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"content": "\u003cp>Your reader has a goal, and that goal is to one day read a book for this column that she actually likes. Much has been attempted to accomplish this objective. Backups are stockpiled in case initial choices go sour. Review copies are read only in a relaxed, suave state of mind (rather than, say, after participating in high-speed car chases that might cloud her sense of literary judgment. You know, the way that cops are statistically more likely to shoot people after they’ve participated in a car chase).\u003c/p>\n\u003cp>Would this month be the month of unjaded review writing? It began with \u003cb>The Women\u003c/b>, T.C. Boyle’s toaster-sized opus on America and architecture. Oh! And, as the title might suggest, The Ladies. Your reader was impressed by the constant and deft use of metaphor (“The weeks began to topple forward, a series of unanchored pillars thudding to earth one after another”). The word “pluvial” appeared (always the shortest path to a girl’s heart). And yet, the further your reader continued, the more she became convinced that this book had been written for an as-yet-unnamed demographic that yearns for lapidary prose about great architects…and their staffing issues. The novel reads like a very strange and lengthy mash-up of \u003cb>The Fountainhead\u003c/b> and those parts in Virginia Woolf’s diaries where she whinges on about how she can’t get proper kitchen help.\u003c/p>\n\u003cp>It became a slog, dear readers. Reading it was feeling more and more like ingesting set decoration: vintage roadsters and horseback rides and blooming cherry trees blurred into one another. Your reader felt guilty. It was hard to type up notes while T.C. Boyle’s face peered up at me from the dust jacket, wearing a jaunty black beret and looking as though he might already have sent someone out to break my kneecaps.\u003c/p>\n\u003cp>A fallback book seemed the neatest solution. And so Douglas Coupland’s \u003cb>The Gum Thief\u003c/b>, recently out in paperback, was taken off the pile. After the sensory detail in \u003cb>The Women\u003c/b>, \u003cb>The Gum Thief\u003c/b> felt sparse and relaxing, like smooth vodka with no aftertaste. The memory of each page seemed to vanish as a new page appeared.\u003c/p>\n\u003cp>A little dull, but appropriate enough for a novel set in the eternal present of a Staples office supply store. Different characters associated with the Staples narrate their own and other people’s lives — arguing with each other as the book progresses. All the characters are trying to make sense of themselves in that Oprah’s Book Club sense of the word: the matters that concern them most are that they are failures at family relationships, relationship relationships, and business relationships in this, the new economy. And, mysteriously, all of them seem to have fantasies of being writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Interleaved with the primary story is a novel that is largely a pastiche of Edward Albee’s \u003cb>Who’s Afraid of Virginia Woolf?\u003c/b> It’s been said that Albee’s play about an academic couple who drink, yell at each other, and pretend to have a child that turns out to have never existed is a clarion call about the American tendency to prefer fantasy to reality. Does that make \u003cb>The Gum Thief\u003c/b> a clarion call to anything?\u003c/p>\n\u003cp>Don’t bet on it. It might make you less likely to spend your average workday drinking out at the loading dock. But all of the life-affirming platitudes expressed by various characters feel as spare and unconvincing as the story itself. It’s too bad — Coupland is a fine writer, but it is often the case with his books that they feel as though they have arrived on one’s doorstep pressure-washed and hermetically sealed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> So: two books, two Americas. One chattering, overdescribed, and at the height of its place as a world power. The other sterile, slightly airbrushed, and sleepwalking through the twilight of the closest America has ever gotten to being an empire. Two Americas, and both of them fiction. The readable America is the one I’m waiting for.\u003c/p>\n\n",
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"content": "\u003cp>Susan Sontag is an intellectual deity best remembered as provocative, shrewd, and somehow unknowable. Her cultural identity was composed of her ideas, not episodes from her personal life, which is why the release of \u003cb>Reborn: Journal & Notebooks 1947-1963\u003c/b> is so significant. These painfully personal entries offer a glimpse into her inner sanctum, a world of self-doubt, sexual expression, and the growth that took place outside of her essays and novels; a world that, up until this point, had yet to be discovered.\u003c/p>\n\u003cp>Reading \u003cb>Reborn\u003c/b> feels akin to breaking into someone’s home and rummaging through their personal effects. The reader is an intruder inside Sontag’s mind. She never wanted her journals published, which is something her son, David Rieff, struggled with. In his touching preface, he argues that, if he hadn’t released them, someone else would have. 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Maybe she was just too self-effacing or self-conscious to see herself in that way.\u003c/p>\n\u003cp>\u003c/p>\u003cp>One of the main threads through \u003cb>Reborn\u003c/b> is Sontag’s struggle with her homosexuality. When she first attends Berkeley at the age of 15, she writes about dating men, but very honestly declares that she does so more as a result of social pressure rather than desire. Soon, she finds herself involved with a girl who introduces her to the late-1940s San Francisco gay scene. Her accounts of this time come to life, suffused with the thrill of self-discovery and expression. Something clearly ignites inside her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet those pesky mores of hetero-normative society eventually catch up with Sontag: “Being queer makes me feel more vulnerable. It increases my wish to hide, to be invisible — which I’ve always felt anyway.” These feelings of anxiety lead to an abrupt December 1949 entry in which she offhandedly mentions her engagement to Philip Rieff, a man whom she’s just met. Despite new developments such as her marriage and the birth of a son, the next few years are barely chronicled in her journals or notebooks. That she stopped writing during this climactic time in her romantic and personal realms is intriguing. It’s as if she lost herself in the ritual of these traditional acts.\u003c/p>\n\u003cp>Her writing picks up again in 1956 as her marriage convulses in its death throes. She likens the practice of marriage to mutual immolation and degrades the custom further: “Whoever invented marriage was an ingenious tormentor. It is an institution committed to the dulling of the feelings.” Sontag ends up fleeing the scene of her “marital wars” for Europe. This is where she seems to have returned to herself at last. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Susan Sontag is an intellectual deity best remembered as provocative, shrewd, and somehow unknowable. Her cultural identity was composed of her ideas, not episodes from her personal life, which is why the release of \u003cb>Reborn: Journal & Notebooks 1947-1963\u003c/b> is so significant. These painfully personal entries offer a glimpse into her inner sanctum, a world of self-doubt, sexual expression, and the growth that took place outside of her essays and novels; a world that, up until this point, had yet to be discovered.\u003c/p>\n\u003cp>Reading \u003cb>Reborn\u003c/b> feels akin to breaking into someone’s home and rummaging through their personal effects. The reader is an intruder inside Sontag’s mind. She never wanted her journals published, which is something her son, David Rieff, struggled with. In his touching preface, he argues that, if he hadn’t released them, someone else would have. This is a valid point, yet it still seems a bit wrong.\u003c/p>\n\u003cp>But Sontag knew the implications of keeping a diary. After reading those of her lovers without permission, she admits: “Do I feel guilty about reading what was not intended for my eyes? No. One of the main (social) functions of a journal or diary is precisely to be read furtively by other people.” So the publication isn’t something that would have surprised her. And, among the hundreds of books listed throughout \u003cb>Reborn\u003c/b>, few seem to have given her as much fervid pleasure as Andre Gide’s journals. “I finished reading this at 2:30 a.m. of the same day I acquired it. Gide and I have attained such perfect intellectual communion that I experience the appropriate labor pains for every thought he gives birth to!” Clearly the value of publishing diaries and journals of notable writers and thinkers was not lost on Sontag. Maybe she was just too self-effacing or self-conscious to see herself in that way.\u003c/p>\n\u003cp>\u003c/p>\u003cp>One of the main threads through \u003cb>Reborn\u003c/b> is Sontag’s struggle with her homosexuality. When she first attends Berkeley at the age of 15, she writes about dating men, but very honestly declares that she does so more as a result of social pressure rather than desire. Soon, she finds herself involved with a girl who introduces her to the late-1940s San Francisco gay scene. Her accounts of this time come to life, suffused with the thrill of self-discovery and expression. Something clearly ignites inside her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet those pesky mores of hetero-normative society eventually catch up with Sontag: “Being queer makes me feel more vulnerable. It increases my wish to hide, to be invisible — which I’ve always felt anyway.” These feelings of anxiety lead to an abrupt December 1949 entry in which she offhandedly mentions her engagement to Philip Rieff, a man whom she’s just met. Despite new developments such as her marriage and the birth of a son, the next few years are barely chronicled in her journals or notebooks. That she stopped writing during this climactic time in her romantic and personal realms is intriguing. It’s as if she lost herself in the ritual of these traditional acts.\u003c/p>\n\u003cp>Her writing picks up again in 1956 as her marriage convulses in its death throes. She likens the practice of marriage to mutual immolation and degrades the custom further: “Whoever invented marriage was an ingenious tormentor. It is an institution committed to the dulling of the feelings.” Sontag ends up fleeing the scene of her “marital wars” for Europe. This is where she seems to have returned to herself at last. She becomes involved with a woman represented only by the letter H (and later another woman called I) and plays the part of the unloved, a role familiar to her husband who has yet to realize that Susan has already divorced him in her thoughts. What follows is a series of episodes in which Sontag wavers between despising her lovers and pleading with them to love her more. Turns out that even geniuses suffer from the brutality of Eros.\u003c/p>\n\u003cp>Perhaps more interesting than Sontag’s successes and failures in love is the manner in which she records her existence: “I write to define myself — an act of self-creation — part of the process of becoming.” In her rigorous self-analysis, she disassembles her personality, turns over parts of interest in her hands, studies them, and, with a new understanding, creates herself anew as the person she wishes to be. A rebirth — the latest edition of a continuous work-in-progress — takes place.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The main achievement of \u003cb>Reborn\u003c/b> is that the collection humanizes a woman who has become somewhat of an untouchable to many. Her own words prove that she was far from invincible, even though she believed this right up until her death (which she thought avoidable). She was a woman with great mental capacity and perception, yet someone dealing with the same personal struggles that hamper us all. Although sifting through such personal philosophy and turmoil proves exhausting at times, there is much to be gained from Sontag’s example; mainly, the comforting knowledge that self-doubt is a universal symptom and that the insatiable hunger to know more, love more, be more is what makes us human.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan-235x300.jpg\" alt=\"Type O Negative, Joel Barraquiel Tan\" width=\"235\" height=\"300\" class=\"alignleft size-medium wp-image-129096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan-235x300.jpg 235w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan.jpg 804w\" sizes=\"(max-width: 235px) 100vw, 235px\">\u003c/a>\u003c/p>\n\u003cp>It’s a trope of the last Empowerment Century that personal trauma makes for great art. That false understanding has led to the development of effective art therapies, some really bad art, and even more really bad poetry. (Most of all, it has led to the establishment of a new performance discipline — one-woman shows — but that’s another story.)\u003c/p>\n\u003cp>Yes, when trauma poetry’s bad, it’s horrid. But when it’s good, it’s very very good: a transformation of personal compulsion towards pain into a shared compulsion towards the sublime. That’s been poet and cultural worker Joël Barraquiel Tan’s project throughout his career. His second book, the incandescent \u003cb>Type O Negative\u003c/b>, throws away as much of the chat and meter and matter of poetry as the poet can get away with, digging toward the vein of fire that, whatever its source, animates both poetry and memory. Tan finds it more often than not.\u003c/p>\n\u003cp>The book is divided into two sections. “Thicker,” is about Tan’s Philippine childhood and his family, the title both a reference to the relative density of blood and water, and a carnal take on the figures and obsessions of those tasked with his upbringing. “Bug” is about death, primarily death by that bug, AIDS, but also cancers, toxic shock, even roadkill: the nonviolent, nontraditional deaths of the marginalized American. The lacuna between this before and after — the poet doesn’t say — is that much-storied “immigration experience,” which Tan parodies and disposes of ruthlessly in his introductory “ars poetica filipiniana:”\u003c/p>\n\u003cp>isn’t enough\u003cbr>\nto pass mangoes ’round\u003cbr>\nuntil they’re bruised\u003cbr>\nabscessed from over handling\u003cbr>\nor lament the bread\u003cbr>\nwarm hands of dying\u003cbr>\ngrandparents. isn’t\u003cbr>\nenough to be defined\u003cbr>\nby exile or empire\u003cbr>\nor scorn the\u003cbr>\nlove of whites. Just\u003cbr>\nisn’t enough to be brown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To put it plainly, the trials of the immigrant pale when shoved between “Thicker” and “Bug,” between, on the one hand, Tan’s father’s palpable and disturbing sexuality, and his childhood sexual abuse/awakening by a teenaged uncle; and, on the other hand, his American queer coming of age during a time when mentors, guides, and lovers were falling to AIDS by the quilts-ful.\u003c/p>\n\u003cp>“Thicker” twines deliciousness and debilitation so closely together, we don’t know how to name this childhood sexuality: an outrage or a gift. Contrasted with “Thicker’s” deliberately lush free verse, “Bug’s” discrete pieces, each dedicated to a dead friend, regulate panic and devastation within traditional poetic forms. Tan’s favorite form is the pantoum, its rocking, hesitant forward motion mimicking the fearful movement into relationships, sexual liaisons, and simply forward into a life that offers the same tragedy, over and over.\u003c/p>\n\u003cp>\u003cb>Type O Negative\u003c/b> is haunted, on both sides of the lacuna, by deathbed scenes: Tan’s grandfather, father, mother, nanny, and a whole generation of friends. The first piece in “Bug,” a pantoum titled “minutes,” counts off the 10-minute increments allowed to each friend of a dying man to say their goodbyes. You realize later that this is the scheme of the whole book, incremental seances to revive and again dismiss the ghosts who are more powerful in the poet’s memory and imagining than the living.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yet the book is not a book of the dead. The child Tan and young man Tan, in these scenes, are played by today’s poet in youthful drag, and not by the ghosts of his former self. These are conversations between the remembered dead and the now-living, adjusted for the benefit of an audience. For Tan, like his predecessor Li-Young Lee, is both held to and blessed with a devastating, dramatic family background, whose details are a mine of symbolism for every hot topic of contemporary life. Tan’s pain is not our pain, but the beauty he transforms it into is ours for the reading.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan-235x300.jpg\" alt=\"Type O Negative, Joel Barraquiel Tan\" width=\"235\" height=\"300\" class=\"alignleft size-medium wp-image-129096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan-235x300.jpg 235w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/03/Type-O-Negative-Joel-Barraquiel-Tan.jpg 804w\" sizes=\"(max-width: 235px) 100vw, 235px\">\u003c/a>\u003c/p>\n\u003cp>It’s a trope of the last Empowerment Century that personal trauma makes for great art. That false understanding has led to the development of effective art therapies, some really bad art, and even more really bad poetry. (Most of all, it has led to the establishment of a new performance discipline — one-woman shows — but that’s another story.)\u003c/p>\n\u003cp>Yes, when trauma poetry’s bad, it’s horrid. But when it’s good, it’s very very good: a transformation of personal compulsion towards pain into a shared compulsion towards the sublime. That’s been poet and cultural worker Joël Barraquiel Tan’s project throughout his career. His second book, the incandescent \u003cb>Type O Negative\u003c/b>, throws away as much of the chat and meter and matter of poetry as the poet can get away with, digging toward the vein of fire that, whatever its source, animates both poetry and memory. Tan finds it more often than not.\u003c/p>\n\u003cp>The book is divided into two sections. “Thicker,” is about Tan’s Philippine childhood and his family, the title both a reference to the relative density of blood and water, and a carnal take on the figures and obsessions of those tasked with his upbringing. “Bug” is about death, primarily death by that bug, AIDS, but also cancers, toxic shock, even roadkill: the nonviolent, nontraditional deaths of the marginalized American. The lacuna between this before and after — the poet doesn’t say — is that much-storied “immigration experience,” which Tan parodies and disposes of ruthlessly in his introductory “ars poetica filipiniana:”\u003c/p>\n\u003cp>isn’t enough\u003cbr>\nto pass mangoes ’round\u003cbr>\nuntil they’re bruised\u003cbr>\nabscessed from over handling\u003cbr>\nor lament the bread\u003cbr>\nwarm hands of dying\u003cbr>\ngrandparents. isn’t\u003cbr>\nenough to be defined\u003cbr>\nby exile or empire\u003cbr>\nor scorn the\u003cbr>\nlove of whites. Just\u003cbr>\nisn’t enough to be brown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>My future wife and I once had plans to meet in Penn Station. When I arrived and didn’t see her in the crowd, I pulled out a magazine, waiting for her to find me. Turned out she arrived and did the same thing. We stood there, fifty feet apart and reading our magazines, until we missed the train. Ridiculous, yes, but it was still a tense hour waiting for the next train. That hour was the spark for this story. I wanted to write a story where two people went head-to-head in that time span, and in that place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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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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"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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"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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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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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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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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},
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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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