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"content": "\u003cp>Chris Adrian, the author behind \u003cb>The Great Night\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=56304\">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 magic of San Francisco and the inspiration he found in Buena Vista Park.\u003c/p>\n\u003cp>\u003cb>Your latest novel, \u003ci>The Great Night\u003c/i>, takes on the Bard’s \u003ci>A Midsummer Night’s Dream\u003c/i>. What sparked your interest in tackling that specific material?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris Adrian:\u003c/b> I had wanted to try retelling a Shakespeare play as a novel for a long time, but could never choose from his abundance of riches, or figure out what my contribution would be to make it worth appropriating something from him; it always seemed like I would need to have something urgent to tell that would fit necessarily into one of his stories. Then I moved to San Francisco, and was consistently exposed to Buena Vista Park. I had to walk through on the way to and from work usually, and it’s not a very long stretch of the imagination to think of it as a place where magic might happen, especially at dusk and dawn when, shrouded by fog or bathed in a particular lovely sort of light, it is frankly magical-looking. Finally, I had a relationship fall apart in just the right way that made it suddenly urgent and necessary to write about love and \u003cb>A Midsummer Night’s Dream\u003c/b> was the perfect vehicle, and Buena Vista Park the perfect setting, for the story I wanted and needed to tell.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://farm4.static.flickr.com/3602/3520889465_9e68deab01.jpg\">\u003c/p>\n\u003cp>\u003cb>Figuratively speaking, is there another play, novel, or album you wouldn’tmind reinterpreting or reappropriating?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> There are a couple Dead Can Dance albums that I think would make nice children’s books. Though only for particular sorts of children.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.conradaskland.com/blog/wp-content/uploads/2008/02/dead-can-dance.jpg\">\u003c/p>\n\u003cp>\u003cb>The backbone of this novel is Buena Vista Park, a virtual forest smack inthe middle of San Francisco. What compelled you to build a story around that particular location?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> The striking otherworldly beauty of the place was compelling as was the fact that it has traditionally been a container for secret and illicit activity. Part of my affection for the place, like my affection for San Francisco as a whole, is inspired by its role as that sort of container, and it was nice to write about the park and the city also just because I love them.\u003c/p>\n\u003cp>\u003cb>What are some other SF spots that strike you as magical or noteworthy?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Gee, most of the city. And it seems like there are always new physical locations to discover — partially hidden stairways or weird groves of trees or bald little hills. And there are places that are not necessarily physically magical or noteworthy, but are made that way by the people who gather in them. Drag salsa dancing in an otherwise unremarkable Mission backyard comes to mind.\u003c/p>\n\u003cp>\u003cb>Being a writer, a student at Harvard Divinity School, and a pediatrician, it seems as though you’re living multiple lives. If you had to imagine yourpast incarnation, where and when would you have existed and what would youhave been doing there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Some kind of 18th century pirate or monk, I think. Or both, if that’s at all possible.\u003c/p>\n\u003cp>\u003cb>You’ve said in the past that the events of September 11th hijacked yourimagination. What’s taking over your brain these days?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> I think that was probably a permanent hijacking, but there’s been a continued imaginative fallout about the ways personal morality shapes or is shaped by national morality. Also, magic ponies.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=oqpV_JP4UVo&fs=1&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003cb>In an interview with \u003ci>McSweeney’s\u003c/i>, you mentioned that you had a crush on Thomas Jefferson. If you could arrange three crush-worthy historical figures to fight for your hand, who would they be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> John Calvin, because maybe if I made out with him I would finally understand him. Peggy Guggenheim because she sounds so smart and fun and also because that would be like getting a permanent Guggeneheim. And Teddy Roosevelt because he’s such a handsome little bear. But instead of them fighting for my hand, we would all live in polyamorous harmony.\u003c/p>\n\u003cp>\u003cb>What was your coming out experience like?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Very late! I came out when I moved to San Francisco, where it was a little like revealing to everyone that my hair and eyes are brown.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://i.dailymail.co.uk/i/pix/2007/02_1/BionicWomanREX_228x310.jpg\"> \u003c/p>\n\u003cp>\u003cb>Was there anyone you looked up to as a queer icon, while you were growing up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> I was so closeted as a kid I barely knew how to identify a gay icon, so perhaps the closest I had to that was Jaime Sommers. She wasn’t gay, but I knew even when I was six years old that I wanted to be her instead of Steve Austin, her bionic male counterpart, that I wanted to have a receptive, all-hearing bionic ear instead of a penetrating, all-seeing bionic eye, and that she had something he lacked, something I wanted to have myself, namely fabulousness.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=TPW4DdGo2Z0&fs=1&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Kate Bush’s \u003cb>Aerial\u003c/b>.\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>“Feelings.” But it’s the Jaime Sommers’ version from \u003cb>Bionic Beauty\u003c/b> and I am wearing her dress.\u003c/p>\n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> A Frank Sinatra concert with my parents when I was fourteen. I fell asleep.\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>CA:\u003c/b> \u003cb>The Never-Ending Story\u003c/b>. For the Luck Dragon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for Chris Adrian’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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> There are a couple Dead Can Dance albums that I think would make nice children’s books. Though only for particular sorts of children.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.conradaskland.com/blog/wp-content/uploads/2008/02/dead-can-dance.jpg\">\u003c/p>\n\u003cp>\u003cb>The backbone of this novel is Buena Vista Park, a virtual forest smack inthe middle of San Francisco. What compelled you to build a story around that particular location?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> The striking otherworldly beauty of the place was compelling as was the fact that it has traditionally been a container for secret and illicit activity. Part of my affection for the place, like my affection for San Francisco as a whole, is inspired by its role as that sort of container, and it was nice to write about the park and the city also just because I love them.\u003c/p>\n\u003cp>\u003cb>What are some other SF spots that strike you as magical or noteworthy?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Gee, most of the city. And it seems like there are always new physical locations to discover — partially hidden stairways or weird groves of trees or bald little hills. And there are places that are not necessarily physically magical or noteworthy, but are made that way by the people who gather in them. Drag salsa dancing in an otherwise unremarkable Mission backyard comes to mind.\u003c/p>\n\u003cp>\u003cb>Being a writer, a student at Harvard Divinity School, and a pediatrician, it seems as though you’re living multiple lives. If you had to imagine yourpast incarnation, where and when would you have existed and what would youhave been doing there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Some kind of 18th century pirate or monk, I think. Or both, if that’s at all possible.\u003c/p>\n\u003cp>\u003cb>You’ve said in the past that the events of September 11th hijacked yourimagination. What’s taking over your brain these days?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> I think that was probably a permanent hijacking, but there’s been a continued imaginative fallout about the ways personal morality shapes or is shaped by national morality. Also, magic ponies.\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/oqpV_JP4UVo'\n title='//www.youtube.com/embed/oqpV_JP4UVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>In an interview with \u003ci>McSweeney’s\u003c/i>, you mentioned that you had a crush on Thomas Jefferson. If you could arrange three crush-worthy historical figures to fight for your hand, who would they be and why?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> John Calvin, because maybe if I made out with him I would finally understand him. Peggy Guggenheim because she sounds so smart and fun and also because that would be like getting a permanent Guggeneheim. And Teddy Roosevelt because he’s such a handsome little bear. But instead of them fighting for my hand, we would all live in polyamorous harmony.\u003c/p>\n\u003cp>\u003cb>What was your coming out experience like?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Very late! I came out when I moved to San Francisco, where it was a little like revealing to everyone that my hair and eyes are brown.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://i.dailymail.co.uk/i/pix/2007/02_1/BionicWomanREX_228x310.jpg\"> \u003c/p>\n\u003cp>\u003cb>Was there anyone you looked up to as a queer icon, while you were growing up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> I was so closeted as a kid I barely knew how to identify a gay icon, so perhaps the closest I had to that was Jaime Sommers. She wasn’t gay, but I knew even when I was six years old that I wanted to be her instead of Steve Austin, her bionic male counterpart, that I wanted to have a receptive, all-hearing bionic ear instead of a penetrating, all-seeing bionic eye, and that she had something he lacked, something I wanted to have myself, namely fabulousness.\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/TPW4DdGo2Z0'\n title='//www.youtube.com/embed/TPW4DdGo2Z0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CA:\u003c/b> Kate Bush’s \u003cb>Aerial\u003c/b>.\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Be generous.\u003c/p>\n\u003cp>Be on time.\u003c/p>\n\u003cp>\u003cb>I know that you once lived a few doors down from KQED studios in San Francisco. When did you live here, what was your experience of this city, and where were your personal haunts?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GD:\u003c/b> We were there from mid-August 2001 to the end of the year. I loved it, of course. \u003ca href=\"http://www.atlascafe.net/\">Atlas Café\u003c/a> for breakfast, \u003ca href=\"http://www.cellspace.org\">Cell Space\u003c/a>, the \u003ca href=\"http://www.yelp.com/biz/taqueria-cancun-san-francisco-4\">Taqueria Cancun\u003c/a>, the tennis courts at Mission Dolores Park and, somewhat less conveniently, \u003ca href=\"http://www.greenapplebooks.com/\">Green Apple Books\u003c/a>.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://farm3.static.flickr.com/2241/1521548930_ba7ccdef2b.jpg\"> \u003c/p>\n\u003cp>\u003cb>Having traveled quite extensively, what destination holds the best memories and which holds the worst?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GD:\u003c/b> There are so many great places but I think I’ll go for Dead Vlei in Namibia because it’s so fantastic and so unlikely that I’ll ever be there again (so it will only be a memory). The most recent of many bad memories is Svalbard in Norway, this January, something like 40 below, perpetual night, and no sign of the fabled Northern Lights.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://farm1.static.flickr.com/39/83588097_12fb46de12.jpg\"> \u003c/p>\n\u003cp>\u003cb>In your last novel, \u003cb>Jeff in Venice, Death in Varanasi\u003c/b>, one of your characters travels to India and gets violently ill. Is that inspired by true events? Give us the gory, embarrassing details!\u003c/b>\u003c/p>\n\u003cp>\u003cb>GD:\u003c/b> It’s almost impossible to go to Varanasi without getting sick. I got violently but only briefly ill and then extrapolated from there. Also, unlike the narrator, I retained my mental health.\u003c/p>\n\u003cp>\u003cb>Which young or up-and-coming writer has you all excited?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GD:\u003c/b> \u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=27697\">Joshua Ferris\u003c/a>.\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/ih-vQ-gAY08'\n title='//www.youtube.com/embed/ih-vQ-gAY08'\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>GD:\u003c/b> Family, in Oxford, circa 1973.\u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GD:\u003c/b> \u003cb>Silverwater\u003c/b> by the Necks.\u003c/p>\n\u003cp>\u003cb>If your life was adapted to film, who would play you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GD:\u003c/b> Rupert Everett.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.tumblr.com/tumblr_llpx0dGyct1qdlp9l.png\"> \u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GD:\u003c/b> Andrei Tarkovsky’s \u003cb>Stalker\u003c/b>.\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>GD:\u003c/b> D.H. Lawrence, Don Cherry, Charlotte Gainsbourg.\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>GD:\u003c/b> 1961, New York to see Coltrane at the Village Vanguard.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/programs/writersblock/episode.jsp?essid=55194\">Listen to Geoff read “Of Course,”\u003c/a> an essay from his latest collection, \u003cb>Otherwise Known as the Human Condition\u003c/b>. 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/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine a world devoid of people. Now, subtract cars. Did your mind go blank too? Picture the ensuing stillness to be found in the midst of our cities. Now, convert your image to grayscale, adding slight artistic flourishes of color if you choose. What you’re left with might resemble one of \u003ca href=\"http://paulmadonna.com\">Paul Madonna\u003c/a>‘s \u003ci>All Over Coffee\u003c/i> strips, a project he’s been publishing in the \u003ci>San Francisco Chronicle\u003c/i> since 2004. But you might already know this.\u003c/p>\n\u003cp>In 2007, City Lights published the first collection of \u003ci>All Over Coffee\u003c/i>, representing the first 300 or so strips (but containing just over 160 of them). The series has become much loved for its beautiful ink and ink-washed renderings of desolate yet detailed urban landscapes, most notably of San Francisco (but also including New York, Paris, Barcelona, and Tokyo, to name a few). These images are juxtaposed with various forms of text: aphorisms, autobiographical stories, flash fiction, and thoughts — including both questions and answers, and even mini manifestos on the creative process — that weave together a narrative as thrilling, revelatory, endless and humbling as an aimless walk through the city. And to read through each page is to occupy a space left for us to inhabit.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This month, City Lights published the second collection, \u003cb>Everything Is Its Own Reward\u003c/b>. The book not only has more pages (220+), but the pages are also slightly larger. In this case, bigger is definitely better.\u003c/p>\n\u003cp>Immediately apparent is that all identifying features have been removed from the pages in \u003cb>Everything Is Its Own Reward\u003c/b>: the strips are not numbered, dated, or titled, as they are in the first collection (though this information is available in the back of the book). There are no digitized borders and very few text boxes placed over the strips; instead, the drawings are scanned directly into the computer and printed as-is. A major barrier between reader and setting has been removed, and we are drawn directly into the strip.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This also means that the text, the only place that humans are manifested in these pages, is worked directly into the illustrations, and while the interplay between text and image has always been one of the primary focuses of \u003ci>All Over Coffee\u003c/i>, this second collection highlights the improvements Madonna has made to his technique since 2007.\u003c/p>\n\u003cp>\u003cb>Everything Is Its Own Reward\u003c/b> is broken into four major sections based on each function of text. This is, Madonna says, a direct result of putting the first book together and thereby understanding his own tendencies. “I noticed I had been working in a lot of themes. And I hadn’t done that intentionally. … I kept coming back to things. … It was like I was trying one idea two different ways, and there would always be one that was more successful than the other.” Realizing this, Madonna made a list of the themes, something he was then able to return to for future work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-studio.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Paul Madonna in his studio. Photo: Evan Karp\u003c/p>\n\u003cp>But this didn’t quite help him move forward. Madonna felt stalled by the realization that he was repeating himself. “The pieces I was making were like, I’m done with something. I don’t know what it is that I’m done with, but I’m done with it. And rather than saying I’m done with this work, I allowed the work to capture that emotion…” Referencing a strip from the new collection, he compared his frustration to someone who would criticize a tree for how often it blooms. “That’s just kind of a silly idea,” he says. “We’re not born knowing how often we bloom; we have to figure it out, right?”\u003c/p>\n\u003cp>So he kept working, confident that inspiration would arrive through the process. After putting on a show to celebrate the five-year anniversary of \u003ci>All Over Coffee’s\u003c/i> weekly publication in \u003ci>The Chronicle\u003c/i>, and having the opportunity to analyze the work as a whole, Madonna was able to perceive the next step. “It was a piece that I made,” he says, referring to AOC # 390, which contains the first time he ever wrote ‘Everything is its own reward.’ “I hadn’t thought anything more of it — it was just one piece that I made — but it seemed to rise above all the others and said, ‘This applies to everything else.’ I just love that process of letting the work speak to me.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>In putting \u003cb>Everything Is Its Own Reward\u003c/b> together, Madonna was intimately more familiar with his own process. The four sections progress from rumination to artistic statement, forming a narrative that effectively captures the creative arc he has traveled throughout the history of \u003ci>All Over Coffee\u003c/i>. Each moment, each page is self-sufficient. But the book, too, is its own reward. \u003c/p>\n\u003cp>For more information about \u003ca href=\"http://paulmadonna.com\">Paul Madonna\u003c/a> and \u003ci>All Over Coffee\u003c/i>, \u003ca href=\"http://litseen.com/http:/litseen.com/2011/paul-madonna-finding-the-creative-arc\">read this recent interview\u003c/a> on litseen.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul Madonna will sign copies of \u003cb>Everything Is Its Own Reward\u003c/b> on Saturday, May 21, 2011, 2pm at SFMoMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org/events/1901\">more information\u003c/a> visit sfmoma.org. The event is free and open to the public.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine a world devoid of people. Now, subtract cars. Did your mind go blank too? Picture the ensuing stillness to be found in the midst of our cities. Now, convert your image to grayscale, adding slight artistic flourishes of color if you choose. What you’re left with might resemble one of \u003ca href=\"http://paulmadonna.com\">Paul Madonna\u003c/a>‘s \u003ci>All Over Coffee\u003c/i> strips, a project he’s been publishing in the \u003ci>San Francisco Chronicle\u003c/i> since 2004. But you might already know this.\u003c/p>\n\u003cp>In 2007, City Lights published the first collection of \u003ci>All Over Coffee\u003c/i>, representing the first 300 or so strips (but containing just over 160 of them). The series has become much loved for its beautiful ink and ink-washed renderings of desolate yet detailed urban landscapes, most notably of San Francisco (but also including New York, Paris, Barcelona, and Tokyo, to name a few). These images are juxtaposed with various forms of text: aphorisms, autobiographical stories, flash fiction, and thoughts — including both questions and answers, and even mini manifestos on the creative process — that weave together a narrative as thrilling, revelatory, endless and humbling as an aimless walk through the city. And to read through each page is to occupy a space left for us to inhabit.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This month, City Lights published the second collection, \u003cb>Everything Is Its Own Reward\u003c/b>. The book not only has more pages (220+), but the pages are also slightly larger. In this case, bigger is definitely better.\u003c/p>\n\u003cp>Immediately apparent is that all identifying features have been removed from the pages in \u003cb>Everything Is Its Own Reward\u003c/b>: the strips are not numbered, dated, or titled, as they are in the first collection (though this information is available in the back of the book). There are no digitized borders and very few text boxes placed over the strips; instead, the drawings are scanned directly into the computer and printed as-is. A major barrier between reader and setting has been removed, and we are drawn directly into the strip.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This also means that the text, the only place that humans are manifested in these pages, is worked directly into the illustrations, and while the interplay between text and image has always been one of the primary focuses of \u003ci>All Over Coffee\u003c/i>, this second collection highlights the improvements Madonna has made to his technique since 2007.\u003c/p>\n\u003cp>\u003cb>Everything Is Its Own Reward\u003c/b> is broken into four major sections based on each function of text. This is, Madonna says, a direct result of putting the first book together and thereby understanding his own tendencies. “I noticed I had been working in a lot of themes. And I hadn’t done that intentionally. … I kept coming back to things. … It was like I was trying one idea two different ways, and there would always be one that was more successful than the other.” Realizing this, Madonna made a list of the themes, something he was then able to return to for future work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-studio.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Paul Madonna in his studio. Photo: Evan Karp\u003c/p>\n\u003cp>But this didn’t quite help him move forward. Madonna felt stalled by the realization that he was repeating himself. “The pieces I was making were like, I’m done with something. I don’t know what it is that I’m done with, but I’m done with it. And rather than saying I’m done with this work, I allowed the work to capture that emotion…” Referencing a strip from the new collection, he compared his frustration to someone who would criticize a tree for how often it blooms. “That’s just kind of a silly idea,” he says. “We’re not born knowing how often we bloom; we have to figure it out, right?”\u003c/p>\n\u003cp>So he kept working, confident that inspiration would arrive through the process. After putting on a show to celebrate the five-year anniversary of \u003ci>All Over Coffee’s\u003c/i> weekly publication in \u003ci>The Chronicle\u003c/i>, and having the opportunity to analyze the work as a whole, Madonna was able to perceive the next step. “It was a piece that I made,” he says, referring to AOC # 390, which contains the first time he ever wrote ‘Everything is its own reward.’ “I hadn’t thought anything more of it — it was just one piece that I made — but it seemed to rise above all the others and said, ‘This applies to everything else.’ I just love that process of letting the work speak to me.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/madonna-3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>In putting \u003cb>Everything Is Its Own Reward\u003c/b> together, Madonna was intimately more familiar with his own process. The four sections progress from rumination to artistic statement, forming a narrative that effectively captures the creative arc he has traveled throughout the history of \u003ci>All Over Coffee\u003c/i>. Each moment, each page is self-sufficient. But the book, too, is its own reward. \u003c/p>\n\u003cp>For more information about \u003ca href=\"http://paulmadonna.com\">Paul Madonna\u003c/a> and \u003ci>All Over Coffee\u003c/i>, \u003ca href=\"http://litseen.com/http:/litseen.com/2011/paul-madonna-finding-the-creative-arc\">read this recent interview\u003c/a> on litseen.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul Madonna will sign copies of \u003cb>Everything Is Its Own Reward\u003c/b> on Saturday, May 21, 2011, 2pm at SFMoMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org/events/1901\">more information\u003c/a> visit sfmoma.org. The event is free and open to the public.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Bezmozgis, one of \u003ci>The New Yorker\u003c/i>‘s 20 under 40, recently visited the KQED studios to talk to us about his new novel, \u003cb>The Free World\u003c/b>, emigrating from the Soviet Union, his writing process, and the last album he fell in love with.\u003c/p>\n\u003cp>\u003cb>Your first novel, \u003cb>The Free World\u003c/b>, tells the story of a family of Latvian Jews who must stay in Rome for six months to secure their visas to North America. I understand this narrative is quite close to your real life experience. What made you want to preserve that point in time through fiction?\u003c/b>\u003c/p>\n\u003cp>\u003cb>David Bezmozgis:\u003c/b> It’s close in the sense that my family emigrated from the Soviet Union in 1979 and spent four months in Rome before ultimately settling in Canada. I was a child then. Over the years, I’d heard a lot about the Italian intermezzo. I was always fascinated by it because it seemed to offer so much dramatic potential. These were people, after all, who never believed they’d see the West — let alone Rome. Maybe it’s hard now to imagine what that was like, removed as we are by 30 years from that time and 20 years from the staggering collapse of the Soviet Union. But for me, it seemed like the ideal place to tell the story of the Soviet Jewish experience of the 20th century. From this transitional Roman perch, it was possible to gaze back at the past, into the future, and also the present. At this moment, past, present, and future were fused for the characters in a way they had never been before. Making for an experience that was disorienting and exhilarating.\u003c/p>\n\u003cp>\u003cb>I imagine you had to do a lot of research to get the facts of this era exactly right. Many immigrants who leave everything they know for a murky unknown have a wealth of history stored in them that gets lost in the shuffle to learn a new language and way of life. What are some anecdotes that surfaced through your interviews with your family and their friends that really surprised or struck a chord in you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> Most of the anecdotes that surprised me or struck a chord ultimately ended up in the novel in some guise. I was struck by the brutality and the cavalier sadism of the Soviet customs officials. In fact, a lot of the byzantine cruelty of the Soviet system toward the Jewish applicants and emigres surprised me. But there were also little comic moments, moments of misunderstanding. A friend of the family told an anecdote about picnicking with his family in Park Borghese and looking up to the sky to see a zeppelin. Written on the zeppelin was the word “Goodyear.” He was baffled by it, but took it for a good omen, as though it was somehow directed at them. The zeppelin was wishing them a Good Year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What were some advantages and disadvantages you experienced growing up as an immigrant in Canada?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> The advantages — which I only came to appreciate later — had to do with having another language, but also being exposed to struggle and privation. I think I take far less for granted than the average American or Canadian and I’m grateful for my comforts and my freedoms. Disadvantages? There’s a sense of melancholy over a life left behind and a world that is no longer. But I’m not sure that’s a disadvantage either.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://upload.wikimedia.org/wikipedia/en/5/5b/EnormousRoom.JPG\">\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>DB:\u003c/b> Maybe it was e.e. cummings’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0141181249/kqedorg-20\">The Enormous Room\u003c/a>\u003c/b>. Leonard Michaels’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0374517134/kqedorg-20\">I Would Have Saved Them If I Could\u003c/a>\u003c/b> had an even greater impact on me, but later on.\u003c/p>\n\u003cp>\u003cb>You’ve said that writing is lonely work. What’s your process like? Do you shut yourself in a room with few distractions and stimulants? Or do you listen to music and surround yourself with books that inspire you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> I always listen to music and I often have a few books on hand which I reread for tone or mood or just intelligent company. While writing \u003cb>The Free World\u003c/b> I had on my desk Cees Nooteboom’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0156003945/kqedorg-20\">Rituals\u003c/a>\u003c/b>, Bellow’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0142437832/kqedorg-20\">Mr. Sammler’s Planet\u003c/a>\u003c/b>, Leonard Michaels’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0374271070/kqedorg-20\">Sylvia\u003c/a>\u003c/b>, and J. M. Coetzee’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0140296409/kqedorg-20\">Disgrace\u003c/a>\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bez-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> Pink Floyd.\u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> Really fell in love? Probably not since I discovered Leonard Cohen as an undergrad at McGill. But there have been some good flings. Interpol’s \u003cb>Turn on the Bright Lights\u003c/b> really got to me. So did \u003cb>American Water\u003c/b> by The Silver Jews. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://userserve-ak.last.fm/serve/500/2666274/Leonard+Cohen+Cohen+by+David+Boswell.jpg\">\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>DB:\u003c/b> Anytime, frankly. But I would have liked to been born a Jew at the turn of the 20th century in Russia or Latvia and seen firsthand what I’ve described in the book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Free World\u003c/b> is available now. \u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0374281408/kqedorg-20\">Buy it\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bezmozgis, one of \u003ci>The New Yorker\u003c/i>‘s 20 under 40, recently visited the KQED studios to talk to us about his new novel, \u003cb>The Free World\u003c/b>, emigrating from the Soviet Union, his writing process, and the last album he fell in love with.\u003c/p>\n\u003cp>\u003cb>Your first novel, \u003cb>The Free World\u003c/b>, tells the story of a family of Latvian Jews who must stay in Rome for six months to secure their visas to North America. I understand this narrative is quite close to your real life experience. What made you want to preserve that point in time through fiction?\u003c/b>\u003c/p>\n\u003cp>\u003cb>David Bezmozgis:\u003c/b> It’s close in the sense that my family emigrated from the Soviet Union in 1979 and spent four months in Rome before ultimately settling in Canada. I was a child then. Over the years, I’d heard a lot about the Italian intermezzo. I was always fascinated by it because it seemed to offer so much dramatic potential. These were people, after all, who never believed they’d see the West — let alone Rome. Maybe it’s hard now to imagine what that was like, removed as we are by 30 years from that time and 20 years from the staggering collapse of the Soviet Union. But for me, it seemed like the ideal place to tell the story of the Soviet Jewish experience of the 20th century. From this transitional Roman perch, it was possible to gaze back at the past, into the future, and also the present. At this moment, past, present, and future were fused for the characters in a way they had never been before. Making for an experience that was disorienting and exhilarating.\u003c/p>\n\u003cp>\u003cb>I imagine you had to do a lot of research to get the facts of this era exactly right. Many immigrants who leave everything they know for a murky unknown have a wealth of history stored in them that gets lost in the shuffle to learn a new language and way of life. What are some anecdotes that surfaced through your interviews with your family and their friends that really surprised or struck a chord in you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> Most of the anecdotes that surprised me or struck a chord ultimately ended up in the novel in some guise. I was struck by the brutality and the cavalier sadism of the Soviet customs officials. In fact, a lot of the byzantine cruelty of the Soviet system toward the Jewish applicants and emigres surprised me. But there were also little comic moments, moments of misunderstanding. A friend of the family told an anecdote about picnicking with his family in Park Borghese and looking up to the sky to see a zeppelin. Written on the zeppelin was the word “Goodyear.” He was baffled by it, but took it for a good omen, as though it was somehow directed at them. The zeppelin was wishing them a Good Year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What were some advantages and disadvantages you experienced growing up as an immigrant in Canada?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> The advantages — which I only came to appreciate later — had to do with having another language, but also being exposed to struggle and privation. I think I take far less for granted than the average American or Canadian and I’m grateful for my comforts and my freedoms. Disadvantages? There’s a sense of melancholy over a life left behind and a world that is no longer. But I’m not sure that’s a disadvantage either.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://upload.wikimedia.org/wikipedia/en/5/5b/EnormousRoom.JPG\">\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>DB:\u003c/b> Maybe it was e.e. cummings’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0141181249/kqedorg-20\">The Enormous Room\u003c/a>\u003c/b>. Leonard Michaels’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0374517134/kqedorg-20\">I Would Have Saved Them If I Could\u003c/a>\u003c/b> had an even greater impact on me, but later on.\u003c/p>\n\u003cp>\u003cb>You’ve said that writing is lonely work. What’s your process like? Do you shut yourself in a room with few distractions and stimulants? Or do you listen to music and surround yourself with books that inspire you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> I always listen to music and I often have a few books on hand which I reread for tone or mood or just intelligent company. While writing \u003cb>The Free World\u003c/b> I had on my desk Cees Nooteboom’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0156003945/kqedorg-20\">Rituals\u003c/a>\u003c/b>, Bellow’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0142437832/kqedorg-20\">Mr. Sammler’s Planet\u003c/a>\u003c/b>, Leonard Michaels’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0374271070/kqedorg-20\">Sylvia\u003c/a>\u003c/b>, and J. M. Coetzee’s \u003cb>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0140296409/kqedorg-20\">Disgrace\u003c/a>\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bez-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> Pink Floyd.\u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DB:\u003c/b> Really fell in love? Probably not since I discovered Leonard Cohen as an undergrad at McGill. But there have been some good flings. Interpol’s \u003cb>Turn on the Bright Lights\u003c/b> really got to me. So did \u003cb>American Water\u003c/b> by The Silver Jews. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://userserve-ak.last.fm/serve/500/2666274/Leonard+Cohen+Cohen+by+David+Boswell.jpg\">\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>DB:\u003c/b> Anytime, frankly. But I would have liked to been born a Jew at the turn of the 20th century in Russia or Latvia and seen firsthand what I’ve described in the book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Free World\u003c/b> is available now. \u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/0374281408/kqedorg-20\">Buy it\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With echoes of Justin Taylor, Tony O’Neill, and Dennis Cooper, breakoutnovelist Blake Butler delivers a wildly inventive, impressionistic novel offamily, sickness, and the wrenching birth of art. Evocative of Mark Z.Danielewski’s \u003cb>House of Leaves\u003c/b> and the films of David Lynch, \u003cb>There Is No Year\u003c/b>offers a fractured, dystopian parable about the struggle and survival ofart, identity, and family. As the Toronto \u003ci>Globe and Mail\u003c/i> says, “if thedistortion and feedback of Butler’s intense riffing is too loud, you mayvery well be too boring.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Blake Butler, the author behind \u003cb>There Is No Year\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=53871\">listen to Blake’s episode\u003c/a>). Until then, get to know him a little better with this Q+A, in which he talks about insomnia and New Kids on the Block.\u003c/p>\n\u003cp>\u003cb>You’re known for having a serious case of insomnia and have said that you sometimes enjoy being awake during those late hours with “no phone calls, no moving cars, no questions, no bills, no light.” Describe your habits during these hours. Do you spend all of this time trying to wrestle yourself into unconsciousness or do you accept the sleeplessness and do certain things?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Blake Butler:\u003c/b> Usually, until about 2 a.m., I’m not even in the world of the idea of sleeping. I can’t remember the last time I went to bed and fell asleep before that, even in high school, beyond anomalies. If I don’t go out, I am usually still in the mode of the day being busy with typing crap online or talking to people online. I either read or watch movies or just try to parse things I hadn’t done throughout the day, as most of the day I spend writing. It feels like the day, except it is quieter and I can focus on other things without the stress I feel before I’ve written for the day. By the time I get to lay down, it usually takes at least an hour of laying, trying to blank, before I actually nod out, though frequently even longer, and sometimes it never happens at all until the sun’s up and I’m fried in the want to move again. I always try, though. As many years as I’ve been warbling in it, I still pretend each night like I’m going to lay down and just fall into nowhere.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=_8Fko54hJZU&fs=1&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003cb>When you do succeed in falling asleep, your dreams are pretty intense and “it takes years to move through them.” What was your last meaty one like?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> I often find my dreams unparseable in language, except as fragments, as there seems to always be several dozen things going on at once. The thing I love most about dream space is the physics and emotional dimension of it: hyper senses and confabulated histories crashing into one another, most of which is often understood in the dream the way we understand ourselves as people when awake. So, often what I take from them beyond the resonance of feeling is an odd image or emotion, often the last ones in, as the mazes and tunnels and folding buildings and landscapes tend to eat each other before my waking brain gets to stick. Here are a couple of the last “meaty” images that I recorded on twitter after waking:\u003c/p>\n\u003cp>dreamending of huge woman in purple smock pointing up at god w/ left arm, screaming “YOU’RE NOT AS GOOD A COUNTRY ARTIST AS I AM”\u003cbr>8:35 AM May 3rd\u003c/p>\n\u003cp>dreamt i was taking naked drum lessons from serena williams until she stopped & opened a cabinet in her chest & i climbed in & died\u003cbr>12:59 PM Apr 26th\u003c/p>\n\u003cp>\u003cb>Judging by your creative output, your brain works in unusual and interesting ways. What early influences shaped your way of thinking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> When I was really little, my mother read to me constantly, often books that “arent’t for kids,” like Twain, Dickens, Cervantes, Salinger. So I guess I got versed in some of the mechanics of those early machines before I had to meet them again in school and have them dismantled by too much logic and narrative-wanting.\u003c/p>\n\u003cp>Beyond that, I was constantly awake late as a child even, and I think being up alone in the house full of dark really stayed with me: I was always applying too many kinds of presences to everything, and was afraid of walls or switches or things at the window.\u003c/p>\n\u003cp>Also: sugar, finding a skateboard I could never ride in my neighbor’s yard, forks, fabric, imaginary clubs, night terrors, water, talking walls, believing there was an elevator somewhere in the house, streetlamps through windows, blood on the phone.\u003c/p>\n\u003cp>\u003cb>What were you like as a kid growing up in Atlanta? Did you always want to be a writer or was there another dream?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> I was always trying to invent reams of people that didn’t exist so I could talk to them and form clubs or battalions out of them. I was always going to war against nothing. My sister and I formed a bike gang that patrolled our yard and hid weapons and invented our own language and buried crap under the ground. I was always talking to myself. I was more shy around others, and in some ways that’s still the same: I like to keep quiet mostly, unless I’m drinking.\u003c/p>\n\u003cp>According to my mom, when I was little I said I wanted to be a bricklayer, a cake baker, or an astronaut. Each of those seems more like writing than writing is.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/butler-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> In middle school, my mom made me go with my sister to see New Kids on the Block. I liked New Kids when I was in elementary, but by this time I was talking shit about them and liked Metallica and Guns n Roses and yet I imagine there was something in me that still wanted to see NKOTB. A cheerleader from my gym class sat right in front of me and then told everyone the next day that I’d been at the show. Add NKOTB to already being the fat kid and, well…\u003c/p>\n\u003cp>\u003cb>What’s the best book that someone has given you recently?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> \u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/1590173864/kqedorg-20\">Sorokin’s Ice Trilogy\u003c/a>. I actually haven’t opened it yet, but just staring at it and imagining what is in there from the description and what I’ve manifested from that is giving me this weird bliss. \u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> Man, I don’t know anymore. Music doesn’t fill me the same way it used to. I don’t know if I’ve locked up or it has. Maybe Waka Flocka’s Flockaveli or New Slaves by Zs.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/butler-2.jpg\">\u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> Fellini’s \u003cb>Satyricon\u003c/b>. \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>BB:\u003c/b> I believe all places and times still exist. I’d probably just stand there and eat food and try to chill.\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>BB:\u003c/b> Pasolini, this particular woman I’ve dreamt of exactly three times in my life who appears inside a corridor of meat and who I know like I know me, and R Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.holamun2.com/files/images/attachments/2007/07/r-kelly.jpg\">\u003c/p>\n\u003cp>\u003cb>You’re known for being a prolific writer. What’s currently cooking in your head?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> I just turned in a nonfiction work about sleep and insomnia titled \u003cb>Nothing\u003c/b>, that will be out from Harper Perennial in October or November. Other than that, I’m trying to finish a novel I wrote 3/4ths of last year and left at a really weird spot, which is sort of becoming based on Jodorowsky’s \u003cb>The Holy Mountain\u003c/b>, and am also editing another novel about the end of murder, which is caused by murder.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Look for Blake Butler’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, May 18, 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>BB:\u003c/b> I often find my dreams unparseable in language, except as fragments, as there seems to always be several dozen things going on at once. The thing I love most about dream space is the physics and emotional dimension of it: hyper senses and confabulated histories crashing into one another, most of which is often understood in the dream the way we understand ourselves as people when awake. So, often what I take from them beyond the resonance of feeling is an odd image or emotion, often the last ones in, as the mazes and tunnels and folding buildings and landscapes tend to eat each other before my waking brain gets to stick. Here are a couple of the last “meaty” images that I recorded on twitter after waking:\u003c/p>\n\u003cp>dreamending of huge woman in purple smock pointing up at god w/ left arm, screaming “YOU’RE NOT AS GOOD A COUNTRY ARTIST AS I AM”\u003cbr>8:35 AM May 3rd\u003c/p>\n\u003cp>dreamt i was taking naked drum lessons from serena williams until she stopped & opened a cabinet in her chest & i climbed in & died\u003cbr>12:59 PM Apr 26th\u003c/p>\n\u003cp>\u003cb>Judging by your creative output, your brain works in unusual and interesting ways. What early influences shaped your way of thinking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> When I was really little, my mother read to me constantly, often books that “arent’t for kids,” like Twain, Dickens, Cervantes, Salinger. So I guess I got versed in some of the mechanics of those early machines before I had to meet them again in school and have them dismantled by too much logic and narrative-wanting.\u003c/p>\n\u003cp>Beyond that, I was constantly awake late as a child even, and I think being up alone in the house full of dark really stayed with me: I was always applying too many kinds of presences to everything, and was afraid of walls or switches or things at the window.\u003c/p>\n\u003cp>Also: sugar, finding a skateboard I could never ride in my neighbor’s yard, forks, fabric, imaginary clubs, night terrors, water, talking walls, believing there was an elevator somewhere in the house, streetlamps through windows, blood on the phone.\u003c/p>\n\u003cp>\u003cb>What were you like as a kid growing up in Atlanta? Did you always want to be a writer or was there another dream?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> I was always trying to invent reams of people that didn’t exist so I could talk to them and form clubs or battalions out of them. I was always going to war against nothing. My sister and I formed a bike gang that patrolled our yard and hid weapons and invented our own language and buried crap under the ground. I was always talking to myself. I was more shy around others, and in some ways that’s still the same: I like to keep quiet mostly, unless I’m drinking.\u003c/p>\n\u003cp>According to my mom, when I was little I said I wanted to be a bricklayer, a cake baker, or an astronaut. Each of those seems more like writing than writing is.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/butler-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What was your first concert?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> In middle school, my mom made me go with my sister to see New Kids on the Block. I liked New Kids when I was in elementary, but by this time I was talking shit about them and liked Metallica and Guns n Roses and yet I imagine there was something in me that still wanted to see NKOTB. A cheerleader from my gym class sat right in front of me and then told everyone the next day that I’d been at the show. Add NKOTB to already being the fat kid and, well…\u003c/p>\n\u003cp>\u003cb>What’s the best book that someone has given you recently?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> \u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/1590173864/kqedorg-20\">Sorokin’s Ice Trilogy\u003c/a>. I actually haven’t opened it yet, but just staring at it and imagining what is in there from the description and what I’ve manifested from that is giving me this weird bliss. \u003c/p>\n\u003cp>\u003cb>What’s the last album you fell in love with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> Man, I don’t know anymore. Music doesn’t fill me the same way it used to. I don’t know if I’ve locked up or it has. Maybe Waka Flocka’s Flockaveli or New Slaves by Zs.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/butler-2.jpg\">\u003c/p>\n\u003cp>\u003cb>If you could live inside one movie, which would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> Fellini’s \u003cb>Satyricon\u003c/b>. \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>BB:\u003c/b> I believe all places and times still exist. I’d probably just stand there and eat food and try to chill.\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>BB:\u003c/b> Pasolini, this particular woman I’ve dreamt of exactly three times in my life who appears inside a corridor of meat and who I know like I know me, and R Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.holamun2.com/files/images/attachments/2007/07/r-kelly.jpg\">\u003c/p>\n\u003cp>\u003cb>You’re known for being a prolific writer. What’s currently cooking in your head?\u003c/b>\u003c/p>\n\u003cp>\u003cb>BB:\u003c/b> I just turned in a nonfiction work about sleep and insomnia titled \u003cb>Nothing\u003c/b>, that will be out from Harper Perennial in October or November. Other than that, I’m trying to finish a novel I wrote 3/4ths of last year and left at a really weird spot, which is sort of becoming based on Jodorowsky’s \u003cb>The Holy Mountain\u003c/b>, and am also editing another novel about the end of murder, which is caused by murder.\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 Blake Butler’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, May 18, 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>One of San Francisco’s most charming characteristics is its tendency to embody the spirit of the people who fully embrace its culture. \u003ca href=\"http://armisteadmaupin.com\">Armistead Maupin\u003c/a> is a prime example of what might happen to a transplant with fresh eyes: only three years after moving to San Francisco, he started the now legendary series \u003cb>Tales of the City\u003c/b> as a serial in the \u003ci>Pacific Sun\u003c/i> and then the \u003ci>San Francisco Chronicle\u003c/i> and \u003ci>Examiner\u003c/i> that has since become a series of novels translated into ten languages and adapted into a television miniseries. This spring, for the first time, \u003cb>Tales of the City\u003c/b> will be performed as \u003ca href=\"http://www.act-sf.org/1011/talesofthecity/index.html\">a musical at the American Conservatory Theater\u003c/a> and, as the Bay Area ramps up for the premiere, Litquake has organized an event to celebrate Maupin’s legacy: Thoroughly Modern Maupin.\u003c/p>\n\u003cp>\u003cb>Tales of the City\u003c/b> begins with the arrival of one Mary Ann Singleton to San Francisco and follows her adventures and the colorful characters she meets here. Because it was run as a serial and was based largely on real places and events, \u003cb>Tales of the City\u003c/b> fast became a way for San Franciscans to engage with their city in new ways. Residents grew with the characters. The series is notorious for its frank exploration of underground cultures and, as a result, Maupin is regarded as one of the first writers to address the subject of AIDS. Like the characters he created, Maupin has been embraced as a true Bay Area treasure.\u003c/p>\n\u003cp>To pay tribute to the world Maupin created and the spirit with which he inhabits it, Litquake has invited representatives from the generation of writers and performers inspired by Maupin’s tradition to perform from their own works Thursday, May 12, 2011 at the Swedish American Hall. Says co-founder Jack Boulware, “some of them take the next step in fiction from a gay-identified perspective, some continue to help place San Francisco on the literary map, and some push the envelope further around gender and originality. And some, one could argue, do all of the above.”\u003c/p>\n\u003cp>Among the artists to perform that evening is Michelle Tea, whose book \u003cb>Valencia\u003c/b> embodies the spirit of a time (mid to late ’90s) and place (Mission District, San Francisco) as well as any modern book I’ve read. When I moved to San Francisco in the summer of ’09 I didn’t know anything about the culture here. I remember discovering \u003cb>Valencia\u003c/b> and how every time I saw that green sign “Valencia” it meant something more to me than just a street name; it is possible to experience a place so intensely that you help to define it. Inspired, I walked around dreaming about my Valencia, my Mission.\u003c/p>\n\u003cp>After my first Litquake I was addicted to public readings and decided not only to continue filming events and talking about them, but also to try to unite all of the disparate groups I was finding here. After a little research, I discovered that Scott James, who will also read at Thoroughly Modern Maupin, had been sending out a weekly list via email of all the city’s forthcoming literary events. James had just stopped sending out the list because he had been asked by the \u003ci>New York Times\u003c/i> to write a weekly column for their then-new Bay Area section, and, despite always being on the move, he graciously met with me to offer advice and help. Also known as Kemble Scott for the novels \u003cb>SoMa\u003c/b> and \u003cb>The Sower\u003c/b> — both of which follow characters through the underbelly of San Francisco — James says: “I’m following Armistead Maupin’s career in reverse. He started with a newspaper column, and ended up with a series of provocative books. I’ve done it backwards.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Tea and James, beloved Bay Area comedienne/solo performer Marga Gomez will join novelist and teacher K.M. Soehnlein, poet, composer and solo artist Kevin Simmonds, and the multi-talented Precious Moments (a.k.a. Michael Soldier, who will perform a couple of musical drag numbers) in Litquake’s tribute to Maupin.\u003c/p>\n\u003cp>Recently, Litquake has been quite innovative itself. Only this past year, the 11-year-old festival has decided to program year-round, teaming up with local literary readings and zines in a monthly hangout called The Epicenter and organizing summer soirees in the homes of established Bay Area writers. Additionally, the festival that never stops has collaborated with other organizations such as \u003ca href=\"http://www.kqed.org/arts/programs/noisepop/\">Noise Pop\u003c/a> to feature authors reading the autobiographies of rock stars, and \u003ca href=\"http://www.sfgrotto.org/\">The Grotto\u003c/a> for an event called Regreturature — for which the Grottoites read works that “probably shouldn’t see the light of day.”\u003c/p>\n\u003cp>As Litquake programs more regularly it is beginning to extend beyond the personalities it has traditionally invited to headline its events. At Thoroughly Modern Maupin, for instance, the famed author will proudly be in the audience. As Boulware says, “There can only be one Armistead, of course,” but, for every one person who sets a standard, there are multitudes that follow suit. How many people, I wonder, enter Tea’s \u003cb>Valencia\u003c/b> every time they see the sign? Or use Maupin as their doorway between fiction and reality? We have come to love these authors and their worlds, and it is high time we took a closer look at the people they have inspired and the ways in which they have each shaped the place we all so admire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.litquake.org/events/thoroughly-modern-maupin\">Thoroughly Modern Maupin\u003c/a> is Thursday, May 12, 2011, 8pm at Swedish American Hall, 2174 Market Street in San Francisco. For \u003ca href=\"http://www.litquake.org/events/thoroughly-modern-maupin\">more information\u003c/a>, visit litquake.org. The event is $15 \u003ca href=\"http://www.brownpapertickets.com/event/169912\">in advance\u003c/a> and $18 at the door.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of San Francisco’s most charming characteristics is its tendency to embody the spirit of the people who fully embrace its culture. \u003ca href=\"http://armisteadmaupin.com\">Armistead Maupin\u003c/a> is a prime example of what might happen to a transplant with fresh eyes: only three years after moving to San Francisco, he started the now legendary series \u003cb>Tales of the City\u003c/b> as a serial in the \u003ci>Pacific Sun\u003c/i> and then the \u003ci>San Francisco Chronicle\u003c/i> and \u003ci>Examiner\u003c/i> that has since become a series of novels translated into ten languages and adapted into a television miniseries. This spring, for the first time, \u003cb>Tales of the City\u003c/b> will be performed as \u003ca href=\"http://www.act-sf.org/1011/talesofthecity/index.html\">a musical at the American Conservatory Theater\u003c/a> and, as the Bay Area ramps up for the premiere, Litquake has organized an event to celebrate Maupin’s legacy: Thoroughly Modern Maupin.\u003c/p>\n\u003cp>\u003cb>Tales of the City\u003c/b> begins with the arrival of one Mary Ann Singleton to San Francisco and follows her adventures and the colorful characters she meets here. Because it was run as a serial and was based largely on real places and events, \u003cb>Tales of the City\u003c/b> fast became a way for San Franciscans to engage with their city in new ways. Residents grew with the characters. The series is notorious for its frank exploration of underground cultures and, as a result, Maupin is regarded as one of the first writers to address the subject of AIDS. Like the characters he created, Maupin has been embraced as a true Bay Area treasure.\u003c/p>\n\u003cp>To pay tribute to the world Maupin created and the spirit with which he inhabits it, Litquake has invited representatives from the generation of writers and performers inspired by Maupin’s tradition to perform from their own works Thursday, May 12, 2011 at the Swedish American Hall. Says co-founder Jack Boulware, “some of them take the next step in fiction from a gay-identified perspective, some continue to help place San Francisco on the literary map, and some push the envelope further around gender and originality. And some, one could argue, do all of the above.”\u003c/p>\n\u003cp>Among the artists to perform that evening is Michelle Tea, whose book \u003cb>Valencia\u003c/b> embodies the spirit of a time (mid to late ’90s) and place (Mission District, San Francisco) as well as any modern book I’ve read. When I moved to San Francisco in the summer of ’09 I didn’t know anything about the culture here. I remember discovering \u003cb>Valencia\u003c/b> and how every time I saw that green sign “Valencia” it meant something more to me than just a street name; it is possible to experience a place so intensely that you help to define it. Inspired, I walked around dreaming about my Valencia, my Mission.\u003c/p>\n\u003cp>After my first Litquake I was addicted to public readings and decided not only to continue filming events and talking about them, but also to try to unite all of the disparate groups I was finding here. After a little research, I discovered that Scott James, who will also read at Thoroughly Modern Maupin, had been sending out a weekly list via email of all the city’s forthcoming literary events. James had just stopped sending out the list because he had been asked by the \u003ci>New York Times\u003c/i> to write a weekly column for their then-new Bay Area section, and, despite always being on the move, he graciously met with me to offer advice and help. Also known as Kemble Scott for the novels \u003cb>SoMa\u003c/b> and \u003cb>The Sower\u003c/b> — both of which follow characters through the underbelly of San Francisco — James says: “I’m following Armistead Maupin’s career in reverse. He started with a newspaper column, and ended up with a series of provocative books. I’ve done it backwards.”\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 Tea and James, beloved Bay Area comedienne/solo performer Marga Gomez will join novelist and teacher K.M. Soehnlein, poet, composer and solo artist Kevin Simmonds, and the multi-talented Precious Moments (a.k.a. Michael Soldier, who will perform a couple of musical drag numbers) in Litquake’s tribute to Maupin.\u003c/p>\n\u003cp>Recently, Litquake has been quite innovative itself. Only this past year, the 11-year-old festival has decided to program year-round, teaming up with local literary readings and zines in a monthly hangout called The Epicenter and organizing summer soirees in the homes of established Bay Area writers. Additionally, the festival that never stops has collaborated with other organizations such as \u003ca href=\"http://www.kqed.org/arts/programs/noisepop/\">Noise Pop\u003c/a> to feature authors reading the autobiographies of rock stars, and \u003ca href=\"http://www.sfgrotto.org/\">The Grotto\u003c/a> for an event called Regreturature — for which the Grottoites read works that “probably shouldn’t see the light of day.”\u003c/p>\n\u003cp>As Litquake programs more regularly it is beginning to extend beyond the personalities it has traditionally invited to headline its events. At Thoroughly Modern Maupin, for instance, the famed author will proudly be in the audience. As Boulware says, “There can only be one Armistead, of course,” but, for every one person who sets a standard, there are multitudes that follow suit. How many people, I wonder, enter Tea’s \u003cb>Valencia\u003c/b> every time they see the sign? Or use Maupin as their doorway between fiction and reality? We have come to love these authors and their worlds, and it is high time we took a closer look at the people they have inspired and the ways in which they have each shaped the place we all so admire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.litquake.org/events/thoroughly-modern-maupin\">Thoroughly Modern Maupin\u003c/a> is Thursday, May 12, 2011, 8pm at Swedish American Hall, 2174 Market Street in San Francisco. For \u003ca href=\"http://www.litquake.org/events/thoroughly-modern-maupin\">more information\u003c/a>, visit litquake.org. The event is $15 \u003ca href=\"http://www.brownpapertickets.com/event/169912\">in advance\u003c/a> and $18 at the door.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Gabrielle Hamilton opened her acclaimed New York restaurant Prune, she spent twenty fierce, hard-living years trying to find purpose and meaning in her life. Above all she sought family, particularly the thrill and the magnificence of the one from her childhood that, in her adult years, eluded her. Hamilton’s ease and comfort in a kitchen were instilled in her at an early age when her parents hosted grand parties, often for more than one hundred friends and neighbors. The smells of spit-roasted lamb, apple wood smoke, and rosemary garlic marinade became as necessary to her as her own skin.\u003c/p>\n\u003cp>\u003cb>Blood, Bones & Butter\u003c/b> follows an unconventional journey through the many kitchens Hamilton has inhabited through the years: the rural kitchen of her childhood, where her adored mother stood over the six-burner with an oily wooden spoon in hand; the kitchens of France, Greece, and Turkey, where she was often fed by complete strangers and learned the essence of hospitality; the soulless catering factories that helped pay the rent; Hamilton’s own kitchen at Prune, with its many unexpected challenges; and the kitchen of her Italian mother-in-law, who serves as the link between Hamilton’s idyllic past and her own future family — the result of a difficult and prickly marriage that nonetheless yields rich and lasting dividends.\u003c/p>\n\u003cp>\u003cb>Blood, Bones & Butter\u003c/b> is an unflinching and lyrical work. Gabrielle Hamilton’s story is told with uncommon honesty, grit, humor, and passion. By turns epic and intimate, it marks the debut of a tremendous literary talent. \u003c/p>\n\u003cp>\u003ci>Excerpt courtesy of Random House Audio. \u003ca href=\"http://www.amazon.com/Blood-Bones-Butter-Inadvertent-Education/dp/0739332449/ref=sr_1_1?ie=UTF8&s=books&qid=1304629416&sr=8-1\">Purchase the audiobook in its entirety!\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Gabrielle Hamilton opened her acclaimed New York restaurant Prune, she spent twenty fierce, hard-living years trying to find purpose and meaning in her life. Above all she sought family, particularly the thrill and the magnificence of the one from her childhood that, in her adult years, eluded her. Hamilton’s ease and comfort in a kitchen were instilled in her at an early age when her parents hosted grand parties, often for more than one hundred friends and neighbors. The smells of spit-roasted lamb, apple wood smoke, and rosemary garlic marinade became as necessary to her as her own skin.\u003c/p>\n\u003cp>\u003cb>Blood, Bones & Butter\u003c/b> follows an unconventional journey through the many kitchens Hamilton has inhabited through the years: the rural kitchen of her childhood, where her adored mother stood over the six-burner with an oily wooden spoon in hand; the kitchens of France, Greece, and Turkey, where she was often fed by complete strangers and learned the essence of hospitality; the soulless catering factories that helped pay the rent; Hamilton’s own kitchen at Prune, with its many unexpected challenges; and the kitchen of her Italian mother-in-law, who serves as the link between Hamilton’s idyllic past and her own future family — the result of a difficult and prickly marriage that nonetheless yields rich and lasting dividends.\u003c/p>\n\u003cp>\u003cb>Blood, Bones & Butter\u003c/b> is an unflinching and lyrical work. Gabrielle Hamilton’s story is told with uncommon honesty, grit, humor, and passion. By turns epic and intimate, it marks the debut of a tremendous literary talent. \u003c/p>\n\u003cp>\u003ci>Excerpt courtesy of Random House Audio. \u003ca href=\"http://www.amazon.com/Blood-Bones-Butter-Inadvertent-Education/dp/0739332449/ref=sr_1_1?ie=UTF8&s=books&qid=1304629416&sr=8-1\">Purchase the audiobook in its entirety!\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Gabrielle Hamilton, the author behind \u003cb>Blood, Bones, and Butter\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=53056\">listen to Gabrielle’s episode\u003c/a>). Until then, get to know her a little better with this Q+A, in which she talks about her favorite places to eat in San Francisco and what her last meal would be.\u003c/p>\n\u003cp>\u003cb>Being the force behind the uber successful New York restaurant Prune, what inspired you to switch gears and write a memoir?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Gabrielle Hamilton:\u003c/b> After I signed the contract and got the advance, I had to go through with it! I never got a chance to “switch gears,” though. I just added extra work into my already chockablock schedule and muscled my way through the thing.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://images.barnesandnoble.com/images/99380000/99382007.JPG\"> \u003c/p>\n\u003cp>\u003cb>What’s your earliest food memory?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>GH:\u003c/b> Sitting on my mom’s lap after dinner every night and listening to her chew and swallow and smelling her exhale of wine and vinaigrette and tangerines.\u003c/p>\n\u003cp>\u003cb>What’s your favorite place to eat in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GH:\u003c/b> I like so many places there I couldn’t narrow it down to one favorite. I will say that I did just have an excellent mean at \u003ca href=\"http://www.caminorestaurant.com/\">Camino\u003c/a> in Oakland and that I never visit SF without a stop at \u003ca href=\"http://www.yelp.com/biz/swan-oyster-depot-san-francisco\">Swan Oyster Depot\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Imagine that you’ve somehow ended up on death row and tomorrow’s your execution. What meal do you request as your last?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GH:\u003c/b> Soft scrambled eggs, warm buttered toast and Billecart-Salmon Champagne.\u003c/p>\n\u003cp>\u003cb>What’s a recipe that you find yourself going back to over and over?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GH:\u003c/b> \u003ca href=\"http://www.epicurious.com/recipes/food/views/Gougeres-361149\">Dorie Greenspan’s Gougeres\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://mimg.ugo.com/200805/22467/less-than-zero.jpg\"> \u003c/p>\n\u003cp>\u003cb>If your life was adapted to film, who would play you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GH:\u003c/b> Robert Downey Jr!\u003c/p>\n\u003cp>\u003cb>You’re on stage at a karaoke bar. What are you singing?\u003c/b>\u003c/p>\n\u003cp>\u003cb>GH:\u003c/b> The Hallelujah chorus form Handel’s Messiah. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gh-2.jpg\">\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>GH:\u003c/b> \u003cb>To Kill a Mockingbird\u003c/b>. So that I could have Atticus Finch as a father. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Look for Gabrielle Hamilton’s episode of \u003cb>The Writers’ Block\u003c/b> next Wednesday, May 11, 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": "\u003cp>From one of America’s most brilliant critics and cultural commentators comes a long-awaited collection of penetrating autobiographical essays and a riveting short memoir, novelistic in style and ambition, about the pathos, comedy, and devastation of early love.\u003c/p>\n\u003cp>Stanford professor and longtime contributor to the \u003ci>London Review of Books\u003c/i>, the \u003ci>Atlantic\u003c/i>, the \u003ci>New Republic, Slate\u003c/i>, and other publications, Terry Castle is widely admired for the wit, panache, intellectual breadth, and emotional honesty of her writings on life, literature, and art. Now, at long last, she has collected some of the more personal of her recent essays in a single volume. Several pieces here are already acknowledged classics: “Desperately Seeking Susan,” the celebrated account she wrote in 2005 of her droll and somewhat bittersweet friendship with Susan Sontag; “My Heroin Christmas,” a darkly humorous examination of addiction, her family and stepsiblings, and the late, great jazz saxophonist Art Pepper; and the picaresque “Travels with My Mother,” a rollicking travelogue that brings together Castle’s complicated relationship with her mother, lesbianism, art, and the difficult yet transcendent work of the painter Agnes Martin.\u003c/p>\n\u003cp>At the center of the collection, however, is the title work, published here for the first time: a candid and wrenching exploration of Castle’s relationship, during her graduate school years, with a female professor. At once hilarious and rueful, it is a pitch-perfect recollection of the fiascos of youth: how we come to own (or disown) our sexuality; how we understand (or don’t) the emotional needs and wishes of others; how the ordeals of desire can prompt a lifelong search for self-understanding.\u003c/p>\n\u003cp>In this account of a sentimental education, as in all the essays in \u003cb>The Professor and Other Writings\u003c/b>, Terry Castle reveals herself as a truly remarkable writer: utterly distinctive, wise, frank, and fearless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I don’t know if it’s that everyone pretty much agrees by now that the apocalypse is definitely about to happen (or maybe is currently happening) or if it’s that Facebook seems to have reached a critical point of having 98% of all humans you know on it, but now we can all feel that special kind of isolation that comes from seeing pictures of a wedding you weren’t invited to — or two people you only sort of know, glowing healthily at the top of some fantastic mountain they just climbed. I’ve been asking around though, and I’m reporting this to you now: The Age of Irony is officially over and a new era, one mainly defined by the deep desire to honestly connect with someone before it’s too late, The Age of Earnestness, has begun.\u003c/p>\n\u003cp>I know \u003ci>Time\u003c/i> \u003ca href=\"http://www.time.com/time/covers/1101010924/esroger.html\">called this back in 2001\u003c/a>, but that must have been some sort of post-9/11 grandstanding because in-between then and now we’ve seen the sitcom \u003ca href=\"http://en.wikipedia.org/wiki/Arrested_Development_%28TV_series%29\">\u003cb>Arrested Development\u003c/b>\u003c/a>, Dave Egger’s second novel \u003ca href=\"http://en.wikipedia.org/wiki/You_Shall_Know_Our_Velocity\">\u003cb>You Shall Know Our Velocity\u003c/b>\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/The_Decemberists\">The Decemberists\u003c/a>‘ first five albums and the film \u003ca href=\"http://en.wikipedia.org/wiki/Adaptation_%28film%29\">\u003cb>Adaptation\u003c/b>\u003c/a> — all awesome, relevant, popular and totally ironic.\u003c/p>\n\u003cp>Now however — even though Osama bin Laden is finally dead — we’re still in two or three wars, there’s an environmental crisis every week and nobody remembers how to fall in love outside of the Internet. And it turns out everyone is finally getting sick of all their stories being filtered through a lens of hipness with all the feelings couched in inside jokes.\u003c/p>\n\u003cp>Luckily for San Francisco, the literary scene feels the exact same way.\u003c/p>\n\u003cp>Isaac Fitzgerald, managing editor of \u003ca href=\"http://therumpus.net/\">TheRumpus\u003c/a> puts it this way: “One of the most important reasons to write, to make art, to make music, to be an artist of any sort, is to connect. To show others, ‘I too have felt this way, share it with me.’ If you try and connect with anyone in a way that is not earnest, it isn’t a connection. It’s a con. It’s a mask.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With that in mind, The Rumpus is back this month with \u003ca href=\"http://therumpus.net/2011/04/no-mistakes-left-to-make/\">\u003cb>No Mistakes Left to Make\u003c/b>\u003c/a> on May 9, 7pm at The Makeout Room in San Francisco, featuring, among others, Jim Shepard, whose new book \u003cb>You Think That’s Bad\u003c/b> “balances an understanding of history with a recognition that we may be living at the end of history,” \u003ca href=\"http://articles.latimes.com/2011/apr/10/entertainment/la-ca-jim-shepard-20110410\">according to the LA Times\u003c/a> whose reviewer also wrote, “At the heart of [Shepard’s] vision is the idea of disconnection, of the things we do that keep us from ourselves.”\u003c/p>\n\u003cp>Here’s some advice: attend this reading in person, do not just “like” it on Facebook.\u003c/p>\n\u003cp>Another event that will appeal to the Bay Area earnest literature lover is “The Worst Horse,” a collaboration between \u003ca href=\"http://www.radarproductions.org/\">RADAR\u003c/a> and \u003ca href=\"http://news.sfzc.org/\">the San Francisco Zen Center\u003c/a>, curated by \u003ca href=\"http://www.radarproductions.org/?page_id=27\">Michelle Tea\u003c/a>, which uses a Buddhist parable about learning the hard way as the thread to bring together performers and artists including \u003ca href=\"http://www.aliliebegott.com/\">Ali Liebegott\u003c/a> and \u003ca href=\"http://www.buckysinister.com/\">Bucky Sinister\u003c/a>. Michael Braithwaite, one of the organizers of the event, had this to say about why people are becoming more interested in sincerity: “The way in which [irony]’s been used as a mechanism in art and in pop culture has been really juvenile; instead of being used in its more classic sense — to give depth of expression to contradictory themes and impulses — it’s been used with a sort of winking sarcasm, which flattened the experience (at least for me).”\u003c/p>\n\u003cp>For some honest storytelling that will be anything but flat, head to the Zen Center Friday, May 27 at 7:30pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, if you really want to connect with other people, get into authentic self-expression and fully embrace the Age of Earnestness, you are going to have to start creating some art yourself. This is where the \u003ca href=\"http://www.marinpoetrycenter.org/programs.php#workshop\">Marin Poetry Center’s Open Workshop\u003c/a> comes in. Every fourth Thursday a group of 10 to 15 poets (published and non-published, all are welcome) share their poetry around a dining room table in Marin, opening themselves up to the praise and (constructive) criticism of their peers. The workshop’s organizer, Calvin Alhgren, says in the 3 or 4 years he’s been running the workshop he’s seen the attendees’ average age drop and the level of enthusiasm and experimentation rise. Their next meeting is Thursday, May 26, at 7pm at the Falkirk Cultural Center in San Rafael. Bring a poem to share, meet some people in real life and cross your fingers that the apocalypse holds off for at least another couple years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t know if it’s that everyone pretty much agrees by now that the apocalypse is definitely about to happen (or maybe is currently happening) or if it’s that Facebook seems to have reached a critical point of having 98% of all humans you know on it, but now we can all feel that special kind of isolation that comes from seeing pictures of a wedding you weren’t invited to — or two people you only sort of know, glowing healthily at the top of some fantastic mountain they just climbed. I’ve been asking around though, and I’m reporting this to you now: The Age of Irony is officially over and a new era, one mainly defined by the deep desire to honestly connect with someone before it’s too late, The Age of Earnestness, has begun.\u003c/p>\n\u003cp>I know \u003ci>Time\u003c/i> \u003ca href=\"http://www.time.com/time/covers/1101010924/esroger.html\">called this back in 2001\u003c/a>, but that must have been some sort of post-9/11 grandstanding because in-between then and now we’ve seen the sitcom \u003ca href=\"http://en.wikipedia.org/wiki/Arrested_Development_%28TV_series%29\">\u003cb>Arrested Development\u003c/b>\u003c/a>, Dave Egger’s second novel \u003ca href=\"http://en.wikipedia.org/wiki/You_Shall_Know_Our_Velocity\">\u003cb>You Shall Know Our Velocity\u003c/b>\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/The_Decemberists\">The Decemberists\u003c/a>‘ first five albums and the film \u003ca href=\"http://en.wikipedia.org/wiki/Adaptation_%28film%29\">\u003cb>Adaptation\u003c/b>\u003c/a> — all awesome, relevant, popular and totally ironic.\u003c/p>\n\u003cp>Now however — even though Osama bin Laden is finally dead — we’re still in two or three wars, there’s an environmental crisis every week and nobody remembers how to fall in love outside of the Internet. And it turns out everyone is finally getting sick of all their stories being filtered through a lens of hipness with all the feelings couched in inside jokes.\u003c/p>\n\u003cp>Luckily for San Francisco, the literary scene feels the exact same way.\u003c/p>\n\u003cp>Isaac Fitzgerald, managing editor of \u003ca href=\"http://therumpus.net/\">TheRumpus\u003c/a> puts it this way: “One of the most important reasons to write, to make art, to make music, to be an artist of any sort, is to connect. To show others, ‘I too have felt this way, share it with me.’ If you try and connect with anyone in a way that is not earnest, it isn’t a connection. It’s a con. It’s a mask.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With that in mind, The Rumpus is back this month with \u003ca href=\"http://therumpus.net/2011/04/no-mistakes-left-to-make/\">\u003cb>No Mistakes Left to Make\u003c/b>\u003c/a> on May 9, 7pm at The Makeout Room in San Francisco, featuring, among others, Jim Shepard, whose new book \u003cb>You Think That’s Bad\u003c/b> “balances an understanding of history with a recognition that we may be living at the end of history,” \u003ca href=\"http://articles.latimes.com/2011/apr/10/entertainment/la-ca-jim-shepard-20110410\">according to the LA Times\u003c/a> whose reviewer also wrote, “At the heart of [Shepard’s] vision is the idea of disconnection, of the things we do that keep us from ourselves.”\u003c/p>\n\u003cp>Here’s some advice: attend this reading in person, do not just “like” it on Facebook.\u003c/p>\n\u003cp>Another event that will appeal to the Bay Area earnest literature lover is “The Worst Horse,” a collaboration between \u003ca href=\"http://www.radarproductions.org/\">RADAR\u003c/a> and \u003ca href=\"http://news.sfzc.org/\">the San Francisco Zen Center\u003c/a>, curated by \u003ca href=\"http://www.radarproductions.org/?page_id=27\">Michelle Tea\u003c/a>, which uses a Buddhist parable about learning the hard way as the thread to bring together performers and artists including \u003ca href=\"http://www.aliliebegott.com/\">Ali Liebegott\u003c/a> and \u003ca href=\"http://www.buckysinister.com/\">Bucky Sinister\u003c/a>. Michael Braithwaite, one of the organizers of the event, had this to say about why people are becoming more interested in sincerity: “The way in which [irony]’s been used as a mechanism in art and in pop culture has been really juvenile; instead of being used in its more classic sense — to give depth of expression to contradictory themes and impulses — it’s been used with a sort of winking sarcasm, which flattened the experience (at least for me).”\u003c/p>\n\u003cp>For some honest storytelling that will be anything but flat, head to the Zen Center Friday, May 27 at 7:30pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, if you really want to connect with other people, get into authentic self-expression and fully embrace the Age of Earnestness, you are going to have to start creating some art yourself. This is where the \u003ca href=\"http://www.marinpoetrycenter.org/programs.php#workshop\">Marin Poetry Center’s Open Workshop\u003c/a> comes in. Every fourth Thursday a group of 10 to 15 poets (published and non-published, all are welcome) share their poetry around a dining room table in Marin, opening themselves up to the praise and (constructive) criticism of their peers. The workshop’s organizer, Calvin Alhgren, says in the 3 or 4 years he’s been running the workshop he’s seen the attendees’ average age drop and the level of enthusiasm and experimentation rise. Their next meeting is Thursday, May 26, at 7pm at the Falkirk Cultural Center in San Rafael. Bring a poem to share, meet some people in real life and cross your fingers that the apocalypse holds off for at least another couple years.\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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"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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"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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"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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"perspectives": {
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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.",
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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.",
"airtime": "THU 6:30pm-7pm",
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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/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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": {
"id": "reveal",
"title": "Reveal",
"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.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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