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"content": "\u003cp>Last Friday, amongst brown paper boxes and piles of tissue paper, I helped San Francisco’s \u003ci>The Thing Quarterly\u003c/i> celebrate its one year anniversary by wrapping Issue 5, the first issue of their second subscription cycle.\u003c/p>\n\u003cp>So far it’s been one success after another for \u003ci>The Thing\u003c/i>, starting with a residency at Southern Exposure and a profile in \u003ca href=\"http://www.frieze.com/\" target=\"offsite\" rel=\"noopener\">Frieze\u003c/a> magazine. Over the course of the last year, the periodical has been able to fully cover production costs via subscription sales, provide comparatively decent compensation to its contributors, and garner positive press from a diversity of publications, including \u003ci>The San Francisco Chronicle\u003c/i>, \u003ci>Marie Claire\u003c/i>, NPR’s \u003cb>Marketplace\u003c/b> and \u003ci>Design Observer\u003c/i>. 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Even though Herschend and Rogan don’t consider the issues to be limited editions, once an issue is sold out, anyone interested in acquiring old stock is at the mercy of eBay and the cultural capital market. Buying at the current subscription rate ($35 a thing) is an incredibly good deal, considering the quality of the artists and writers involved. The current subscription cycle, for example, includes Lucy Pullen, Trevor Paglen, Jonathan Lethem, and the collaborative Allora & Calzadilla, as well as a few surprise projects.\u003c/p>\n\u003cp>Beyond the collectibility of the contributors, however, \u003ci>The Thing\u003c/i> rolls into one all of the trends that I see flourishing in independent publishing right now: good design, specialty-packaging, and quality craftsmanship. In other words, the most successful offline publishing projects over the last decade have paid as much attention to their own object-hood as they have their content (San Francisco’s \u003ci>McSweeney’s\u003c/i> being a prime example, as well as magazines like \u003ci>Cabinet\u003c/i>, which is offset-printed in Belgium at a shop that still feeds its sheets by hand).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take Issue 5, by artist Lucy Pullen. While I don’t want to give away what Pullen’s thing actually is, I will say that special knives had to be made at the Westwind Hardwood factory in British Columbia in order for Travis Hebert to manufacture it, that the text had to be applied “just so” by Val Kasvin at Sputnik Models, and that a special box had to be created by Julian at Arrow Paper to shield it from the US Postal Service.\u003c/p>\n\u003cp>All of this is actually the norm in the world of consumer-thing-making. What is not normal are small runs (less than 1000) and end credits. Each thing comes with an insert that describes the production process in detail, narrating every company and person involved and blurring the lines between mass-produced consumer product and hand-crafted art object.\u003c/p>\n\u003cp>\u003ci>The Thing\u003c/i>‘s packaging process functions in the same way. So far, all its issues have been communally launched via a series of wrapping parties held at locations on both the west and east coasts, including galleries, book publishing houses, museums, and at least one art book fair. That is, an email is sent out, or notice is posted in the blogosphere, and people (mostly art people) show up, fold boxes, stamp logos, and stuff tissue. Tens, if not hundreds of hands, put each issue to bed. Plus eat pizza. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take Issue 5, by artist Lucy Pullen. While I don’t want to give away what Pullen’s thing actually is, I will say that special knives had to be made at the Westwind Hardwood factory in British Columbia in order for Travis Hebert to manufacture it, that the text had to be applied “just so” by Val Kasvin at Sputnik Models, and that a special box had to be created by Julian at Arrow Paper to shield it from the US Postal Service.\u003c/p>\n\u003cp>All of this is actually the norm in the world of consumer-thing-making. What is not normal are small runs (less than 1000) and end credits. Each thing comes with an insert that describes the production process in detail, narrating every company and person involved and blurring the lines between mass-produced consumer product and hand-crafted art object.\u003c/p>\n\u003cp>\u003ci>The Thing\u003c/i>‘s packaging process functions in the same way. So far, all its issues have been communally launched via a series of wrapping parties held at locations on both the west and east coasts, including galleries, book publishing houses, museums, and at least one art book fair. That is, an email is sent out, or notice is posted in the blogosphere, and people (mostly art people) show up, fold boxes, stamp logos, and stuff tissue. Tens, if not hundreds of hands, put each issue to bed. Plus eat pizza. Which is what I was doing on Friday night.\u003c/p>\n\u003cp>Contrary to what you might be thinking, it actually costs \u003ci>The Thing\u003c/i> money to do its packaging this way. These wrapping parties however, along with \u003ci>The Thing\u003c/i>‘s predilection for detailing everyone and everything involved in the production, are the final part of the formula.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s not just the collectibility of the artists involved, or an awareness of quality craftsmanship, or incredible identity design, or even the accrual of lots of personalized hands. What publications like \u003ci>The Thing\u003c/i> and \u003ci>McSweeney’s\u003c/i> offer is something I’m beginning to think of as the patina of language, if you will: all the ways in which a narrative or back story can affect an object (even another text) and give it value. In my mind, \u003ci>The Thing\u003c/i> manages to succeed so beautifully because they have merged this concept with their format through every step of their process, down to the things themselves. Even a single piece of text can serve as a suggestive pointer towards a different understanding of an everyday object. Which is the whole point.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once in a while I stumble upon a novel that’s so honest and has a structure that’s so original, it feels like the author poured the words directly out of his or her head. Deb Olin Unferth’s first novel \u003cb>Vacation\u003c/b> is one of these. It combines an experimental style and a heartbreaking plot to shake readers awake and then force us to care for her characters.\u003c/p>\n\u003cp>\u003cb>Vacation\u003c/b>‘s plot is so tangled that it takes an attentive reader to unravel it. It’s about a man (Myers) following his wife who is in turn stalking Myers’s college friend (Gray). It’s also about a woman (Claire) who follows Myers thinking he looks like her father who’s a dolphin un-trainer. (If there are dolphin trainers, why couldn’t there be un-trainers? This is how Unferth’s mind works.) There are more characters and narrative streams in \u003cb>Vacation\u003c/b> than in a room full of schizophrenics watching \u003cb>Lost\u003c/b>. If this sounds too complicated, then this book is not for you.\u003c/p>\n\u003cp>Only Myers and Gray receive the privilege of third-person narration, while every other character (and there are plenty) tell their stories in diary form. The third-person narration doesn’t even flow according to convention. I’m not sure I’ve ever read a novel in which a narrator argues with herself.\u003c/p>\n\u003cp>\u003cb>Vacation\u003c/b> was much darker than I expected. Every character is disturbed and isolated in his or her own way. It’s not that any of them are bad or depressing people, but rather it’s their relationships that make the novel bleak. Few human relations are simple, but none of Unferth’s characters have tragedy-free interactions. The story lines (Gray’s schism with his wife, Claire’s search for her father, Claire’s father’s quest to save the dolphins, a former Nicaraguan soldier’s homecoming) weigh the plot down and Unferth seems unwilling to commit to following them through to the end. To fulfill the premise of the story, Unferth would’ve needed access to Pynchon’s personal stock of blank paper.\u003c/p>\n\u003cp>By the end, it seems like Unferth chose to call her book “Vacation” because “Heart of Darkness” was taken. This title is redefined often. When Myers chases Gray to Nicaragua in order to find out about his wife’s stalking habits, he abandons everything, including his marriage and his job (his boss’s attempt to remain understanding is one of the most comedic moments in the novel). Myers’s debate with his wife over whether or not divorce could be considered a vacation is shattering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unferth’s style is unlike anything I’ve ever read and yet feels surprisingly familiar. Dave Eggers readers will feel comfortable with her conversational tone, but it’s her attention to detail that makes the novel. The author blows up words like balloons and then twists them together to form intricate balloon animal sentences — balloon animals of pain and sorrow. It took me two or three reads of “Just a piece of cloth, cut, dyed, arranged, and sealed together with thread to approximate the shape of his body,” to realize Unferth was writing about clothes and not some sort of flannel body bag. But what are clothes but that? Unferth examines the meaning of words that we take for granted by pushing their definitions to the limits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Vacation\u003c/b> is a thrilling novel packed into just over 200 pages. Although it can’t quite live up to its ambitious foundation, it’s definitely a worthwhile read. Anyone who enjoys the dark quirk of McSweeney’s books will love \u003cb>Vacation\u003c/b> and anyone who hasn’t tried them out should. Unferth’s first novel certainly shows a lot of promise. I’m not sure if next time she’ll tighten the scope or increase the page count, but if she sticks to her style she’ll have more good material to come.\u003c/p>\n\n",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"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. ",
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"order": 18
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},
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"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/",
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "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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