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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Julie Powell was in the KQED studios, she was nice enough to agree to answering some questions. \u003ca href=\"http://blogs.kqed.org/bayareabites/2009/12/10/julie-powell-video-interview-and-cleaving-reading/\">Find the video interview at Bay Area Bites\u003c/a>!\u003c/p>\n\u003cp>Julie Powell thought cooking her way through Julia Child’s \u003cb>Mastering the Art of French Cooking\u003c/b> was the craziest thing she’d ever do — until she embarked on the voyage recounted in her new memoir, \u003cb>Cleaving\u003c/b>.\u003c/p>\n\u003cp>Her marriage challenged by an insane, irresistible love affair, Julie decides to leave town and immerse herself in a new obsession: butchery. She finds her way to Fleischer’s, a butcher shop where she buries herself in the details of food. She learns how to break down a side of beef and French a rack of ribs — tough, physical work that only sometimes distracts her from thoughts of afternoon trysts.\u003c/p>\n\u003cp>The camaraderie at Fleischer’s leads Julie to search out fellow butchers around the world — from South America to Europe to Africa. At the end of her odyssey, she has learned a new art and perhaps even mastered her unruly heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I have a dream. It involves dozens of \u003ca href=\"http://www.826valencia.org/\">826 Valencia\u003c/a>-related high school students wearing half-aprons printed with the \u003ci>McSweeney’s\u003c/i> logo, hawking the San Francisco publisher’s latest issue on the streets of San Francisco. Yes, \u003ci>McSweeney’s Quarterly’s\u003c/i> newest issue, a larger-than-life newspaper named \u003ci>San Francisco Panorama\u003c/i>, is set to release citywide today (December 8, 2009), and though it’s probably just wishful thinking, I want you to peek outside your window and see if anything looks different. At the time of this writing, their website promises it will be available all over the city ($5 a copy the day of release, $16 thereafter), but doesn’t give any details beyond the fact that you can find it at the regular places that stock \u003ci>McSweeney’s\u003c/i>. I’ve got my fingers crossed for a grander entrance, something that encompasses the grandiosity of the gesture.\u003c/p>\n\u003cp>The newspaper is a collaboration with writers from the \u003ci>San Francisco Chronicle\u003c/i> and students from San Francisco State and the Academy of Art College. As you might guess, it will be BIG and BEAUTIFUL and probably even COLLECTIBLE. It also involves SERIOUS investigative journalism and feature-writing by the likes of Bob Porterfield, William Vollman, Stephen King and Nicholson Baker. There will be a magazine. And sports posters. Coverage on food, books, art, the environment, the Bay Bridge, Afghanistan, San Francisco real estate, and marijuana farms in Mendocino. Did I mention that the \u003ci>Mercury News\u003c/i> is also involved? And the \u003ci>LA Times\u003c/i>? And at least one poet laureate (Robert Haas)? And that it will be pretty? And that there will be comics?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panorama-5.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The honest truth is that I’m dying to get a hold of it. I can’t wait to walk outside my apartment, pay my five dollars and take it to coffee, although I’m worried I might feel too protective to take the risk. Part of the fun with newpapers is that I can abuse them (and make paper-mâche). Maybe I’ll buy two. Or three. Three on December 8th will still be cheaper than one on the 9th, and that way if there are any pages that I want to display both sides of, I’ll have the option.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panorama-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are a couple of comments by the \u003ci>McSweeney’s\u003c/i> press machine floating around. The first is that newspapers are an “invaluable part of print journalism” and that the \u003ci>San Francisco Panorama\u003c/i> is meant to “demonstrate all great things that print journalism can (still) do.” The second is that the \u003ci>Panorama\u003c/i> is a guaranteed one-off; i.e., that despite the above comment, \u003ci>McSweeney’s\u003c/i> does not intend to break into the newspaper business. It’s probably a good thing. While I’m by no means a finance or business expert, the likelihood that a paper like \u003ci>Panorama\u003c/i> could be sustainable as a daily (or even a weekly) is small. 300+ pages. 5 or 6 months in the making. 150 journalists, writers, designers and artists. The probability of high-quality offset. All of these things are in keeping with the fact that McSweeney’s has a reputation for the preciousness of their objects and attracts a demographic because of this. It’s doubtful that the same would hold true for the SF Chronicle. After all, it’s not like the idea of prettying oneself up and highlighting one’s delicious tactility has yet to occur to \u003ci>Panorama’s\u003c/i> embattled kin.\u003c/p>\n\u003cp>Or has it? \u003ci>Panorama\u003c/i> is bigger: 22 x 15in, as opposed to 22 x 11 1/2in, which is the \u003ci>New York Times\u003c/i> standard. My guess is that \u003ci>Panorama\u003c/i> will be just different enough in size to register the experience as memorable, without being overwhelming (let its volume take care of that). The folks on the editorial and design teams also seem to be clued in to the fact that information visualization is not just a tool, but an art form. Charts and graphs have a potential so far beyond their ability to support articles; they are a new language for a world starting a new phase of literacy. They also make damn good posters, a tactic I’ve yet to see other newspapers try. Combine this with the one stop shopping effect of local coverage and talented writers engaging in more universal topics (er — baseball, anyone?), and maybe there’s a recipe in here after all, though probably not to such a hyperbolic extent.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panorama-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>As I understand it, to succeed in today’s climate, news organizations need to have tight control over unique content, such as with the \u003ci>Wall Street Journal\u003c/i> or any one of the variety of extremely local blogs or weeklies that serve specific (and usually small) communities. The \u003ci>New York Times\u003c/i> has recently begun to add local sections to both its website and its Friday and Sunday print editions (and yes, the Bay Area section is up and running), which brings to mind the fact that it also doesn’t hurt to bring a well-respected brand with you. And yet, none of this guarantees print editions will sell.\u003c/p>\n\u003cp>Ironically, there’s been a small explosion in specialty magazines even as other print media have been in decline, so is it wrong for Eggers and the staff of \u003ci>McSweeney’s Quarterly\u003c/i>, which belongs to this explosion, to suggest that newspapers take a look at the same approach? The answer, of course, is that these magazines are barely-affordable luxuries, and that we want our news for as close to free as we can get. At the same time, to scoff at Eggers for suggesting that some attention be paid to the way that content interweaves with its physical components is, in my opinion, to a) ignore the truth in that line of thinking and to b) take \u003ci>McSweeney’s\u003c/i> newest gesture too seriously — after all, where was the fuss over issue \u003ca href=\"http://store.mcsweeneys.net/index.cfm/fuseaction/catalog.detail/object_id/2f27e1c4-f715-4f59-9887-12634ca63fca/McSweeneysIssue17.cfm/\">Number 17\u003c/a>? I, for one, would love for all my junk mail to continue to be as interesting.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Panorama\u003c/i> seems to be less about addressing print journalism’s problems than it is a creative rediscovery of the newspaper. Don’t forget to tell us what you think…\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have a dream. It involves dozens of \u003ca href=\"http://www.826valencia.org/\">826 Valencia\u003c/a>-related high school students wearing half-aprons printed with the \u003ci>McSweeney’s\u003c/i> logo, hawking the San Francisco publisher’s latest issue on the streets of San Francisco. Yes, \u003ci>McSweeney’s Quarterly’s\u003c/i> newest issue, a larger-than-life newspaper named \u003ci>San Francisco Panorama\u003c/i>, is set to release citywide today (December 8, 2009), and though it’s probably just wishful thinking, I want you to peek outside your window and see if anything looks different. At the time of this writing, their website promises it will be available all over the city ($5 a copy the day of release, $16 thereafter), but doesn’t give any details beyond the fact that you can find it at the regular places that stock \u003ci>McSweeney’s\u003c/i>. I’ve got my fingers crossed for a grander entrance, something that encompasses the grandiosity of the gesture.\u003c/p>\n\u003cp>The newspaper is a collaboration with writers from the \u003ci>San Francisco Chronicle\u003c/i> and students from San Francisco State and the Academy of Art College. As you might guess, it will be BIG and BEAUTIFUL and probably even COLLECTIBLE. It also involves SERIOUS investigative journalism and feature-writing by the likes of Bob Porterfield, William Vollman, Stephen King and Nicholson Baker. There will be a magazine. And sports posters. Coverage on food, books, art, the environment, the Bay Bridge, Afghanistan, San Francisco real estate, and marijuana farms in Mendocino. Did I mention that the \u003ci>Mercury News\u003c/i> is also involved? And the \u003ci>LA Times\u003c/i>? And at least one poet laureate (Robert Haas)? And that it will be pretty? And that there will be comics?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panorama-5.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The honest truth is that I’m dying to get a hold of it. I can’t wait to walk outside my apartment, pay my five dollars and take it to coffee, although I’m worried I might feel too protective to take the risk. Part of the fun with newpapers is that I can abuse them (and make paper-mâche). Maybe I’ll buy two. Or three. Three on December 8th will still be cheaper than one on the 9th, and that way if there are any pages that I want to display both sides of, I’ll have the option.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panorama-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are a couple of comments by the \u003ci>McSweeney’s\u003c/i> press machine floating around. The first is that newspapers are an “invaluable part of print journalism” and that the \u003ci>San Francisco Panorama\u003c/i> is meant to “demonstrate all great things that print journalism can (still) do.” The second is that the \u003ci>Panorama\u003c/i> is a guaranteed one-off; i.e., that despite the above comment, \u003ci>McSweeney’s\u003c/i> does not intend to break into the newspaper business. It’s probably a good thing. While I’m by no means a finance or business expert, the likelihood that a paper like \u003ci>Panorama\u003c/i> could be sustainable as a daily (or even a weekly) is small. 300+ pages. 5 or 6 months in the making. 150 journalists, writers, designers and artists. The probability of high-quality offset. All of these things are in keeping with the fact that McSweeney’s has a reputation for the preciousness of their objects and attracts a demographic because of this. It’s doubtful that the same would hold true for the SF Chronicle. After all, it’s not like the idea of prettying oneself up and highlighting one’s delicious tactility has yet to occur to \u003ci>Panorama’s\u003c/i> embattled kin.\u003c/p>\n\u003cp>Or has it? \u003ci>Panorama\u003c/i> is bigger: 22 x 15in, as opposed to 22 x 11 1/2in, which is the \u003ci>New York Times\u003c/i> standard. My guess is that \u003ci>Panorama\u003c/i> will be just different enough in size to register the experience as memorable, without being overwhelming (let its volume take care of that). The folks on the editorial and design teams also seem to be clued in to the fact that information visualization is not just a tool, but an art form. Charts and graphs have a potential so far beyond their ability to support articles; they are a new language for a world starting a new phase of literacy. They also make damn good posters, a tactic I’ve yet to see other newspapers try. Combine this with the one stop shopping effect of local coverage and talented writers engaging in more universal topics (er — baseball, anyone?), and maybe there’s a recipe in here after all, though probably not to such a hyperbolic extent.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panorama-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>As I understand it, to succeed in today’s climate, news organizations need to have tight control over unique content, such as with the \u003ci>Wall Street Journal\u003c/i> or any one of the variety of extremely local blogs or weeklies that serve specific (and usually small) communities. The \u003ci>New York Times\u003c/i> has recently begun to add local sections to both its website and its Friday and Sunday print editions (and yes, the Bay Area section is up and running), which brings to mind the fact that it also doesn’t hurt to bring a well-respected brand with you. And yet, none of this guarantees print editions will sell.\u003c/p>\n\u003cp>Ironically, there’s been a small explosion in specialty magazines even as other print media have been in decline, so is it wrong for Eggers and the staff of \u003ci>McSweeney’s Quarterly\u003c/i>, which belongs to this explosion, to suggest that newspapers take a look at the same approach? The answer, of course, is that these magazines are barely-affordable luxuries, and that we want our news for as close to free as we can get. At the same time, to scoff at Eggers for suggesting that some attention be paid to the way that content interweaves with its physical components is, in my opinion, to a) ignore the truth in that line of thinking and to b) take \u003ci>McSweeney’s\u003c/i> newest gesture too seriously — after all, where was the fuss over issue \u003ca href=\"http://store.mcsweeneys.net/index.cfm/fuseaction/catalog.detail/object_id/2f27e1c4-f715-4f59-9887-12634ca63fca/McSweeneysIssue17.cfm/\">Number 17\u003c/a>? I, for one, would love for all my junk mail to continue to be as interesting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There are a lot of stories told in \u003cb>Cranioklepty: Grave Robbing and the Search for Genius\u003c/b>, and most of them involve the human skull. Take, for example, the story of singer Therese Rosenbaum, who found herself one winter’s day in 1820 pretending to be ill in bed, only so that the authorities would not discover that she had a stowaway under the sheets: the skull of composer Joseph Haydn, a treasured family friend.\u003c/p>\n\u003cp>Ten years before, Therese’s husband — Joseph Rosenbaum — had orchestrated the removal of Haydn’s head from both body and grave, only days after attending the funeral. From there, Rosenbaum took Haydn’s head to a hospital, where the composer’s flesh and brain were removed and unceremoniously disposed of in the hospital furnaces. Rosenbaum had not been so irreverent with the leftovers from his first experiment, the head of singer Elizabeth Roose, and one can only assume that the casualness of the disposal added to the emotional circumstances, which Rosenbaum ultimately recorded in his journal. At least in Roose’s case, Rosenbaum had invited several of her friends over for a post-funeral funeral.\u003c/p>\n\u003cp>Why would a man choose to decapitate a good friend after death, to preserve his friend’s skull in a glass vitrine, and to ask his own wife to take the skull to bed when the authorities came knocking?\u003c/p>\n\u003cp>This is the question that author Colin Dickey sets out to answer, and the answer comes down to a belief held by several 19th-century pseudosciences that the human skull was a map of both personality and ability. Dickey charts two courses at once: the rise and fall of organology, phrenology, and craniometry (all arguably precursors, though dubious ones, of modern day anthropology), and the stories of four skulls (those of Joseph Haydn, Wolfgang Amadeus Mozart, Sir Thomas Browne, and Emanuel Swedenborg) and one set of bone fragments, currently in the holdings of San Jose State University, whose original owner was Ludwig von Beethoven.\u003c/p>\n\u003cp>Along the way, Dickey raises questions about the roles of authenticity and preservation in the field of cultural memory, as well as the influence these practices had on eugenics. He also keeps a sense of humor — apparently Walt Whitman was so invested in proving his keen intelligence that he continually altered the bumps on his phrenological charts, making them bigger each time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While skulls have always carried weighty symbolism, Dickey proposes that in the 19th century, European society’s relationship to the human skull went through a significant series of shifts: between Enlightenment and Romantic ideals and modern ones; between a belief in the body as the physical location of the soul and the primacy of the brain; and from the idea that your intelligence and value in society are dictated by your birthright to that of biological destiny, or even free will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As I mentioned, \u003cb>Cranioklepty\u003c/b> is full of stories, at times to a fault. The book spans about 150 years of history, so there’s a new name every 5 to 10 pages. There’s also a staccato rhythm to the book’s transitions that takes a while to get used to. However, storylines and characters are returned to, and the whole thing begins to feel less like an attempt to conjure Leonardo da Vinci, with his clearly delineated foregrounds, mid-grounds and backgrounds, and more like a work by Hieronymus Bosch or Bruegel the Elder — a giant world made of many little pieces, all gathered together inside the same, solid frame.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of stories told in \u003cb>Cranioklepty: Grave Robbing and the Search for Genius\u003c/b>, and most of them involve the human skull. Take, for example, the story of singer Therese Rosenbaum, who found herself one winter’s day in 1820 pretending to be ill in bed, only so that the authorities would not discover that she had a stowaway under the sheets: the skull of composer Joseph Haydn, a treasured family friend.\u003c/p>\n\u003cp>Ten years before, Therese’s husband — Joseph Rosenbaum — had orchestrated the removal of Haydn’s head from both body and grave, only days after attending the funeral. From there, Rosenbaum took Haydn’s head to a hospital, where the composer’s flesh and brain were removed and unceremoniously disposed of in the hospital furnaces. Rosenbaum had not been so irreverent with the leftovers from his first experiment, the head of singer Elizabeth Roose, and one can only assume that the casualness of the disposal added to the emotional circumstances, which Rosenbaum ultimately recorded in his journal. At least in Roose’s case, Rosenbaum had invited several of her friends over for a post-funeral funeral.\u003c/p>\n\u003cp>Why would a man choose to decapitate a good friend after death, to preserve his friend’s skull in a glass vitrine, and to ask his own wife to take the skull to bed when the authorities came knocking?\u003c/p>\n\u003cp>This is the question that author Colin Dickey sets out to answer, and the answer comes down to a belief held by several 19th-century pseudosciences that the human skull was a map of both personality and ability. Dickey charts two courses at once: the rise and fall of organology, phrenology, and craniometry (all arguably precursors, though dubious ones, of modern day anthropology), and the stories of four skulls (those of Joseph Haydn, Wolfgang Amadeus Mozart, Sir Thomas Browne, and Emanuel Swedenborg) and one set of bone fragments, currently in the holdings of San Jose State University, whose original owner was Ludwig von Beethoven.\u003c/p>\n\u003cp>Along the way, Dickey raises questions about the roles of authenticity and preservation in the field of cultural memory, as well as the influence these practices had on eugenics. He also keeps a sense of humor — apparently Walt Whitman was so invested in proving his keen intelligence that he continually altered the bumps on his phrenological charts, making them bigger each time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While skulls have always carried weighty symbolism, Dickey proposes that in the 19th century, European society’s relationship to the human skull went through a significant series of shifts: between Enlightenment and Romantic ideals and modern ones; between a belief in the body as the physical location of the soul and the primacy of the brain; and from the idea that your intelligence and value in society are dictated by your birthright to that of biological destiny, or even free will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As I mentioned, \u003cb>Cranioklepty\u003c/b> is full of stories, at times to a fault. The book spans about 150 years of history, so there’s a new name every 5 to 10 pages. There’s also a staccato rhythm to the book’s transitions that takes a while to get used to. However, storylines and characters are returned to, and the whole thing begins to feel less like an attempt to conjure Leonardo da Vinci, with his clearly delineated foregrounds, mid-grounds and backgrounds, and more like a work by Hieronymus Bosch or Bruegel the Elder — a giant world made of many little pieces, all gathered together inside the same, solid frame.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Summer, 1968. Martin Luther King and Robert Kennedy are dead. The assassination conspiracies have begun to unravel. A dirty-tricks squad is getting ready to deploy at the Democratic Convention in Chicago. Black militants are warring in southside L.A. The Feds are concocting draconian countermeasures. And fate has placed three men at the vortex of History.\u003c/p>\n\u003cp>Dwight Holly is J. Edgar Hoover’s pet strong-arm goon, implementing Hoover’s racist designs and obsessed with a leftist shadow figure named Joan Rosen Klein. Wayne Tedrow — ex-cop and heroin runner — is building a mob gambling mecca in the Dominican Republic and quickly becoming radicalized. Don Crutchfield is a window-peeping kid private-eye within tantalizing reach of right-wing assassins, left-wing revolutionaries and the power-mongers of an incendiary era. Their lives collide in pursuit of the Red Goddess Joan — and each of them will pay “a dear and savage price to live History.”\u003c/p>\n\u003cp>Political noir as only James Ellroy can write it — our recent past razed and fully reconstructed — \u003cb>Blood’s A Rover\u003c/b> is a novel of astonishing depth and scope, a massive tale of corruption and retribution, of ideals at war and the extremity of love. It is the largest and greatest work of fiction from an American master.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new anthology \u003cb>California’s Best: Two Centuries of Great Writing from the Golden State\u003c/b>, editor Peter Fish puts the state’s sense of place first. Yes, the collection is filled with rich human stories, both modest and grand, but the book’s 41 essays, excerpts and poems are organized according to the state’s geography, painting a portrait of California that benefits from both the periscope look back and the magnifying-glass study of the here and now.\u003c/p>\n\u003cp>A Mirrielees Fellow in creative writing at Stanford and now \u003ci>Sunset\u003c/i> magazine’s editor-at-large, Fish begins, fittingly, just off the shore of his home town of Santa Barbara with an entry from \u003cb>Two Years Before the Mast\u003c/b>, an 1840 work by Richard Henry Dana Jr. Right away we know Fish is up to something when he not only chooses Dana’s charming description of the town, but also his observation that the hills appear to have “all burnt by a great fire.” ‘Twas ever thus.\u003c/p>\n\u003cp>From Santa Barbara we head up the coast for a dip into Jack London’s \u003cb>White Fang\u003c/b>, published in 1904. In two strokes, Fish gives us fire and fog, and we’ve barely cracked the 20th century. In fact, Fish is consistently good at choosing examples that seem to amplify and riff off each other. For example, before he leaves the Pacific, Fish shares a few verses from 1927 by Carmel’s Robinson Jeffers: “Point Joe has teeth and has torn ships: it has fierce and solitary beauty…” A few pages later, we’re treated to a different sort of fierceness and beauty in Daniel Duane’s 1997 \u003cb>Caught Inside: A Surfer’s Year on the California Coast\u003c/b>. This is inspired editing.\u003c/p>\n\u003cp>Next the Sierras, where Clarence King leads us up Mount Whitney, circa 1871. Whitney, of course is the state’s highest mountain, so Fish follows it with a 1901 account by John Muir of the state’s largest tree. Sort of. In fact, the lovely passage Fish has selected is notable for its description of the almost inaudible sound made when the tiny \u003ci>Sequoia Gigantea\u003c/i> seed lands on a leaf. Again, the contrast is effective and carefully plotted.\u003c/p>\n\u003cp>The Wallace Stegner except and Gary Synder poems that close the section feel like a literary sorbet, clearing our heads for a descent into the valleys, “Sacramento, San Joaquin, Owens, and Death,” as Fish puts it in his Introduction. The Robert Louis Stevenson excerpt about Napa valley dirt from 1883 is a classic, as is the scene Fish selects from John Steinbeck’s \u003cb>The Grapes of Wrath\u003c/b>, in which the Joads get their first whiff of the “hot green smells” of the Salinas Valley. Fish then gives the floor to Joan Didion, who recalls her childhood only a valley away, where “girls who could not even get into Stephens or Arizona or Oregon, let alone Stanford or Berkeley…” were sent off on consolation voyages to Honolulu. Could there be life experiences that are more different than those of the fictional Joads and Didion’s real-life kin? No doubt Fish was just getting started.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fish closes \u003cb>California’s Best\u003c/b> with sections about San Francisco Bay and Southern California. In the first, we join Mark Twain for a drink at the Cliff House in 1864 (no disrespect, but what a relief not to be reading Twain’s account of Calaveras County frogs). In the second, Walter Mosley returns us to Dana’s sea, only this time it’s the view from the shore that captivates the author in the 1990 novel, \u003cb>Devil in a Blue Dress\u003c/b>. The water, he writes, “glittered with a million tiny glints. It looked like every shiny fish in the sea had come to the surface to mimic the stars that flickered in the sky.” A lot of things have changed in 200 years — Fish’s book is littered with examples — but sometimes it’s worth pausing to consider the things that have not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/exec/obidos/ASIN/1560374942/kqedorg-20\">Purchase California’s Best: Two Centuries of Great Writing from the Golden State\u003c/a> (at amazon.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>November is a month of excess and excitement: election day, meteor showers, Thanksgiving, black Friday, and extreme feats of writing. That last one may not ring a bell for everyone, but for tens of thousands of people around the world, November is \u003ca href=\"http://www.nanowrimo.org\">National Novel Writing Month\u003c/a>, or, for expediency’s sake, NaNoWriMo. It’s a month-long writing challenge put on by a non-profit in Oakland, in which participants write a 50,000-word novel in thirty days, ignoring their inner editors and focusing on quantity instead of quality. It’s also a month full of social events, writing challenges, and plenty of goading from novel-writing peers.\u003c/p>\n\u003cp>I visited a write-in at a coffee shop in Walnut Creek earlier this month, where about a dozen novelists gathered to offer each other support and also check in on one another’s word counts. Here are excerpts from a few of the authors.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/erikaoglesby.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Erika Oglesby is working on a science fiction story for young adults. These are the \u003ca href=\"/.stream/anon/topics/arts/erika-oglesby.wav\">opening lines\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chriswilliams.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>This is the fourth year Chris Williams is writing a manuscript for NaNoWriMo. Listen to a \u003ca href=\"/.stream/anon/topics/arts/chris-williams.wav\">brief excerpt\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/clairehayes.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Claire Hayes is ten. She’s writing about a girl who loses her parrot, but finds herself. Claire reads a \u003ca href=\"/.stream/anon/topics/arts/chris-williams.wav\">short excerpt\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NaNoWriMo continues through the end of the month. If you haven’t started yet, you probably won’t write 50,000 words by midnight November 30, 2009 but you can start planning for next year.\u003c/p>\n\n",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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