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"content": "\u003cp>While books are usually presented as stand alone objects, having a long-term relationship with a contemporary poet or writer — reading his books as they come out and observing the development of his practice — can be much more satisfying. Thus, failures and mitigated successes are often more exciting than the glories of a squarely hit bullseye; you learn to recognize the signs of an artist in transition to a new phase. These transitions signal that the genuinely hard and lonely work of making art is happening right now in someone’s head, heart or soul.\u003c/p>\n\u003cp>This is how I’m thinking of Truong Tran’s fifth book of poetry \u003cb>four letter words\u003c/b>. I’ve known Tran for close to a decade, since my employer at the time, Kearny Street Workshop, published his first book, \u003cb>The Book of Perceptions\u003c/b>. Tran’s debut publication, an anomaly in many ways, is a self-contained, collaborative project between Tran the poet, a photographer, and a designer — all Vietnamese American — who combine their perceptions of contemporary Vietnam in print. A collection of his earlier work, \u003cb>Placing the Accents\u003c/b>, mostly comprised of line-broken academic poetry about personal things and identity, ended up being published second.\u003c/p>\n\u003cp>It was only after shucking his collection of learning poetry and taking up a one-punch project like \u003cb>Perceptions\u003c/b> that Tran really revealed his visual and rhythmic language. \u003cb>Perceptions\u003c/b> piloted what Tran calls the “brick,” a solid, left and right justified margin block of text with no capitalization and no punctuation which strikes the eye like a brick through a window, and has become Tran’s default format. In his third book, \u003cb>dust and conscience\u003c/b>, Tran rewrote and expanded upon the material in \u003cb>Perceptions\u003c/b>. The brick began to yield more than just visual density from essentially prose-poetry. That density allows lines to run together into a new rhythm accented by hinge words and also protects currents that even picked-out verse can’t reveal.\u003c/p>\n\u003cp>Tran had no sooner demonstrated the utility of the “brick” than he unraveled it again, quite literally and visually. \u003cb>within the margin\u003c/b>, his fourth book, is a single, book-length poem, told off in a single line, from margin to margin, across each page of the book; an exceptionally long “brick” pulled out into yarn. Occasionally the yarn breaks into zig-zag tangles of adverse thought. The line shades and tints from one idea to the next reiterating the colors in different hues. It is symmetrical, and what the Germans would call \u003ci>vollkommen\u003c/i>: not perfect, but entire unto itself.\u003c/p>\n\u003cp>I run through this history because \u003cb>four letter words\u003c/b> is not entire unto itself. While drawing in elements — topics, ideas, tactics — of all four previous books, \u003cb>four letter words\u003c/b> does not, as you might expect, serve as a good introduction to Truong Tran. It is the worst of both worlds: a piece that assumes you know what came before and yet doesn’t carry the story forward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book contains a profusion of ideas and concerns not found in all of the previous four combined, yet displays no joy of discovery. Tran returns to the default “brick” seeking new topics and new ways of approaching old topics; the search is feverish and driven, yet in the first two “books” or sections, there is no through-line, no unity of purpose or inquiry. The book only begins to take on weight in the third section (the lost book) when an earlier piece — a description of a home invasion that turns into gang-rape — begins to echo, especially in a three-page reiteration of “i wish that this had never happened.”\u003c/p>\n\u003cp>At the same time, Tran reveals a slyness that is the bitter successor of the humor and imagination he brought to his earlier work. The narrator’s self-accusation of lying, deliberate obfuscations, and episodes of gender and sexuality-bending, say directly: you don’t know what’s true so don’t assume. All you can know here is that — whether on the street, in the body, on the page, or in his practice — something terrible has happened to the narrator — perhaps even to the poet — and he is writing an entire book to avoid talking about it.\u003c/p>\n\u003cp>\u003cb>four letter words\u003c/b> is the most resoundingly accomplished of all of Tran’s books; every piece is a new effort, every page offers a new angle. Tran is too skilled and experienced by now not to know how to shape a book, draw its threads together, make its themes peek out and tantalize. But the theme of the poet trapped in his poetry, not enabled by it, is not just topic or modus, it’s the actual feel: we are trapped in there, too, and it’s pretty airless. The profusion is less artistic experimentation than a repeated trying of locked door handles. Perhaps this is entirely the poet’s intention, but it does seem to be a lot of effort for a flat purpose, and I imagine it’s more a reflection of the poet’s status than anything else.\u003c/p>\n\u003cp>Near the end, Tran lets go of his strangle-hold on the format — his insistence on experimentation — and the “bricks” begin to lighten. He’s gotten it off his chest, he’s tried all the buttons, he’s eaten the leftovers, he’s cleaned his slate. What comes now? What’s next?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Truong Tran’s \u003cb>four letter words\u003c/b> is available from \u003ca href=\"http://spdbooks.org/details.asp?BookID=0978766733\" target=\"offsite\" rel=\"noopener\">Small Press Distribution\u003c/a>. Strangely, the publisher’s, \u003ca href=\"http://apogeepress.com/\" target=\"offsite\" rel=\"noopener\">Apogee Press’s\u003c/a>, site has no information for the book.\u003c/p>\n\n",
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"content": "\u003cp>The day after the World Trade Center was destroyed, Tamim Ansary sent an anguished e-mail to twenty friends, discussing the attack from his perspective as an Afghan American. The message reached millions. Born to an Afghan father and American mother, Ansary grew up in the intimate world of Afghan family life and emigrated to San Francisco thinking he’d left Afghan culture behind forever. At the height of the Iranian Revolution, however, he took a harrowing journey through the Islamic world, and in the years that followed, he struggled to unite his divided self and to find a place in his imagination where his Afghan and American identities might meet.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/programs/writersblock/one-city.jpg\" alt=\"one city one book san francisco\" style=\"float: left;margin-right: 5px;margin-bottom: 5px\">\u003cb>West of Kabul, East of New York\u003c/b> is 2008’s selection for the San Francisco \u003ca href=\"http://sfpl.org/news/ocob/onecity.htm\" target=\"offsite\" rel=\"noopener\">One City One Book\u003c/a> program, an annual citywide event that encourages San Franciscans to read the same book at the same time and then discuss it in book groups and at events throughout the City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The choice Alex Gibney faced when he set to making a documentary about writer and counterculture icon Hunter Thompson was whether to pierce the manic myth that had grown around his subject, or to carve a monument to it. He chose the latter, and a good many people will have a rollicking good time at \u003cb>Gonzo: The Life and Work of Dr. Hunter S. Thompson\u003c/b>. But a smaller but still sizable number will detest the multitude of self-indulgences on display, with Gibney’s outstripping Thompson’s.\u003c/p>\n\u003cp>One gets a bad feeling about the filmmaker’s instincts early on when he cuts to footage of a network TV anchor announcing Thompson’s gunshot suicide in 2005. His intent, obviously, is to convey to younger moviegoers that Thompson was such a well-known figure that his passing made the evening news. But using an Establishment voice to establish Thompson’s importance is so counterintuitive as to be imbecilic. From the beginning of his career, the lanky journalist — who did his best work for the scruffy San Francisco music and culture magazine Rolling Stone — was a subversive who delighted in challenging the values and complacency of straight America. He may have changed over the years to the point where he basked in mainstream approbation, but that’s not how Gibney wants us to see this clip.\u003c/p>\n\u003cp>Another opportunistic but ill-advised move is bringing Johnny Depp in to read Thompson’s prose. Gibney didn’t pick his name out of a hat — Depp played Thompson in the 1998 film \u003cb>Fear and Loathing in Las Vegas\u003c/b> — but the choice signals the filmmaker’s intention to trade on every pop culture marker associated with Rolling Stone’s ace writer. Sure enough, Gibney later pulls entire sequences from Terry Gilliam’s movie (and one from \u003cb>Where the Buffalo Roam\u003c/b>, starring a cartoonish Bill Murray). Now Depp is a fine actor and he’s here to serve Thompson, but he can’t help but steal the spotlight, even briefly, while underscoring the writer’s celebrity status.\u003c/p>\n\u003cp>The best parts of Gonzo are the lengthy segments covering Thompson’s early career, before he degenerated into a caricature (or, if you prefer, was entrapped by his image) and before the film succumbs to chronicling the legend instead of the man. The sections on Thompson’s book about the Hells Angels, which established his reputation, and his run for sheriff of Aspen, which reminds us that he was an original thinker, are completely engrossing.\u003c/p>\n\u003cp>The Colorado sequence (and the rest of the documentary from here on) is marred by the pretentious use of hit songs in overly literal but nonsensical and show-offy ways. Lou Reed’s “Walk On the Wild Side” says New York City to me, even if everyone in the country was listening to it at the time. Only someone with money to burn and an ego the size of the Goodyear blimp would choose to use it in a section on Aspen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It serves to confirm that Gibney is now ensconced in the hit-making wing of documentary film, with \u003cb>Gonzo\u003c/b> representing the apotheosis of the glib opportunism he showcased in \u003cb>Enron: The Smartest Guys in the Room\u003c/b> and \u003cb>Taxi to the Dark Side\u003c/b>. He wants to shock us, to appall us, to make us laugh, but he never implicates us in what’s going on, leaving his movies as diverting — and as trivial — as a Richard Gere flick.\u003c/p>\n\u003cp>By the time \u003cb>Gonzo\u003c/b> gets to Thompson’s iconoclastic and hilarious coverage of the presidential campaign of 1972, it’s starting to run out of inspiration, if not energy. Gibney continually links Vietnam to Iraq, Nixon to Bush, for the college kids in the crowd who are just too darned dumb or stoned to make the leap themselves. (He might check out \u003cb>The Daily Show\u003c/b> to see the level of historical knowledge and political awareness that Jon Stewart assumes of his viewers on a nightly basis.)\u003c/p>\n\u003cp>Ultimately, your enjoyment of \u003cb>Gonzo\u003c/b> will depend on the degree to which you embrace Thompson as an outlaw and a hero. Although the film repeatedly pulls its punches — his drug use is portrayed as glamorous, taboo and hip, while the damage caused by his alcoholism (which is none of those things) is barely acknowledged — it is clear that Thompson was an irresponsible, immature, narcissistic, controlling individual who never got over the blow to his idealism that was McGovern’s rout and Nixon’s re-election in 1972. And he was a helluva writer.\u003c/p>\n\u003cp>\u003cb>Gonzo\u003c/b> is an educational and an entertaining film, but it is not an insightful one. Ours is a culture that gobbles up originals on the fringes and co-opts them into the harmless morass of the mainstream. The film revels in Thompson’s notoriety but all but ignores his efforts to evade his fate, or to agitate from the morass. That’s something college kids would have found helpful.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Gonzo: The Life and Work of Dr. Hunter S. Thompson\u003c/b> opens Friday, July 4 at the Embarcadero in San Francisco and the Shattuck in Berkeley. For \u003ca href=\"https://tickets.landmarktheatres.com/Landmark.aspx?TheatreID=224\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit www.landmarktheatres.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It serves to confirm that Gibney is now ensconced in the hit-making wing of documentary film, with \u003cb>Gonzo\u003c/b> representing the apotheosis of the glib opportunism he showcased in \u003cb>Enron: The Smartest Guys in the Room\u003c/b> and \u003cb>Taxi to the Dark Side\u003c/b>. He wants to shock us, to appall us, to make us laugh, but he never implicates us in what’s going on, leaving his movies as diverting — and as trivial — as a Richard Gere flick.\u003c/p>\n\u003cp>By the time \u003cb>Gonzo\u003c/b> gets to Thompson’s iconoclastic and hilarious coverage of the presidential campaign of 1972, it’s starting to run out of inspiration, if not energy. Gibney continually links Vietnam to Iraq, Nixon to Bush, for the college kids in the crowd who are just too darned dumb or stoned to make the leap themselves. (He might check out \u003cb>The Daily Show\u003c/b> to see the level of historical knowledge and political awareness that Jon Stewart assumes of his viewers on a nightly basis.)\u003c/p>\n\u003cp>Ultimately, your enjoyment of \u003cb>Gonzo\u003c/b> will depend on the degree to which you embrace Thompson as an outlaw and a hero. Although the film repeatedly pulls its punches — his drug use is portrayed as glamorous, taboo and hip, while the damage caused by his alcoholism (which is none of those things) is barely acknowledged — it is clear that Thompson was an irresponsible, immature, narcissistic, controlling individual who never got over the blow to his idealism that was McGovern’s rout and Nixon’s re-election in 1972. And he was a helluva writer.\u003c/p>\n\u003cp>\u003cb>Gonzo\u003c/b> is an educational and an entertaining film, but it is not an insightful one. Ours is a culture that gobbles up originals on the fringes and co-opts them into the harmless morass of the mainstream. The film revels in Thompson’s notoriety but all but ignores his efforts to evade his fate, or to agitate from the morass. That’s something college kids would have found helpful.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Gonzo: The Life and Work of Dr. Hunter S. Thompson\u003c/b> opens Friday, July 4 at the Embarcadero in San Francisco and the Shattuck in Berkeley. For \u003ca href=\"https://tickets.landmarktheatres.com/Landmark.aspx?TheatreID=224\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit www.landmarktheatres.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Los Angeles residents: they really are different than you and me. If you’ve ever had to choose a surgeon to repair a botched rhinoplasty, and you settle on one because you did a visualization exercise in which one surgeon appeared as “light and the other man was a shadow” — please take a vacation outside the Thirty Mile Zone for a little while. Same goes if you’ve come to believe that you have the ability to enter a Shoe Pavilion and “manifest” the shoes you want. \u003cb>Quakeland\u003c/b>, the first grownups’ novel by beloved Young Adult author Francesca Lia Block, contains characters who do both of these things. The fact that Block is able to render these women without irony, and with great compassion, means she’s a bigger person than I will ever be. Either that, or she’s been breathing a little too much smog herself.\u003c/p>\n\u003cp>Block has a generation of fans who have followed her work for over a decade. Her books for teenagers, including the \u003cb>Weetzie Bat\u003c/b> series, are full of darkness and magic, references to sex and death, and altogether treat the young audience like they have some intelligence. (Which is probably why Weetzie Bat and her friends are so often banned from school libraries.) In the majority of Block’s books, the characters live in a heightened world that resembles a fairy-tale, magical-realist Los Angeles, where dreams can come literally true, for good and for ill. Not so in \u003cb>Quakeland\u003c/b>. Published by San Francisco’s own small and risk-taking Manic D Press after her regular publisher declined it, this book will come as a big surprise to longtime Francesca Lia Block fans. It takes place in the real Los Angeles, where enlightenment and contentment are hard to come by — even for someone who can shop psychically for nose job surgeons and strappy sandals.\u003c/p>\n\u003cp>The characters that inhabit \u003cb>Quakeland\u003c/b> reside in Venice and Culver City, but they actually live on the astral plane. In the book’s first half, the protagonist is Katrina, a depressed, lonely preschool teacher who idolizes her best friend Grace and her yoga teacher Kali. Both of those women appear centered, loving, and model-beautiful, whereas Katrina is often a chubby, needy mess. “Vitamin Z” — Zoloft — makes her life somewhat tolerable. But then she meets a man named Jasper in her Contact Dance class, and her fragile world falls apart. \u003c/p>\n\u003cp>Contact is an improvised style of modern dance that allows for lots of soulful eye contact, rolling around on the floor, and sweaty, emotional embraces with strangers of all genders. 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Especially when Jasper’s every word, every action, seems calculated to make her feel like garbage. “Tell me you need me,” he says to her during sex. “Tell me like you mean it.” The following day, he says:\u003cbr>“You scared me when we were making love before.”\u003cbr>“What? I scared you?”\u003cbr>“You sounded so needy.”\u003cbr>“You told me to say I needed you.”\u003cbr>“Yes, but you said it so convincingly.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, Katrina gets some tragic news from her best friend Grace, and has to confront what she will do if the one person who she really does need, more than anyone, goes away.\u003c/p>\n\u003cp>The second half of the book changes things up. There is a monologue from the ever-watchful city of Los Angeles itself. Then we meet Angeli, the single mom and spiritual seeker who was the author of the book’s first half. Although far more stable than Katrina, Angeli makes her own series of boneheaded moves with inappropriate men, including going to bed with a guy she meets at a Sex and Love Addicts Anonymous meeting. This was the point where I wanted to shake her by the shoulders and yell, “How exactly did you imagine that this was all going to END WELL!?”\u003c/p>\n\u003cp>Throughout the book, the spectre of war, death, and world disaster are always lurking just offstage. On the subject of the 9-11 attacks, Katrina tells us: “Kali said that many psychics mentally visited the actual site, the ruins of the twin buildings, after it happened and comforted and guided all the desolate souls who weren’t able to leave it yet. It was like handing them a cell phone to make the last call, a piece of paper and a pen to write the last note, Kali said. Some resolution. Psychic triage. I don’t know how to do that. All I have is the vision, the apocalypse.” The characters are so upset by the evening news that it seems unsporting to point out: hey, that bombing/flood/plane crash didn’t actually happen to you — but it did just ruin the lives of some other people. How about, instead of performing a dance for World Peace on an “astrologically important day,” or doing “psychic triage,” you actually go and ease your worried soul by HELPING the people who are actually suffering? \u003c/p>\n\u003cp>Since this book is such a departure from the usual Francesca Lia Block universe and stable of characters, I can’t help but speculate on her reasons for writing it. Is \u003cb>Quakeland\u003c/b> a roman à clef? Is Block trying to settle some old scores with this tale of strong sad women undone, over and over again, by pathological narcissists? There’s no way to know, and it shouldn’t matter. As maddening as the book sometimes is (and I had to restrain myself from throwing it across the room when the words “yoni” and “lingam” were used one too many times), Block has captured something incredibly uncomfortable, and which is rarely shown so fully in fiction. That feeling, one that can’t be shaken with altars and rituals and sweat lodge chants, that without true love and connection, one’s life has been wasted.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> It made me sad for Katrina, and exasperated, that she would think her problem is that she’s not trying hard enough to be enlightened, magical, and psychic — when her real problem is a simple one: a no-good boyfriend. I kept wanting her to leave yoga class behind and go settle down with a nice plumber, or accountant, anyone who lives with his feet planted on the ground instead of floating three feet above it. But maybe that’s too much to ask: this is Quakeland, after all. Even the plumbers probably have gurus, and spec scripts in development. This book annoyed me. It also kept me awake at night. To my mind, that makes it a success. \u003c/p>\n\n",
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"excerpt": "Los Angeles residents: they really are different than you and me. If you've ever had to choose a surgeon to repair a botched rhinoplasty, and you settle on one because you did a visualization exercise in which one surgeon appeared as \"light and the other man was a shadow\" -- please take a vacation outside the Thirty Mile Zone for a little while. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles residents: they really are different than you and me. If you’ve ever had to choose a surgeon to repair a botched rhinoplasty, and you settle on one because you did a visualization exercise in which one surgeon appeared as “light and the other man was a shadow” — please take a vacation outside the Thirty Mile Zone for a little while. Same goes if you’ve come to believe that you have the ability to enter a Shoe Pavilion and “manifest” the shoes you want. \u003cb>Quakeland\u003c/b>, the first grownups’ novel by beloved Young Adult author Francesca Lia Block, contains characters who do both of these things. The fact that Block is able to render these women without irony, and with great compassion, means she’s a bigger person than I will ever be. Either that, or she’s been breathing a little too much smog herself.\u003c/p>\n\u003cp>Block has a generation of fans who have followed her work for over a decade. Her books for teenagers, including the \u003cb>Weetzie Bat\u003c/b> series, are full of darkness and magic, references to sex and death, and altogether treat the young audience like they have some intelligence. (Which is probably why Weetzie Bat and her friends are so often banned from school libraries.) In the majority of Block’s books, the characters live in a heightened world that resembles a fairy-tale, magical-realist Los Angeles, where dreams can come literally true, for good and for ill. Not so in \u003cb>Quakeland\u003c/b>. Published by San Francisco’s own small and risk-taking Manic D Press after her regular publisher declined it, this book will come as a big surprise to longtime Francesca Lia Block fans. It takes place in the real Los Angeles, where enlightenment and contentment are hard to come by — even for someone who can shop psychically for nose job surgeons and strappy sandals.\u003c/p>\n\u003cp>The characters that inhabit \u003cb>Quakeland\u003c/b> reside in Venice and Culver City, but they actually live on the astral plane. In the book’s first half, the protagonist is Katrina, a depressed, lonely preschool teacher who idolizes her best friend Grace and her yoga teacher Kali. Both of those women appear centered, loving, and model-beautiful, whereas Katrina is often a chubby, needy mess. “Vitamin Z” — Zoloft — makes her life somewhat tolerable. But then she meets a man named Jasper in her Contact Dance class, and her fragile world falls apart. \u003c/p>\n\u003cp>Contact is an improvised style of modern dance that allows for lots of soulful eye contact, rolling around on the floor, and sweaty, emotional embraces with strangers of all genders. One can understand why Katrina, so hungry for true connection, would seek out such a class. And one can also understand how she could mistake a sexy dance partner for a decent guy. In her characterization of Jasper, Block excels at fleshing out a certain California archetype: the Enlightened Asshole. Jasper, like all con artists and cult leaders, has a knack for locating, and then destroying, the woman in the room with the least self esteem. \u003c/p>\n\u003cp>Katrina, as her name suggests, is haunted by disasters. She dreams of the asian tsunami, the 9-11 attacks,and the London bombings before they happen. But no amount of Vitamin Z, yoga, past life regression, or mind-altering sex with Jasper can make her happy. Especially when Jasper’s every word, every action, seems calculated to make her feel like garbage. “Tell me you need me,” he says to her during sex. “Tell me like you mean it.” The following day, he says:\u003cbr>“You scared me when we were making love before.”\u003cbr>“What? I scared you?”\u003cbr>“You sounded so needy.”\u003cbr>“You told me to say I needed you.”\u003cbr>“Yes, but you said it so convincingly.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, Katrina gets some tragic news from her best friend Grace, and has to confront what she will do if the one person who she really does need, more than anyone, goes away.\u003c/p>\n\u003cp>The second half of the book changes things up. There is a monologue from the ever-watchful city of Los Angeles itself. Then we meet Angeli, the single mom and spiritual seeker who was the author of the book’s first half. Although far more stable than Katrina, Angeli makes her own series of boneheaded moves with inappropriate men, including going to bed with a guy she meets at a Sex and Love Addicts Anonymous meeting. This was the point where I wanted to shake her by the shoulders and yell, “How exactly did you imagine that this was all going to END WELL!?”\u003c/p>\n\u003cp>Throughout the book, the spectre of war, death, and world disaster are always lurking just offstage. On the subject of the 9-11 attacks, Katrina tells us: “Kali said that many psychics mentally visited the actual site, the ruins of the twin buildings, after it happened and comforted and guided all the desolate souls who weren’t able to leave it yet. It was like handing them a cell phone to make the last call, a piece of paper and a pen to write the last note, Kali said. Some resolution. Psychic triage. I don’t know how to do that. All I have is the vision, the apocalypse.” The characters are so upset by the evening news that it seems unsporting to point out: hey, that bombing/flood/plane crash didn’t actually happen to you — but it did just ruin the lives of some other people. How about, instead of performing a dance for World Peace on an “astrologically important day,” or doing “psychic triage,” you actually go and ease your worried soul by HELPING the people who are actually suffering? \u003c/p>\n\u003cp>Since this book is such a departure from the usual Francesca Lia Block universe and stable of characters, I can’t help but speculate on her reasons for writing it. Is \u003cb>Quakeland\u003c/b> a roman à clef? Is Block trying to settle some old scores with this tale of strong sad women undone, over and over again, by pathological narcissists? There’s no way to know, and it shouldn’t matter. As maddening as the book sometimes is (and I had to restrain myself from throwing it across the room when the words “yoni” and “lingam” were used one too many times), Block has captured something incredibly uncomfortable, and which is rarely shown so fully in fiction. That feeling, one that can’t be shaken with altars and rituals and sweat lodge chants, that without true love and connection, one’s life has been wasted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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": {
"site": "radio",
"source": "npr"
},
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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": {
"site": "news",
"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "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": {
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"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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},
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"id": "fresh-air",
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"link": "/radio/program/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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"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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": {
"id": "how-i-built-this",
"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",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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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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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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": {
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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"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
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