didn’t have another story. I didn’t have a novel. So the calls stopped, and nobody was asking for anything. So I just kept my head down and did my work, finishing a story every few years. No deadlines, no expectations. There was a time when I didn’t think I’d ever get a book published, ever get enough pages together to add up to a collection, so each story was this discrete project I worked on until it was done (whatever “done” means).\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=AK9QVN0bpa4&version=3&showinfo=0&hl=en_US]\u003c/p>\n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> Paul McCartney and Wings, at the Cow Palace, back in 1975. \u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> How about \u003cb>L.A. Confidential\u003c/b>. For the suits.\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>DO:\u003c/b> I’m not very good at this. As a writer, I can imagine anything for characters in a fictional world, but projecting myself into some sort of hypothetical existence is pretty impossible. For instance: any period/place for me would require things I simply don’t want to be without, like A/C and refrigeration, lip balm and Chemex coffee makers and modern medical/surgical procedure. The Silly Question ultimately exposes me as dreary and awkward, barely comfortable in my own skin, and much less so anywhere else except where I am right now.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=gzbDdgWiaS0&version=3&showinfo=0&hl=en_US]\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>DO:\u003c/b> Julia Child, Parker Posey, the unnamed narrator of Melville’s “Bartleby the Scrivener.” Each is respectively dead/alive/fictional. They’d be the last to leave the dinner party, I think, and be fun to sit around the table drinking and chatting with.\u003c/p>\n\u003cp>\u003cb>I hear that you’re currently working on your first novel. How is it going so far? Can you tell us a little about what kind of narrative problem you’re tackling this time? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> I started the novel-thing (can’t quite call it a novel yet) about five or so years ago, and haven’t looked at it for about a year, but am getting around to working on it in earnest very soon. Novels are long — so many words! — and it’s been daunting to be immersed in the world of my novel-thing for so many years. The biggest challenge is to keep it interesting, to want to go back to it. As slow as I may be writing a story, a story’s compass is brief, its drama tight, its structure precisely defined. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniel Orozco, the author behind \u003cb>Orientation\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 (\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=59290\">listen to his episode\u003c/a>). Until then, get to know him a little better with this Q+A, in which he talks about his worst job and growing up in San Francisco.\u003c/p>\n\u003cp>\u003cb>Your roots are based in the Bay Area. Tell us about your experience growing up here. What were some of your favorite haunts?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Daniel Orozco:\u003c/b> I remember all the movie houses, the Fox Warfield and the Embassy downtown, the Surf, the Lumiere, the Tower and the El Capitan in the Mission district, and of course the Castro. I went to the movies a lot, something my father did. When I was ten or so years old, he got laid off and was unemployed for about half a year, and I remember a summer when we went to matinees several times a week, mostly to see spaghetti westerns and Blaxploitation pictures, all somewhat inappropriate for a kid, but he wanted to see what he wanted to see, not kid stuff. (I don’t think my mother was happy about that.) I remember watching \u003cb>2001: A Space Odyssey\u003c/b> with him, when it first came out. Most of my childhood haunts in San Francisco are indoors: movie houses; the Steinhart Aquarium, the Planetarium in the Hall of Science (I saw Laserium — that laser-light-show-with-music thing — ten times) and the dioramas there; shopping downtown with my mother at Macy’s and Penney’s and Woolworth’s, and taking the jam-packed old green Muni buses home. Also, dressing up for Sunday breakfast, and going out to Dick’s in the Mission, and then years later, to the Millbrae Pancake House.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.zyzzyva.org/wp-content/uploads/2011/06/orientation1.jpg\">\u003c/p>\n\u003cp>\u003cb>“Orientation,” the title story from your collection, explores the dynamics of a cubicled work environment, and some of your other stories also deal with the office as a stage for drama. What draws you to this subject matter?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> On the job is where we all have to be, whether we like it or not. My mother packed licorice in a factory for over twenty years, and came home tired but still human, and I am in awe of how she managed that. For most people, the workplace is an extremely structured and regulated environment. At home, you can play with the kids, or not; you can walk the dog, or not; you can sit in your underwear with a beer, or not. You get to choose. But at work you have to be civil to a boss or co-worker who drives you crazy; you have to show up at 8 and leave at 5 and take lunch from 12 to 1 (not 1 to 2, not 12:15 to 1:15); you have to spend all day with people that you didn’t choose to spend all day with, and you have to do it for about a quarter of every week for the rest of your life. This is what most jobs are like. How do you balance who you are with who you have to be at work? And after years and years, is there even a difference? Drama in story derives from this question: “Who am I?” In the arena of the workplace, the drama of identity is a drama of extremity, sharp and distilled. The workplace is where we reveal our true selves. It’s Hemingway’s “grace under pressure.”\u003c/p>\n\u003cp>\u003cb>What’s the worst job you’ve ever had?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> One summer between my junior and senior year in high school, I got a job in a fiberglass fabrication shop somewhere in South San Francisco. We worked with woven fiberglass, and mixtures of sand and polymers that we hardened with catalytic agents. It was a toxic place; we washed our hands in acetone to get the chemical binders and hardeners off, and our arms itched from the embedded glass fibers, and our boss was a jerk. I quit after six weeks. I remember working with a tiny and soft-spoken East Indian man named Khaista, who persevered at this crummy job with remarkable dignity. It was my summer job, but it was Khaista’s job job, and that floored me.\u003c/p>\n\u003cp>\u003cb>You’re known for being pretty meticulous with your writing, sometimes spending a month on the first page and poring over thesauruses and dictionaries looking for that ever-elusive “right word.” Where did you learn to be so patient and diligent?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> This answer may sound flip but basically, you learn to be patient and diligent by … being patient and diligent. After the story “Orientation” came out, I got calls from editors and agents asking for another story, or for the novel. But I didn’t have another story. I didn’t have a novel. So the calls stopped, and nobody was asking for anything. So I just kept my head down and did my work, finishing a story every few years. No deadlines, no expectations. There was a time when I didn’t think I’d ever get a book published, ever get enough pages together to add up to a collection, so each story was this discrete project I worked on until it was done (whatever “done” means).\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/AK9QVN0bpa4'\n title='//www.youtube.com/embed/AK9QVN0bpa4'\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>DO:\u003c/b> Paul McCartney and Wings, at the Cow Palace, back in 1975. \u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DO:\u003c/b> How about \u003cb>L.A. 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"content": "\u003cp>Breakfast’s boiled egg, the overhead hum of fluorescent lights, the midmorning coffee break — daily routines keep the world running. But when people are pushed — by a coworker’s taunt, a face-to-face encounter with a woman in free fall from a bridge — cracks appear, revealing alienation, casual cruelty, madness, and above all a simultaneous hunger for and fear of the unknown.\u003c/p>\n\u003cp>Daniel Orozco leads the reader through the hidden lives and moral philosophies of bridge painters, men housebound by obesity, office temps, and warehouse workers. He reveals the secret pleasures of late-night supermarket trips for cookie binges, exceptional data entry, and an exiled dictator’s occasional piss on the U.S. embassy. A love affair blooms between two officers in the impartially worded pages of a police blotter; a new employee’s first-day office tour includes descriptions of other workers’ most private thoughts and actions; during an earthquake, the consciousness of the entire state of California shakes free for examination.\u003c/p>\n\u003cp>\u003cb>Orientation\u003c/b> introduces a writer at the height of his powers, whose work surely invites us to reassess the landscape of American fiction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Keetje Kuipers, the poet behind \u003cb>Beautiful in the Mouth\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 (\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=58505\">listen to her episode\u003c/a>). Until then, get to know her a little better with this Q+A, in which she talks about living in the wilderness for seven months and why you shouldn’t be surprised if she bursts into a drunken aria.\u003c/p>\n\u003cp>\u003cb>You find inspiration in the wilderness and spent seven whole months without internet or even a phone in Oregon’s Rogue River Valley for a residency. What’s it like being cut off from the world like that?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Keetje Kuipers:\u003c/b> In my everyday life in San Francisco, my mind wanders a lot, and that means that it often wanders onto the internet or the phone and spends quite a lot of time there. I feel guilty about the time that I “waste,” and I’m constantly chastising myself when one simple email turns into two hours trolling the interwebs for a roasted pork recipe I’ll probably never make. However, when I lived in the wilderness and my mind wandered, it did so in a way that I didn’t feel bad about. 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Call me anti-social, but that kind of time and mental space was a luxury that I don’t imagine I’ll ever have again.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://fishousepoems.org/kuipers.JPG\">\u003c/p>\n\u003cp>\u003cb>You’ve spoken about being interested in “identities at war with each other.” Can you talk a little about those battles within yourself and how they manifest in your work?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>KK:\u003c/b> In my first collection, I was very interested in crafting a single, cohesive voice for the poems — a narrator that my reader could follow through the arc of the book. But the truth is that none of us is a single voice — we’re one person with our families, another with our friends, co-workers, strangers, lovers. I’m particularly interested in how the many voices that a woman might employ in her life — daughter, mother, sister, wife, and sexual object — face each other. How do we each reconcile the conflicting narratives and desires of these players in our interior lives? How do those different personas blame (or ultimately forgive) each other for the difficult choices we have to make in our lives, for those moments when we have to sacrifice one vision of ourselves for another? My second book, which I’m just now finishing work on, is deeply invested in these examinations, and my poems pit these speakers against one another. In these new poems, the “you” and the “I” are essentially the same person in one body, trying to find a way to reconcile all that guilt and blame and frustration for the mistakes we make in our lives.\u003c/p>\n\u003cp>\u003cb>Having called places like Montana, Minnesota, Pennsylvania, Oregon, New York, and California home, 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>KK:\u003c/b> It’s honestly very difficult for me to imagine myself as a woman in a previous life without picturing someone very thwarted and frustrated. The kind of freedom I’ve been able to express in my life — the freedom to move freely around the world and the country, to try out different versions of my identity as outdoorswoman or city slicker, to live and travel alone without a partner or a family to guide me — would have been unimaginable for a woman just a couple of generations ago. If I’ve had previous lives, and if I have essentially maintained the same core self during those lives, I must have been a man.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=wv-34w8kGPM&version=3&showinfo=0&hl=en_US]\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>KK:\u003c/b> “I Touch Myself.” My college a cappella group did a version of it. If that’s not an option, then definitely something country…”Gun Powder and Lead”? Yes.\u003c/p>\n\u003cp>\u003cb>You’ve worked in a wide range of fields, from being a midnight baker and Google employee to a publisher’s assistant and an Off-Off-Broadway actress. What’s a talent or hobby of yours that most don’t know about?\u003c/b>\u003c/p>\n\u003cp>\u003cb>KK:\u003c/b> I began college as a music major, and invested a lot of time and energy pursuing classical vocal training. If you get enough drinks in me, I’ll sing you an Italian aria.\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>KK:\u003c/b> As a child I was, of course, a total bookworm. And instead of going to the library, I would pick through my parents’ bookshelves for reading material. My father had started out as a graduate student in the Literature department (though that’s not where he ended up), and I remember devouring the complete works of George Orwell, Henry James, and Somerset Maugham. However, when I came across Steinbeck, that’s really when I fell in love with language and literature. I read all of his books, and it must have been when I read \u003cb>To a God Unknown\u003c/b> that I encountered a kind of recognizable poetry for the first time in my life.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://fwnet.ipower.com/images/2009/07/princess_diaries01.jpg\">\u003c/p>\n\u003cp>\u003cb>If your life was adapted to film, who would play you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>KK:\u003c/b> Oh, please let it be Anne Hathaway, circa 2004 — you know, before she lost the padding that made her so darn sexy. Curvy Anne, not skinny Anne.\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>KK:\u003c/b> First, Wallace Stegner — he wrote women (strong, feisty women!) better than anyone else I’ve ever read. And he wrote romantic partnership in a way that I respect, with an eye toward hard work and sacrifice. Second, Margery Davis Boyden — she was the most inspirational woman I ever had the pleasure of getting to know. She designed and helped build the cabin in the wilderness where I lived, and her life adventures — talk about reinventing yourself! — continue to make me see the world as a place of infinite possibility. She also crafted a life-long partnership which I greatly admired for the way in which it provided her opportunities to grow and change as a woman, wife, and mother, and to augment those identities dramatically. Finally, Susan Burling Ward, from Stegner’s Angle of Repose — she is the most compelling character I’ve ever encountered in fiction, and she reminds me very much of Margery. These three people would have an awful lot to say to each other about making a life as a woman, a writer, an artist, a parent, and a partner.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://29.media.tumblr.com/tumblr_lhir54a8TQ1qbvi8fo1_500.jpg\">\u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>KK:\u003c/b> “A Room with a View.” The entire film takes place in the summer, and mostly in Italy. There’s opera and kissing. The only downer would be the corsets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Look for Keetje Kuipers’ episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, June 29, 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>KK:\u003c/b> In my first collection, I was very interested in crafting a single, cohesive voice for the poems — a narrator that my reader could follow through the arc of the book. But the truth is that none of us is a single voice — we’re one person with our families, another with our friends, co-workers, strangers, lovers. I’m particularly interested in how the many voices that a woman might employ in her life — daughter, mother, sister, wife, and sexual object — face each other. How do we each reconcile the conflicting narratives and desires of these players in our interior lives? How do those different personas blame (or ultimately forgive) each other for the difficult choices we have to make in our lives, for those moments when we have to sacrifice one vision of ourselves for another? 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If I’ve had previous lives, and if I have essentially maintained the same core self during those lives, I must have been a man.\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/wv-34w8kGPM'\n title='//www.youtube.com/embed/wv-34w8kGPM'\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>KK:\u003c/b> “I Touch Myself.” My college a cappella group did a version of it. If that’s not an option, then definitely something country…”Gun Powder and Lead”? 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"content": "\u003cp>Francisco Goldman, the author behind \u003cb>Say Her Name\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 (\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=58226\">listen to his episode\u003c/a>). Until then, get to know him a little better with this Q+A, in which he talks about the aftermath of his wife’s death and his dream of being Caravaggio’s sidekick.\u003c/p>\n\u003cp>\u003cb>I imagine writing about the passing of your wife, Aura, must have beenterribly difficult. What was the writing process for \u003ci>Say Her Name\u003c/i> likefor you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Francisco Goldman:\u003c/b> It changed over time. At first, it was something I did because there was nothing else I could do. It was how I slowly began to emerge out of the total poison fog I was in during the first six months after Aura’s death, a period of totally self-destructive behavior that I barely remember and that culminated with my being hit by a car at around 4 am on Halloween night and being told in the hospital that I might die, and thinking that was okay. I didn’t die, and that was when I finally began to face the problem of how to live in a way that wouldn’t embarrass Aura. I’m a writer, and writing is the way I process what I need to understand. Not just writing, but transforming experience into narrative, into story or poetry or art of whatever you want to call it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/francisco.jpg\">\u003c/p>\n\u003cp>\u003cb>Did you feel like you had an obligation to write her story as acatharsis? Or was it a result of not being able to think or care aboutanything else?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> It was anything but cathartic. It was like picking at a wound or jumping into a pit of fire every day. Every day sinking into the loss, or facing the loss, going into Hades and trying to bring her out alive, as it were. It was dangerously wonderful too, because I felt I was keeping her with me, I was getting her words, her inflections, her sweet goofiness, her joy and love down on the page, I was living inside that recreation, while, at the same time, I was also quite mad, literally and certifiably mad with grief. When the book was finished and people began to read it, I knew I had accomplished my most important goal. I’d left a word portrait of Aura, and of Aura and I together, that people felt had life; something to defeat forgetting. Most importantly, people liked Aura. And that felt good, maybe that was cathartic. That sense of having kept a promise, of having fulfilled a duty. \u003c/p>\n\u003cp>\u003cb>Joyce Carol Oates, who also \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=50736\">recently released a book about a departedspouse\u003c/a>, has said that epiphanies rained on her “like a meteor shower,”following her husband’s death. Did you experience something similar tothis? If so, what realization surprised you most?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> Every grief is individual, as is every beloved who dies. (“It isn’t simply death — it’s always the death someone.” Serge Leclaire.) It was overwhelming, what I went through. Scientists know now that sudden violent traumatic grief literally screws with, severs and scars, neural pathways and synapses. At the worst of it, I was diagnosed with PTSD and minor psychotic episodes. So what I am saying is you enter an altered state, pure emotional pain every day, that is also trippy, hallucinatory, crazy, off the rails, and in its way enthralling. I didn’t want to miss any of it: refused all medication. My grief was all about Aura. Every single day, thinking about, communing with, summoning, calling to Aura, and I wasn’t going to let any psychotropic pills quiet the bedlam inside me if that also meant she wouldn’t come back to me as vividly, or as frequently. I think this is why readers say she is so alive in the book. If it had been just the ordinary writer me trying to do that — if it was me now trying to do that — I am sure it wouldn’t be as vivid. Like I said, I was writing out of an altered state, because I was living through one.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=IAH-0GKvIrM&version=3&showinfo=0&hl=en_US]\u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> Hmmm, today, at least, I’d be one of the lovelorn cops in \u003cb>Chungking Express\u003c/b>. Cop 633, is it? Who falls in love the lunch counter girl who is always playing “California Dreamin’.” \u003c/p>\n\u003cp>\u003cb>What’s one book everyone should be required to read and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> Roberto Bolaño’s \u003cb>2666\u003c/b>. He’s the one great — Tolstoy great, Dostoevsky and Melville great, if maybe not quite Kafka great, because who is? — writer of our era, this vicious era which in his books he takes on with a savage bravery and devastating lucidity and imagination that no other contemporary writer can match: with bravery, but also humor, love, lunacy. Death reigns over the book in a way that forces you to acknowledge that you desperately cherish life, just as Bolaño, facing death, properly humbled by it, but also defying it with laughter and poetry and much else, did. \u003cb>2666\u003c/b> interrogates, like no other contemporary novel does, what being a writer means now, and leaves you, as a novelist, feeling a little bit like Mad Max. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://26.media.tumblr.com/tumblr_lklsuwJ4mO1qzxfp2o1_500.jpg\">\u003c/p>\n\u003cp>\u003cb>If you could visit any other time period and place in history, whichwould it be and what would you do there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> There is too obvious an answer for me — I’d make what happened to Aura not happen. What else could I possibly choose? In the realm of conventional fantasy: the Italy of Caravaggio, where I’d be his only trusted sidekick, he’d have my back and I’d have his — I would not let him die the way he did — and I would learn to paint like a Renaissance master.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://29.media.tumblr.com/tumblr_llu1bhQ8am1qbppbno1_400.jpg\">\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>FG:\u003c/b> Aura. Sarah Wang. Lucy Honeychurch from \u003cb>Room with a View\u003c/b>. I think those girls, all about the same age, all beautiful and brilliant and charming, would have a hilarious conversation, and I’d like to make dinner for them and listen to them talk about shopping for shoes, and anything and everything else they want to talk about. If for some reason, Sarah can’t make it, I’ll invite Annie Proulx or Barbara Epler. And if Lucy can’t come, I’ll invite Maria Font. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Look for Francisco Goldman’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, June 22, 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>\u003cp>Francisco Goldman, the author behind \u003cb>Say Her Name\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 (\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=58226\">listen to his episode\u003c/a>). Until then, get to know him a little better with this Q+A, in which he talks about the aftermath of his wife’s death and his dream of being Caravaggio’s sidekick.\u003c/p>\n\u003cp>\u003cb>I imagine writing about the passing of your wife, Aura, must have beenterribly difficult. What was the writing process for \u003ci>Say Her Name\u003c/i> likefor you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Francisco Goldman:\u003c/b> It changed over time. At first, it was something I did because there was nothing else I could do. It was how I slowly began to emerge out of the total poison fog I was in during the first six months after Aura’s death, a period of totally self-destructive behavior that I barely remember and that culminated with my being hit by a car at around 4 am on Halloween night and being told in the hospital that I might die, and thinking that was okay. I didn’t die, and that was when I finally began to face the problem of how to live in a way that wouldn’t embarrass Aura. I’m a writer, and writing is the way I process what I need to understand. Not just writing, but transforming experience into narrative, into story or poetry or art of whatever you want to call it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/francisco.jpg\">\u003c/p>\n\u003cp>\u003cb>Did you feel like you had an obligation to write her story as acatharsis? Or was it a result of not being able to think or care aboutanything else?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> It was anything but cathartic. It was like picking at a wound or jumping into a pit of fire every day. Every day sinking into the loss, or facing the loss, going into Hades and trying to bring her out alive, as it were. It was dangerously wonderful too, because I felt I was keeping her with me, I was getting her words, her inflections, her sweet goofiness, her joy and love down on the page, I was living inside that recreation, while, at the same time, I was also quite mad, literally and certifiably mad with grief. When the book was finished and people began to read it, I knew I had accomplished my most important goal. I’d left a word portrait of Aura, and of Aura and I together, that people felt had life; something to defeat forgetting. Most importantly, people liked Aura. And that felt good, maybe that was cathartic. That sense of having kept a promise, of having fulfilled a duty. \u003c/p>\n\u003cp>\u003cb>Joyce Carol Oates, who also \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=50736\">recently released a book about a departedspouse\u003c/a>, has said that epiphanies rained on her “like a meteor shower,”following her husband’s death. Did you experience something similar tothis? If so, what realization surprised you most?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> Every grief is individual, as is every beloved who dies. (“It isn’t simply death — it’s always the death someone.” Serge Leclaire.) It was overwhelming, what I went through. Scientists know now that sudden violent traumatic grief literally screws with, severs and scars, neural pathways and synapses. At the worst of it, I was diagnosed with PTSD and minor psychotic episodes. So what I am saying is you enter an altered state, pure emotional pain every day, that is also trippy, hallucinatory, crazy, off the rails, and in its way enthralling. I didn’t want to miss any of it: refused all medication. My grief was all about Aura. Every single day, thinking about, communing with, summoning, calling to Aura, and I wasn’t going to let any psychotropic pills quiet the bedlam inside me if that also meant she wouldn’t come back to me as vividly, or as frequently. I think this is why readers say she is so alive in the book. If it had been just the ordinary writer me trying to do that — if it was me now trying to do that — I am sure it wouldn’t be as vivid. Like I said, I was writing out of an altered state, because I was living through one.\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/IAH-0GKvIrM'\n title='//www.youtube.com/embed/IAH-0GKvIrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> Hmmm, today, at least, I’d be one of the lovelorn cops in \u003cb>Chungking Express\u003c/b>. Cop 633, is it? Who falls in love the lunch counter girl who is always playing “California Dreamin’.” \u003c/p>\n\u003cp>\u003cb>What’s one book everyone should be required to read and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> Roberto Bolaño’s \u003cb>2666\u003c/b>. He’s the one great — Tolstoy great, Dostoevsky and Melville great, if maybe not quite Kafka great, because who is? — writer of our era, this vicious era which in his books he takes on with a savage bravery and devastating lucidity and imagination that no other contemporary writer can match: with bravery, but also humor, love, lunacy. Death reigns over the book in a way that forces you to acknowledge that you desperately cherish life, just as Bolaño, facing death, properly humbled by it, but also defying it with laughter and poetry and much else, did. \u003cb>2666\u003c/b> interrogates, like no other contemporary novel does, what being a writer means now, and leaves you, as a novelist, feeling a little bit like Mad Max. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://26.media.tumblr.com/tumblr_lklsuwJ4mO1qzxfp2o1_500.jpg\">\u003c/p>\n\u003cp>\u003cb>If you could visit any other time period and place in history, whichwould it be and what would you do there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>FG:\u003c/b> There is too obvious an answer for me — I’d make what happened to Aura not happen. What else could I possibly choose? In the realm of conventional fantasy: the Italy of Caravaggio, where I’d be his only trusted sidekick, he’d have my back and I’d have his — I would not let him die the way he did — and I would learn to paint like a Renaissance master.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://29.media.tumblr.com/tumblr_llu1bhQ8am1qbppbno1_400.jpg\">\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>FG:\u003c/b> Aura. Sarah Wang. Lucy Honeychurch from \u003cb>Room with a View\u003c/b>. I think those girls, all about the same age, all beautiful and brilliant and charming, would have a hilarious conversation, and I’d like to make dinner for them and listen to them talk about shopping for shoes, and anything and everything else they want to talk about. If for some reason, Sarah can’t make it, I’ll invite Annie Proulx or Barbara Epler. And if Lucy can’t come, I’ll invite Maria Font. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for Francisco Goldman’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, June 22, 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>Michelle Tea, San Francisco literary icon and founder of RADAR Productions, 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 (\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=56303\">listen to her latest episode\u003c/a> as well as \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=12787\">her 2006 episode\u003c/a>). Until then, get to know her a little better with this Q+A, in which she talks about the 3rd annual RADAR Spectacle fundraiser and much more.\u003c/p>\n\u003cp>\u003cb>Tell us a little about the \u003ca href=\"https://www.brownpapertickets.com/event/174346\">RADAR Spectacle fundraising event\u003c/a> that’s coming up and any other projects you’re juggling at the moment.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Michelle Tea:\u003c/b> The RADAR Spectacle is RADAR’s once-a-year fundraising blow-out! Our monthly RADAR reading series is free, and most of our other programming is free, and this is the event that we charge for to raise 100% of our budget for our annual Radar LAB Writers’ Retreat in Akumal, Mexico. We get extravagant and captivating performers to perform; this year Cintra Wilson is coming up from Los Angeles and she’ll be joined with local legends Keith Hennessy, Fauxnique, LOVEWARZ, Lil Miss Hot Mess and perhaps some last minute surprise guests! Our art auction is always sort of incredible — we’ve been blown away by what we’ve managed to offer up for bid. This year we have a print by Nan Goldin, who I am so crazy about; I can’t believe it! I think it’s safe to say many of the folks who come to RADAR would not be able to afford a Nan Goldin (!) so it’s also exciting to get to offer that to people. We also have work by punk icon Richard Hell, the poet and writer Anne Carson (\u003cb>Autobiography of Red\u003c/b>), Dave Eggers, street artist SWOON (as seen in Banksy’s \u003cb>Exit Through the Gift Shop\u003c/b>), the mind-blowing Xylor Jane, and the excellent Lisa Brown. I am SO EXCITED about this! We also have a rad raffle with prizes that include a weekend at a condo in Tahoe, symphony tickets, books from Dog Eared books, a fancy haircut, a session with a psychic witch and other fun prizes. Oh and snacks from Dolores Park Cafe! And hosted by myself and Ali Liebegott! Whew.\u003c/p>\n\u003cp>Personally, I am currently shopping two novels, a Young Adult fantasy book and an Old Adult fantasy book. The Old Adult is darker and about the end of love and the end of the world; the Young Adult features a cranky mermaid and a flock of revolutionary pigeons. I also blog about fashion at \u003ca href=\"http://ironingboardcollective.wordpress.com/category/authors/michelle-tea/\">Ironing Board Collective\u003c/a>, and on the SF Weekly’s site the \u003ca href=\"http://blogs.sfweekly.com/exhibitionist/\">Exhibitionist\u003c/a>.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://farm3.static.flickr.com/2651/3767339944_600b06e6c4.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>You’re a long-time San Francisco resident. What are some of your favorite spots in the city and what keeps you here?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> There is no place better to live if you are queer, or a writer, or a queer writer. The queer culture here has the sensibility I relate to, as does the literary culture. It’s very community-oriented and work-oriented rather than career-oriented! Also, I have been curating literary culture events here for almost 20 years, so to go anywhere and begin anew would be insane! San Francisco and I have a mutually supportive relationship. I LOVE the \u003ca href=\"http://www.luggagestoregallery.org/\">Luggage Store\u003c/a>, their space on Market that keeps getting bigger and better, and their magical Tenderloin National Forest is my #1 favorite spot in San Francisco. I love the \u003ca href=\"http://www.sfzc.org/\">San Francisco Zen Center\u003c/a> — I love to meditate there, and go and listen to mind-blowing dharma talks, and they host really smart art events and cook delicious food! \u003ca href=\"http://www.oddballfilm.com/home/default.html\">Oddball Film and Video Archive\u003c/a> hosts cool, quirky film events AND it’s where the old 17 Reasons Why sign lives, which is amazing to see! I love to buy books at \u003ca href=\"http://www.dogearedbooks.com/\">Dog Eared Books\u003c/a> and soak up literary history vibes at \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a>. And queer history vibes at the \u003ca href=\"http://www.glbthistory.org/\">GLBT Historical Society\u003c/a> archives! And anything can happen vibes at \u003ca href=\"http://www.ybca.org/\">YBCA’s Big Idea\u003c/a> night parties! And I am a new big fan of the \u003ca href=\"http://www.calacademy.org/events/nightlife/\">Academy of Sciences\u003c/a> and their fun Thursday night events that are only $12 and are kid-free!\u003c/p>\n\u003cp>\u003cb>Judging by your work, you seem to have seen and experienced a lot of crazy things in your life. What is the last thing that managed to shock you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> I just had a really bad shock of a performer smoking and being sort of offensive without a greater meaning at the Zen Center (whom I invited, not the Zen Center! My bad!). Sometimes I do think nothing can shock me, so it’s nice to know I do have limits and boundaries, and I don’t like art that is offensive and insulting without a greater purpose; I think it is mean-spirited and cruel and there is already so much cruelty and unkindness in the world. I got shocked in a beautiful way when the performer Kirk Read did a performance art cover of a Yoko Ono piece at a RADAR event involving his own excrement. It was totally deep and poignant and touching and affirmed my love of art that shocks you into seeing something with a wider heart than you previously had.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=6_S5RF07Ewc&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003cb>Who did you look up to as a queer icon, while you were growing up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> In childhood/teenager-hood, I wasn’t queer, but still had mad queer love for John Waters, who inspired me to be a total wild freaky artist. And Pee Wee Herman instilled a certain childlike queer sensibility in me without me even knowing it. Andy Warhol. David Bowie. The movie \u003cb>Times Square\u003c/b>. The effeminate Goth subculture which provided me with so many homosexual boyfriends. A bit younger, I was lucky to have gender-benders like Boy George and Annie Lennox coming at me mainstream. I I ferreted out artists like Soft Cell, and older Berlin — Terri Nun was the first artist I ever heard talk about being bisexual, or masturbating, in an interview! The ’80s were fun!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://mixtapemaestro.net/wp-content/uploads/2009/04/stevie-nicks-436x600.jpg\">\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> “Stand Back,” “Edge of Seventeen,” “Gypsy,” “If Anyone Falls.” Anything by Stevie Nicks, whose voice is dehydrated, as is mine, and whose trembles while holding a note, as does mine. \u003c/p>\n\u003cp>\u003cb>What’s one book everyone should be required to read and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> Everyone should be required to read James Baldwin’s \u003cb>Another Country\u003c/b>. It is such a masterpiece, and he is such a hero of American literature, of Black literature, of queer literature. It is so intricate and insightful and heartbreaking in it’s portrayal of the ways in which racism impacts and destroys people and their ability to connect with one another and themselves. It’s such an important book, and he is such a genius; it is a pleasure to read.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=YnpofBtijF8&version=3&hl=en_US&showinfo=0&rel=0]\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>MT:\u003c/b> John Waters, Daniel Handler and Oscar Wilde. And I would just serve them food and delight in their incredible banter. \u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> This is tricky because many of my favorite movies are brutal and I want to live inside a happy movie. I guess I’d have to say \u003cb>Amelie\u003c/b>. Then I could be having constant French magic! Otherwise, \u003cb>Legend\u003c/b> so I could hang out with unicorns and fairies and wear floaty dresses and either be a good person and cavort with young Tom Cruise who is all cute and Peter Pan-ish in it, or be bad and get a goth makeover from Tim Curry who is all evil and sexy with big horns on his head.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://29.media.tumblr.com/tumblr_lm52kbl9771qaeo0ko1_500.gif\">\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>MT:\u003c/b> I would go back to the East village in the late ’70s and start a band and be part of that amazing movement that happened there and hopefully not OD on drugs before I got famous. Or I would go to Paris in the ’20s when everyone was having such a super lezzed out lezzie time and making crazy art and being dramatic about each other. That would be fun.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Look for Michelle Tea’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, June 8, 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>\u003cp>Michelle Tea, San Francisco literary icon and founder of RADAR Productions, 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 (\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=56303\">listen to her latest episode\u003c/a> as well as \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=12787\">her 2006 episode\u003c/a>). Until then, get to know her a little better with this Q+A, in which she talks about the 3rd annual RADAR Spectacle fundraiser and much more.\u003c/p>\n\u003cp>\u003cb>Tell us a little about the \u003ca href=\"https://www.brownpapertickets.com/event/174346\">RADAR Spectacle fundraising event\u003c/a> that’s coming up and any other projects you’re juggling at the moment.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Michelle Tea:\u003c/b> The RADAR Spectacle is RADAR’s once-a-year fundraising blow-out! Our monthly RADAR reading series is free, and most of our other programming is free, and this is the event that we charge for to raise 100% of our budget for our annual Radar LAB Writers’ Retreat in Akumal, Mexico. We get extravagant and captivating performers to perform; this year Cintra Wilson is coming up from Los Angeles and she’ll be joined with local legends Keith Hennessy, Fauxnique, LOVEWARZ, Lil Miss Hot Mess and perhaps some last minute surprise guests! Our art auction is always sort of incredible — we’ve been blown away by what we’ve managed to offer up for bid. This year we have a print by Nan Goldin, who I am so crazy about; I can’t believe it! I think it’s safe to say many of the folks who come to RADAR would not be able to afford a Nan Goldin (!) so it’s also exciting to get to offer that to people. We also have work by punk icon Richard Hell, the poet and writer Anne Carson (\u003cb>Autobiography of Red\u003c/b>), Dave Eggers, street artist SWOON (as seen in Banksy’s \u003cb>Exit Through the Gift Shop\u003c/b>), the mind-blowing Xylor Jane, and the excellent Lisa Brown. I am SO EXCITED about this! We also have a rad raffle with prizes that include a weekend at a condo in Tahoe, symphony tickets, books from Dog Eared books, a fancy haircut, a session with a psychic witch and other fun prizes. Oh and snacks from Dolores Park Cafe! And hosted by myself and Ali Liebegott! Whew.\u003c/p>\n\u003cp>Personally, I am currently shopping two novels, a Young Adult fantasy book and an Old Adult fantasy book. The Old Adult is darker and about the end of love and the end of the world; the Young Adult features a cranky mermaid and a flock of revolutionary pigeons. I also blog about fashion at \u003ca href=\"http://ironingboardcollective.wordpress.com/category/authors/michelle-tea/\">Ironing Board Collective\u003c/a>, and on the SF Weekly’s site the \u003ca href=\"http://blogs.sfweekly.com/exhibitionist/\">Exhibitionist\u003c/a>.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://farm3.static.flickr.com/2651/3767339944_600b06e6c4.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>You’re a long-time San Francisco resident. What are some of your favorite spots in the city and what keeps you here?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> There is no place better to live if you are queer, or a writer, or a queer writer. The queer culture here has the sensibility I relate to, as does the literary culture. It’s very community-oriented and work-oriented rather than career-oriented! Also, I have been curating literary culture events here for almost 20 years, so to go anywhere and begin anew would be insane! San Francisco and I have a mutually supportive relationship. I LOVE the \u003ca href=\"http://www.luggagestoregallery.org/\">Luggage Store\u003c/a>, their space on Market that keeps getting bigger and better, and their magical Tenderloin National Forest is my #1 favorite spot in San Francisco. I love the \u003ca href=\"http://www.sfzc.org/\">San Francisco Zen Center\u003c/a> — I love to meditate there, and go and listen to mind-blowing dharma talks, and they host really smart art events and cook delicious food! \u003ca href=\"http://www.oddballfilm.com/home/default.html\">Oddball Film and Video Archive\u003c/a> hosts cool, quirky film events AND it’s where the old 17 Reasons Why sign lives, which is amazing to see! I love to buy books at \u003ca href=\"http://www.dogearedbooks.com/\">Dog Eared Books\u003c/a> and soak up literary history vibes at \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a>. And queer history vibes at the \u003ca href=\"http://www.glbthistory.org/\">GLBT Historical Society\u003c/a> archives! And anything can happen vibes at \u003ca href=\"http://www.ybca.org/\">YBCA’s Big Idea\u003c/a> night parties! And I am a new big fan of the \u003ca href=\"http://www.calacademy.org/events/nightlife/\">Academy of Sciences\u003c/a> and their fun Thursday night events that are only $12 and are kid-free!\u003c/p>\n\u003cp>\u003cb>Judging by your work, you seem to have seen and experienced a lot of crazy things in your life. What is the last thing that managed to shock you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> I just had a really bad shock of a performer smoking and being sort of offensive without a greater meaning at the Zen Center (whom I invited, not the Zen Center! My bad!). Sometimes I do think nothing can shock me, so it’s nice to know I do have limits and boundaries, and I don’t like art that is offensive and insulting without a greater purpose; I think it is mean-spirited and cruel and there is already so much cruelty and unkindness in the world. I got shocked in a beautiful way when the performer Kirk Read did a performance art cover of a Yoko Ono piece at a RADAR event involving his own excrement. It was totally deep and poignant and touching and affirmed my love of art that shocks you into seeing something with a wider heart than you previously had.\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/6_S5RF07Ewc'\n title='//www.youtube.com/embed/6_S5RF07Ewc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Who did you look up to as a queer icon, while you were growing up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> In childhood/teenager-hood, I wasn’t queer, but still had mad queer love for John Waters, who inspired me to be a total wild freaky artist. And Pee Wee Herman instilled a certain childlike queer sensibility in me without me even knowing it. Andy Warhol. David Bowie. The movie \u003cb>Times Square\u003c/b>. The effeminate Goth subculture which provided me with so many homosexual boyfriends. A bit younger, I was lucky to have gender-benders like Boy George and Annie Lennox coming at me mainstream. I I ferreted out artists like Soft Cell, and older Berlin — Terri Nun was the first artist I ever heard talk about being bisexual, or masturbating, in an interview! The ’80s were fun!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://mixtapemaestro.net/wp-content/uploads/2009/04/stevie-nicks-436x600.jpg\">\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> “Stand Back,” “Edge of Seventeen,” “Gypsy,” “If Anyone Falls.” Anything by Stevie Nicks, whose voice is dehydrated, as is mine, and whose trembles while holding a note, as does mine. \u003c/p>\n\u003cp>\u003cb>What’s one book everyone should be required to read and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> Everyone should be required to read James Baldwin’s \u003cb>Another Country\u003c/b>. It is such a masterpiece, and he is such a hero of American literature, of Black literature, of queer literature. It is so intricate and insightful and heartbreaking in it’s portrayal of the ways in which racism impacts and destroys people and their ability to connect with one another and themselves. It’s such an important book, and he is such a genius; it is a pleasure to read.\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/YnpofBtijF8'\n title='//www.youtube.com/embed/YnpofBtijF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>MT:\u003c/b> John Waters, Daniel Handler and Oscar Wilde. And I would just serve them food and delight in their incredible banter. \u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MT:\u003c/b> This is tricky because many of my favorite movies are brutal and I want to live inside a happy movie. I guess I’d have to say \u003cb>Amelie\u003c/b>. Then I could be having constant French magic! 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"content": "\u003cp>Sloane Crosley, the author behind \u003cb>How Did You Get This Number\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 (listen to \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=56004\">her latest episode\u003c/a> as well as \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=22618\">her 2008 episode\u003c/a>). Until then, get to know her a little better with this Q+A, in which she talks about her rude landlord and which stud she would marry from \u003cb>Full House\u003c/b>.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=24906\">David Sedaris\u003c/a> seems to be a huge fan of your work. Is he on yourpayroll? Does your kinship transcend the world of book blurbs into theactual one?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> David! David, stop tickling me, I’m trying to answer these nicepeople’s questions! What’s that? I know, we’re going to be late forour daily park-skip…Actually, I’ve only really had one exchange withhim, but it was so lovely. He’s such a generous and brilliant guy.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=MPVzhdS4orU&fs=1&showinfo=0&hl=en_US&rel=0] \u003c/p>\n\u003cp>\u003cb>You’ve written about bear death and drunk Portuguese clowns. What kindof subject matter can we expect from your next collection?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> Bear clowns and dead Portuguese people.\u003c/p>\n\u003cp>\u003cb>I read somewhere that you’re working on a piece of fiction. Who are someof your idols in that realm and what might this book be like?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> I am, but who isn’t, right? Well, my super, that’s who. He’s working on not responding to texts regarding my shower drain. Then the othernight, he full-on scolded me for texting him after 8pm to confirm anappointment. Is that poor form, to text in the evening? Mind you, thisis his primary means of communication and one initiated by him. I don’thave his email. It’s like: don’t even think of picturing my face oncethe sun goes down. Sorry, what? Oh, I love a lot of people living anddead who have written fiction. If I could write one paragraph half asgood as Lorrie Moore, \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=28948\">Sam Lipsyte\u003c/a>, Jim Shepard, Michael Chabon, DaveEggers or \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=23457\">Junot Diaz\u003c/a>, I would go ahead and do that.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=y0ZR_hyN_AQ&fs=1&showinfo=0&hl=en_US&rel=0] \u003c/p>\n\u003cp>\u003cb>In an interview you gave a couple of years back, you eulogized the deathof slap bracelets. What other relics of your youth do you miss? Whatkind of kid were you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> A short one. And probably one of those kids thatseems like an 80-year-old trapped in an 8-year-old. I missJELLO 1-2-3. God knows what they put in the gelatin to make it splitinto three different textures in your refrigerator.\u003c/p>\n\u003cp>\u003cb>You’ve called lying “conversational oil.” What’s the biggest lie youever told and did you get away with it?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sloane Crosley:\u003c/b> I’m sure I tell some doozies to myself. I can’t think of them, they’re so embedded in who I am. The most constant is likely pretending not to speak English around insane cab drivers.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://27.media.tumblr.com/tumblr_llo739RwUy1qb0g1qo1_500.jpg\">\u003c/p>\n\u003cp>\u003cb>Do, Dump, or Marry (\u003cb>Full House\u003c/b> edition): Uncle Jessie, Danny Tanner,Uncle Joey. Please explain your choices.\u003c/b>\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> Uncle Joey gets dumped. Clearly. In life, Ialways go for the clown. But with the same force, I flee from theunfunny clown. Plus, I remember a great deal of tropical shirts forhis character. The accuracy of this is irrelevant since it’s how I thinkof him. But here’s the twist — I would do Danny Tanner and marry UncleJessie. I think Danny would secretly be amazing in that regard, but thatcould be influenced by what the world knows of comedian Bob Sagetpost-Full House. Similarly with Uncle Jessie. Hi: Stamos. What wasgood enough for Rebecca for a few years is good enough for me and likelyfor the same duration of time. I would not be signing a prenup,needless to say. But as for the characters themselves: Danny Tanner hasbeen widowed, right? He is going to be so tender and lovely andgrateful for the touch of a lady. And Uncle Jesse is a rebel, sure, butwith a heart of gold. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> Oh Land.\u003c/p>\n\u003cp>\u003cb>What was your first concert? \u003c/b>\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> The Allman Brothers at The Beacon theater in Manhattan.\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/Wo9QxYpMbTU'\n title='//www.youtube.com/embed/Wo9QxYpMbTU'\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>SC:\u003c/b> I like to sing sad things. “Hard to Say I’m Sorry” by Chicago tends to be a nice mood-killer. Also “Desperado.”\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>SC:\u003c/b> Gandhi, Audrey Hepburn and Iggy Pop. I could eat all the food.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://30.media.tumblr.com/tumblr_lltbh1qo4R1qg4ii0o1_500.jpg\">\u003cimg decoding=\"async\" src=\"http://28.media.tumblr.com/tumblr_lls0mvWJw31qje2r2o1_500.gif\"> \u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be? \u003c/b>\u003c/p>\n\u003cp>\u003cb>SC:\u003c/b> \u003cb>Annie Hall\u003c/b>. Or \u003cb>Titanic\u003c/b>. No, wait, that last one is a terrible choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for Sloane Crosley’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, June 1, 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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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "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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"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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"politicalbreakdown": {
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"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.",
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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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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