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"content": "\u003cp>A useful new word (and concept) I learned from the internet is “griefing.” Normally used to decribe a video game opponent who doesn’t play fair, a real-world griefer is someone who plays nasty tricks on other people, to the point of ruin, humiliation, or death, in the guise of “humor.” Recent noteworthy examples include a \u003ca href=\"http://www.newyorker.com/reporting/2008/01/21/080121fa_fact_collins\" target=\"offsite\" rel=\"noopener\">suburban mom\u003c/a> who allegedly helped several teenagers invent a fake online persona they used to taunt a neighbor girl until she committed suicide. Then there’s the person or persons known as the \u003ca hef=\"http://www.navytimes.com/news/2008/01/navy_hormuz_iran_radio_080111/\" target=\"offsite\" rel=\"noopener\">Filipino Monkey\u003c/a>, who nearly started World War 3 by playing a little radio-prank on an American warship in the Straits of Hormuz. Ha ha.\u003c/p>\n\u003cp>While modern technology certainly makes it easy and convenient to sociopathically destroy your fellow man for your own amusement, griefing has existed for as long as humans have harbored resentment. Take, for example, John Scogin: a court jester so famous that books about his merry jests and pranks remained popular for hundreds of years after his death. Among his mirthful tricks was the time he lured the aggressive, unpleasant beggars of Oxford into a church by promising a feast, then set the church on fire. The malevolent “joker” Scogin is a spectral presence in Nicola Barker’s huge and ambitious novel. He comes to represent another, even more famous trickster: the cloven-hooved one, the man downstairs, Beelzebub, the titular \u003cb>Darkmans\u003c/b> itself.\u003c/p>\n\u003cp>So what does John Scogin have to do with the residents of modern-day Ashford, a dull English town of tract homes and theme restaurants at the end of the Channel Tunnel? Barker, in 838 pages, slowly and methodically lays it out for us. It appears that when the Chunnel was dug, large portions of Ashford’s priceless history (buildings, antiques) were dug up, plowed under, or misplaced. Beede, armchair scholar and hospital laundry manager, spent years fighting for Ashford’s past via petition and committee. But he was defeated. And he gave up. Or did he? He’s clearly up to something. But what?\u003c/p>\n\u003cp>Beede’s son Kane (note the character names, by the way) would love to know what the heck his boring old dad thinks he’s doing. Kane, as a drug dealer who sells pills passed to him by one of his father’s hospital laundry co-workers, knows more than a little about what a man looks like when he’s hiding something. So he starts poking around. But everything he finds makes him even more confused. Why is Beede arranging secret meetings with Kane’s vulgar, screechy ex-girlfriend Kelly? What’s the relationship between Beede and his strangely alluring foot doctor Elen, and why do they spend so much time together? And why is he secretly studying this weird old manuscript, written in funny old-fashioned language, about some long-dead jester?\u003c/p>\n\u003cp>Elen’s husband is a German man named Isidore. Dory (as he’s known) has fallen victim to a worsening series of episodes he can’t explain: forgetting who he is, abandoning his car on highway off-ramps, stealing horses, speaking archaic languages he never learned. Elen and Dory’s little boy, Fleet, if anything, is even stranger. With the steely calm that is the hallmark of all Creepy Clairvoyant Kids, Fleet has built a huge, precise replica of an ancient cathedral he’s never seen. And out of nowhere, he recounts, in hideous detail, the horrible jests of one John Scogin. And he has the same speaking-ancient-languages problem that his dad has. But he’s only six: how could he know all this stuff? What the Devil is going on in Ashford?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This barely scratches the surface of \u003cb>Darkmans\u003c/b>‘ incredibly intricate plot. Telling you any more would spoil it. Much of the fun is remaining befuddled and confused, shocked and surprised. \u003cb>Darkmans\u003c/b> is the first 838-page novel that has ever seemed too short. Nicola Barker is clearly a graduate of the William Gaddis school of trusting your reader to be smart enough to puzzle out what’s happening with minimal expository assistance.\u003c/p>\n\u003cp>The most hilarious and gloriously-written scene comes about 300 pages in, when Beede visits a neighbor with the intention of resigning from the chairmanship of the Ryan Monkeith Memorial Road Crossing Initiative, but ends up a guest at the most uncomfortable dinner party ever. In a dozen pages of verbal fencing, every weakness is probed, every buried resentment bubbles its way to the surface: “‘Please forgive my wife,’ Charlie told the table. ‘She’s taking antidepressants and they’re making her a little…’ he paused, speculatively, reaching for the perfect word ‘…\u003ci>irritating.\u003c/i>‘” It was this scene that started to make me think of Gaddis’ doorstop of a masterpiece, \u003cb>The Recognitions\u003c/b>, which contains a crucial, epic cocktail party dialogue scene. Late in \u003cb>Darkmans\u003c/b>, a shadowy art forger appears, and all the pieces of the puzzle start falling together. It was at this point that I was sure Barker was making a deliberate tip of the hat to Gaddis: the major themes of \u003cb>The Recognitions\u003c/b>, as in \u003cb>Darkmans\u003c/b>, are father-son estrangement and the murky moral universe of forgery.\u003c/p>\n\u003cp> Nicola Barker is obviously a mad genius. But there was one aspect of the writing that began to drive me absolutely bonkers after the first 200 times she did it. Because every character in the novel is hiding something from someone, there is necessarily a lot of evasion in their speech. But every single character expresses it exactly the same way: by answering questions with questions. Like this:\u003cbr>“Are you planning on going to work?”\u003cbr>“Why wouldn’t I be?”\u003cbr>or this, a couple hundred pages later, between two totally different people:\u003cbr>“Why?”\u003cbr>“Huh?”\u003cbr>“Why? Why were you interested?”\u003cbr>“Why the hell shouldn’t I be?”\u003cbr>And so on.\u003c/p>\n\u003cp>The best scenes are the few where Barker departs from the question-question-question-evasion format and does something more interesting: Like the dinner-party scene, which could be performed as a one-act play as written, or the monologues of Gaffar, a Turkish Kurd who switches between broken English and eloquent Turkish, indicated by changing typefaces.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not an “easy” read. But if you’re hungry for something truly new and enormously ambitious, give it a shot. It helps if you have tackled some Pynchon or Gaddis in the past (Barker’s book reads like a breezy novella compared to, say, \u003cb>Gravity’s Rainbow\u003c/b>). There’s nothing this wild and big going on in American fiction at this moment, especially not by women. Whether that’s a failure of our imaginations or our publishing industry, it’s hard to tell. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A useful new word (and concept) I learned from the internet is “griefing.” Normally used to decribe a video game opponent who doesn’t play fair, a real-world griefer is someone who plays nasty tricks on other people, to the point of ruin, humiliation, or death, in the guise of “humor.” Recent noteworthy examples include a \u003ca href=\"http://www.newyorker.com/reporting/2008/01/21/080121fa_fact_collins\" target=\"offsite\" rel=\"noopener\">suburban mom\u003c/a> who allegedly helped several teenagers invent a fake online persona they used to taunt a neighbor girl until she committed suicide. Then there’s the person or persons known as the \u003ca hef=\"http://www.navytimes.com/news/2008/01/navy_hormuz_iran_radio_080111/\" target=\"offsite\" rel=\"noopener\">Filipino Monkey\u003c/a>, who nearly started World War 3 by playing a little radio-prank on an American warship in the Straits of Hormuz. Ha ha.\u003c/p>\n\u003cp>While modern technology certainly makes it easy and convenient to sociopathically destroy your fellow man for your own amusement, griefing has existed for as long as humans have harbored resentment. Take, for example, John Scogin: a court jester so famous that books about his merry jests and pranks remained popular for hundreds of years after his death. Among his mirthful tricks was the time he lured the aggressive, unpleasant beggars of Oxford into a church by promising a feast, then set the church on fire. The malevolent “joker” Scogin is a spectral presence in Nicola Barker’s huge and ambitious novel. He comes to represent another, even more famous trickster: the cloven-hooved one, the man downstairs, Beelzebub, the titular \u003cb>Darkmans\u003c/b> itself.\u003c/p>\n\u003cp>So what does John Scogin have to do with the residents of modern-day Ashford, a dull English town of tract homes and theme restaurants at the end of the Channel Tunnel? Barker, in 838 pages, slowly and methodically lays it out for us. It appears that when the Chunnel was dug, large portions of Ashford’s priceless history (buildings, antiques) were dug up, plowed under, or misplaced. Beede, armchair scholar and hospital laundry manager, spent years fighting for Ashford’s past via petition and committee. But he was defeated. And he gave up. Or did he? He’s clearly up to something. But what?\u003c/p>\n\u003cp>Beede’s son Kane (note the character names, by the way) would love to know what the heck his boring old dad thinks he’s doing. Kane, as a drug dealer who sells pills passed to him by one of his father’s hospital laundry co-workers, knows more than a little about what a man looks like when he’s hiding something. So he starts poking around. But everything he finds makes him even more confused. Why is Beede arranging secret meetings with Kane’s vulgar, screechy ex-girlfriend Kelly? What’s the relationship between Beede and his strangely alluring foot doctor Elen, and why do they spend so much time together? And why is he secretly studying this weird old manuscript, written in funny old-fashioned language, about some long-dead jester?\u003c/p>\n\u003cp>Elen’s husband is a German man named Isidore. Dory (as he’s known) has fallen victim to a worsening series of episodes he can’t explain: forgetting who he is, abandoning his car on highway off-ramps, stealing horses, speaking archaic languages he never learned. Elen and Dory’s little boy, Fleet, if anything, is even stranger. With the steely calm that is the hallmark of all Creepy Clairvoyant Kids, Fleet has built a huge, precise replica of an ancient cathedral he’s never seen. And out of nowhere, he recounts, in hideous detail, the horrible jests of one John Scogin. And he has the same speaking-ancient-languages problem that his dad has. But he’s only six: how could he know all this stuff? What the Devil is going on in Ashford?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This barely scratches the surface of \u003cb>Darkmans\u003c/b>‘ incredibly intricate plot. Telling you any more would spoil it. Much of the fun is remaining befuddled and confused, shocked and surprised. \u003cb>Darkmans\u003c/b> is the first 838-page novel that has ever seemed too short. Nicola Barker is clearly a graduate of the William Gaddis school of trusting your reader to be smart enough to puzzle out what’s happening with minimal expository assistance.\u003c/p>\n\u003cp>The most hilarious and gloriously-written scene comes about 300 pages in, when Beede visits a neighbor with the intention of resigning from the chairmanship of the Ryan Monkeith Memorial Road Crossing Initiative, but ends up a guest at the most uncomfortable dinner party ever. In a dozen pages of verbal fencing, every weakness is probed, every buried resentment bubbles its way to the surface: “‘Please forgive my wife,’ Charlie told the table. ‘She’s taking antidepressants and they’re making her a little…’ he paused, speculatively, reaching for the perfect word ‘…\u003ci>irritating.\u003c/i>‘” It was this scene that started to make me think of Gaddis’ doorstop of a masterpiece, \u003cb>The Recognitions\u003c/b>, which contains a crucial, epic cocktail party dialogue scene. Late in \u003cb>Darkmans\u003c/b>, a shadowy art forger appears, and all the pieces of the puzzle start falling together. It was at this point that I was sure Barker was making a deliberate tip of the hat to Gaddis: the major themes of \u003cb>The Recognitions\u003c/b>, as in \u003cb>Darkmans\u003c/b>, are father-son estrangement and the murky moral universe of forgery.\u003c/p>\n\u003cp> Nicola Barker is obviously a mad genius. But there was one aspect of the writing that began to drive me absolutely bonkers after the first 200 times she did it. Because every character in the novel is hiding something from someone, there is necessarily a lot of evasion in their speech. But every single character expresses it exactly the same way: by answering questions with questions. Like this:\u003cbr>“Are you planning on going to work?”\u003cbr>“Why wouldn’t I be?”\u003cbr>or this, a couple hundred pages later, between two totally different people:\u003cbr>“Why?”\u003cbr>“Huh?”\u003cbr>“Why? Why were you interested?”\u003cbr>“Why the hell shouldn’t I be?”\u003cbr>And so on.\u003c/p>\n\u003cp>The best scenes are the few where Barker departs from the question-question-question-evasion format and does something more interesting: Like the dinner-party scene, which could be performed as a one-act play as written, or the monologues of Gaffar, a Turkish Kurd who switches between broken English and eloquent Turkish, indicated by changing typefaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not an “easy” read. But if you’re hungry for something truly new and enormously ambitious, give it a shot. It helps if you have tackled some Pynchon or Gaddis in the past (Barker’s book reads like a breezy novella compared to, say, \u003cb>Gravity’s Rainbow\u003c/b>). There’s nothing this wild and big going on in American fiction at this moment, especially not by women. Whether that’s a failure of our imaginations or our publishing industry, it’s hard to tell. The conclusion of \u003cb>Darkmans\u003c/b> came as a complete surprise to me. And yet, Barker had been setting up for it, dropping hints and clues the entire time. But I was still fooled, right up until the final pages. Now that’s what I call a merry trick.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I was talking to an editor of a major literary quarterly at a party recently. She was getting annoyed, she said, at the number of times she has been asked to publicly comment on the “death” of the American short story and give quotes for newspaper articles on why “nobody” reads short stories anymore. She spends sixty hours a week thinking about the American short story, she said. Why would they ask HER why “nobody” cares about the very thing she has made her career? How would she know?\u003c/p>\n\u003cp>The same thing happens to book reviewers. The death of newspaper book review sections mirrors the downfall of the print newspaper in general. Ever more squeezed for cash and desperate for ad dollars, book sections have been jettisoned as dead weight: either cut entirely or shrunk down dramatically. Many hand-wringing articles can be read, in which major book critics discuss \u003ca href=\"http://www.google.com/search?hl=en&client=firefox-a&rls=org.mozilla%3Aen-US%3Aofficial&hs=cj6&q=%22death+of+the+book+review%22&btnG=Search\" target=\"offsite\" rel=\"noopener\">the death of the book review\u003c/a> and try to determine why “nobody” cares. Book reviewers will never know the answer to this question. Because we DO care.\u003c/p>\n\u003cp>I, for one, don’t believe that the book review has died. Two things have happened, though: first of all, the most lively discussions of literature in a public forum now happen online rather than in the paper. And also, for the most part, the people who do the writing of the reviews don’t do it as their sole source of income — many of the best are passionate amateurs, not unlike the Pushcart Prize anthology staff. There’s absolutely nothing wrong with being a passionate amateur lover of literature, but it sure freaks the hell out of the newsprint-bound old guard, who really enjoyed their century of being the sole arbiter of literary merit. Author Richard Ford famously dismissed book blogs (which he has never read) as \u003ca href=\"http://www.nytimes.com/2007/05/02/books/02revi.html?pagewanted=1&_r=2%22\" target=\"offsite\">“some guy sitting in his basement in Terre Haute”\u003c/a>. Michael Dirda of the \u003ci>Washington Post\u003c/i> commented that authors would much rather be reviewed in a major paper than \u003ca href=\"http://bookcriticscircle.blogspot.com/2007/04/marie-arana-book-editor-washington-post.html\" target=\"offsite\" rel=\"noopener\">“on a website by someone who uses the moniker NovelGobbler”\u003c/a>. The world of books and book reviewing is not dying or dead, by any means, but it is changing, and what the literary world will look like in the 21st century will be entirely different from how it looked in the 20th. It isn’t book criticism that has died: the subscriber-driven major print daily newspaper is what died, and thanks to the internet, the book review needn’t depend just on that one forum for its existence.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bookcritics.org/\" target=\"offsite\" rel=\"noopener\">National Book Critics Circle\u003c/a>, the organization of professional book reviewers, has their annual meeting this week (January 10-12, 2008) right here in San Francisco. By professional, it means “in print.” Often controversial, always thought-provoking podcaster and critic Edward Champion is \u003ca href=\"http://www.edrants.com/category/nbcc-campaign/\" target=\"offsite\" rel=\"noopener\">running for NBCC board\u003c/a>. Extension of membership to litbloggers is one of the major planks in his platform. It’ll be interesting to see how he does. [\u003cb>CORRECTION:\u003c/b> The NBCC is open to print and online reviewers. 1/10/08]\u003c/p>\n\u003cp>At the January 12th meeting, the organization will vote on NBCC award finalists, and it will host a series of free, open-to-the-public events and discussions about the future of literature. These events will culminate in the announcement of the finalists for this year’s \u003ca href=\"http://www.bookcritics.org/?go=awards\" target=\"offsite\" rel=\"noopener\">National Book Critics Circle Award\u003c/a>. If winning the \u003ca href=\"http://www.nationalbook.org/nba2007.html\" target=\"offsite\" rel=\"noopener\">National Book Award\u003c/a> is like getting an Oscar, then getting an NBCC award is like winning the \u003ci>Palme d’Or\u003c/i> at Cannes: artistic merit and formal experimentation are prized. The voting is a \u003ca href=\"http://www.bookcritics.org/?go=howWePickOurAwards\" target=\"offsite\" rel=\"noopener\"> complicated process\u003c/a>. The long-lists of ten prospective nominees (either chosen by a committee or voted onto the list by members) are winnowed down to five books in each of six categories: fiction, general nonfiction, biography, memoir, criticism, and poetry. The NBCC board will vote on the shortlist at their meeting in San Francisco, and the finalists in each category will be announced in a public ceremony at City Lights Bookstore at 6pm that evening. I imagine a team of exhausted Book Critics staggering out into the evening after long rounds of voting and defending their votes, like Iowans at a caucus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although there will probably be less drunken antics than at \u003ca href=\"http://www.litquake.org\" target=\"offsite\" rel=\"noopener\">Litquake\u003c/a>, there will still be plenty of great fun programming during the week of the NBCC meeting. Since I imagine that everyone present at the panels is a passionate fan of literature, hopefully we won’t have to do much speculating about why “nobody cares.” Attend one of these panels, and hopefully the answer to the question “why is literary criticism important and alive?” will be self-evident.\u003c/p>\n\u003cp>Thursday, January 10 at 6 pm: \u003cb>Book Culture: The Future Is Global\u003c/b> \u003cbr>Three local authors, with an international perspective, discuss the Bay Area’s worldwide literary reach. Moderated by NBCC president John Freeman, participants will include Daniel Alarcon, (author of the astonishing \u003ca href=\"http://www.kqed.org/arts/lit/index.jsp?id=13842\" target=\"offsite\" rel=\"noopener\">Lost City Radio\u003c/a>, Mills College professor, and editor of \u003ci>Etiqueta Negra\u003c/i>, a Peruvian literary journal, Micheline Aharonian Marcom (author of \u003cb>The Daydreaming Boy\u003c/b> and \u003cb>Draining the Sea\u003c/b>, a forthcoming novel that contains some of the most harrowing descriptions of government-sanctioned torture ever set to paper), and Sylvia Brownrigg, an author and critic whose reviews have appeared in a variety of publications. This event is at Book Passage Bookstore’s Ferry Building location, 1 Ferry Building #42 in San Francisco.\u003c/p>\n\u003cp>Friday, January 11: Two panels at the 111 Minna Gallery.\u003cbr>At 5:30 pm: \u003cb>New Voices/Unrecognized Voices\u003c/b>\u003cbr>NBCC board member Jane Ciabbatari will moderate a discussion with Eli Horowitz of \u003ca target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a>, Michelle Richmond of \u003ca href=\"http://www.fictionattic.com/\" target=\"offsite\" rel=\"noopener\">Fiction Attic\u003c/a>, Literary agent Sandy Dijkstra, Michael Ray of \u003ca href=\"http://www.all-story.com/\" target=\"offsite\" rel=\"noopener\">Zoetrope\u003c/a>, and Suzanne Kleid (yours truly!) from this here KQED arts blog will be discussing the future of literature (including, hopefully, who DOES care, and why, and what they’re working on.) Some of the topics I hope we’ll get to discuss are: what new small innovative presses are out there, and how do they keep themselves afloat? What good writing gets published solely online, and how does it differ from writing in print? Does the book world have anything to fear from the Amazon Kindle?\u003c/p>\n\u003cp>At 6:30 pm: \u003cb>The View From Here: Is the West Coast Driving American Literature?\u003c/b>\u003cbr>The topic of this one tickles me especially: years ago, I attended a panel at the Commonwealth Club at which there was a lot of anxiety over whether San Francisco would ever be “as good as New York” in terms of literary-ness, and it seemed that many people were very focused on this feeling that we were still somehow a backwater. Well, clearly that’s no longer the case. Over 100 of the NBCC’s 800 members live in the Bay Area. Many of the best book review editors in the country are on the west coast and three of them will be on this panel. Moderator Oscar Villalon edits the \u003ci>San Francisco Chronicle\u003c/i> book section. On the panel is David Ulin, book review editor of the \u003ci>Los Angeles Times\u003c/i>. They will be joined by Mary Ann Gwinn, book editor of the \u003ci>Seattle Times\u003c/i>, Ellen Heltzel of the “Book Babes” column, Jennifer Reese of \u003ci>Entertainment Weekly\u003c/i>, which distinguishes itself from the usual checkout-stand fare with its great book review section, and local novelist Andrew Sean Greer. \u003c/p>\n\u003cp> Saturday, January 12th at 6 pm: \u003cb>National Book Critics Circle Award Finalists announcement\u003c/b>\u003cbr>As if all that panel programming wasn’t cool enough, the actual announcement ceremony should prove to be a blast as well. Bay Area-based NBCC Board members and past winners will be announcing the finalists: folks like Dave Eggers, Amy Tan, Maxine Hong Kingston, Frederick Crews, Jane Ganahl, Paul Hoover and a whole raft of other luminaries will be in attendance. It all happens at \u003ca href=\"http://www.citylights.com\" target=\"offsite\" rel=\"noopener\">City Lights Bookstore\u003c/a>, 261 Columbus Avenue in San Francisco. (Insider’s tip: City Lights Bookstore is a small building, and they’re expecting full capacity. Get there early, or you’ll wind up standing out front with your nose against the glass. Factor in extra time for North Beach parking.)\u003c/p>\n\u003cp>If “nobody” cares about books anymore, then I’m immensely glad I live on the west coast where there seems to be a whole lot of “nobodies” who love books. I know a lot of you will come watch the panels, ask questions, buy books, read reviews, and help prove “everybody” wrong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The National Book Critics Circle Finalist Announcement and Panels is January 10, 11 and 12, 2008 in various San Francisco locations. \u003ca href=\"http://bookcriticscircle.blogspot.com/2008/01/coming-this-week-nbcc-finalists.html\" target=\"offsite\" rel=\"noopener\">Visit Critical Mass\u003c/a>, the NBCC’s blog for up-to-date information about the conference. \u003c/p>\n\n",
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"excerpt": "I was talking to an editor of a major literary quarterly at a party recently. She was getting annoyed, she said, at the number of times she has been asked to publicly comment on the \"death\" of the American short story and give quotes for newspaper articles on why \"nobody\" reads short stories anymore. She spends sixty hours a week thinking about the American short story, she said. Why would they ask HER why \"nobody\" cares about the very thing she has made her career? How would she know? ",
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"description": "I was talking to an editor of a major literary quarterly at a party recently. She was getting annoyed, she said, at the number of times she has been asked to publicly comment on the "death" of the American short story and give quotes for newspaper articles on why "nobody" reads short stories anymore. She spends sixty hours a week thinking about the American short story, she said. Why would they ask HER why "nobody" cares about the very thing she has made her career? How would she know? ",
"title": "The National Books Critics Circle Does San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was talking to an editor of a major literary quarterly at a party recently. She was getting annoyed, she said, at the number of times she has been asked to publicly comment on the “death” of the American short story and give quotes for newspaper articles on why “nobody” reads short stories anymore. She spends sixty hours a week thinking about the American short story, she said. Why would they ask HER why “nobody” cares about the very thing she has made her career? How would she know?\u003c/p>\n\u003cp>The same thing happens to book reviewers. The death of newspaper book review sections mirrors the downfall of the print newspaper in general. Ever more squeezed for cash and desperate for ad dollars, book sections have been jettisoned as dead weight: either cut entirely or shrunk down dramatically. Many hand-wringing articles can be read, in which major book critics discuss \u003ca href=\"http://www.google.com/search?hl=en&client=firefox-a&rls=org.mozilla%3Aen-US%3Aofficial&hs=cj6&q=%22death+of+the+book+review%22&btnG=Search\" target=\"offsite\" rel=\"noopener\">the death of the book review\u003c/a> and try to determine why “nobody” cares. Book reviewers will never know the answer to this question. Because we DO care.\u003c/p>\n\u003cp>I, for one, don’t believe that the book review has died. Two things have happened, though: first of all, the most lively discussions of literature in a public forum now happen online rather than in the paper. And also, for the most part, the people who do the writing of the reviews don’t do it as their sole source of income — many of the best are passionate amateurs, not unlike the Pushcart Prize anthology staff. There’s absolutely nothing wrong with being a passionate amateur lover of literature, but it sure freaks the hell out of the newsprint-bound old guard, who really enjoyed their century of being the sole arbiter of literary merit. Author Richard Ford famously dismissed book blogs (which he has never read) as \u003ca href=\"http://www.nytimes.com/2007/05/02/books/02revi.html?pagewanted=1&_r=2%22\" target=\"offsite\">“some guy sitting in his basement in Terre Haute”\u003c/a>. Michael Dirda of the \u003ci>Washington Post\u003c/i> commented that authors would much rather be reviewed in a major paper than \u003ca href=\"http://bookcriticscircle.blogspot.com/2007/04/marie-arana-book-editor-washington-post.html\" target=\"offsite\" rel=\"noopener\">“on a website by someone who uses the moniker NovelGobbler”\u003c/a>. The world of books and book reviewing is not dying or dead, by any means, but it is changing, and what the literary world will look like in the 21st century will be entirely different from how it looked in the 20th. It isn’t book criticism that has died: the subscriber-driven major print daily newspaper is what died, and thanks to the internet, the book review needn’t depend just on that one forum for its existence.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bookcritics.org/\" target=\"offsite\" rel=\"noopener\">National Book Critics Circle\u003c/a>, the organization of professional book reviewers, has their annual meeting this week (January 10-12, 2008) right here in San Francisco. By professional, it means “in print.” Often controversial, always thought-provoking podcaster and critic Edward Champion is \u003ca href=\"http://www.edrants.com/category/nbcc-campaign/\" target=\"offsite\" rel=\"noopener\">running for NBCC board\u003c/a>. Extension of membership to litbloggers is one of the major planks in his platform. It’ll be interesting to see how he does. [\u003cb>CORRECTION:\u003c/b> The NBCC is open to print and online reviewers. 1/10/08]\u003c/p>\n\u003cp>At the January 12th meeting, the organization will vote on NBCC award finalists, and it will host a series of free, open-to-the-public events and discussions about the future of literature. These events will culminate in the announcement of the finalists for this year’s \u003ca href=\"http://www.bookcritics.org/?go=awards\" target=\"offsite\" rel=\"noopener\">National Book Critics Circle Award\u003c/a>. If winning the \u003ca href=\"http://www.nationalbook.org/nba2007.html\" target=\"offsite\" rel=\"noopener\">National Book Award\u003c/a> is like getting an Oscar, then getting an NBCC award is like winning the \u003ci>Palme d’Or\u003c/i> at Cannes: artistic merit and formal experimentation are prized. The voting is a \u003ca href=\"http://www.bookcritics.org/?go=howWePickOurAwards\" target=\"offsite\" rel=\"noopener\"> complicated process\u003c/a>. The long-lists of ten prospective nominees (either chosen by a committee or voted onto the list by members) are winnowed down to five books in each of six categories: fiction, general nonfiction, biography, memoir, criticism, and poetry. The NBCC board will vote on the shortlist at their meeting in San Francisco, and the finalists in each category will be announced in a public ceremony at City Lights Bookstore at 6pm that evening. I imagine a team of exhausted Book Critics staggering out into the evening after long rounds of voting and defending their votes, like Iowans at a caucus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although there will probably be less drunken antics than at \u003ca href=\"http://www.litquake.org\" target=\"offsite\" rel=\"noopener\">Litquake\u003c/a>, there will still be plenty of great fun programming during the week of the NBCC meeting. Since I imagine that everyone present at the panels is a passionate fan of literature, hopefully we won’t have to do much speculating about why “nobody cares.” Attend one of these panels, and hopefully the answer to the question “why is literary criticism important and alive?” will be self-evident.\u003c/p>\n\u003cp>Thursday, January 10 at 6 pm: \u003cb>Book Culture: The Future Is Global\u003c/b> \u003cbr>Three local authors, with an international perspective, discuss the Bay Area’s worldwide literary reach. Moderated by NBCC president John Freeman, participants will include Daniel Alarcon, (author of the astonishing \u003ca href=\"http://www.kqed.org/arts/lit/index.jsp?id=13842\" target=\"offsite\" rel=\"noopener\">Lost City Radio\u003c/a>, Mills College professor, and editor of \u003ci>Etiqueta Negra\u003c/i>, a Peruvian literary journal, Micheline Aharonian Marcom (author of \u003cb>The Daydreaming Boy\u003c/b> and \u003cb>Draining the Sea\u003c/b>, a forthcoming novel that contains some of the most harrowing descriptions of government-sanctioned torture ever set to paper), and Sylvia Brownrigg, an author and critic whose reviews have appeared in a variety of publications. This event is at Book Passage Bookstore’s Ferry Building location, 1 Ferry Building #42 in San Francisco.\u003c/p>\n\u003cp>Friday, January 11: Two panels at the 111 Minna Gallery.\u003cbr>At 5:30 pm: \u003cb>New Voices/Unrecognized Voices\u003c/b>\u003cbr>NBCC board member Jane Ciabbatari will moderate a discussion with Eli Horowitz of \u003ca target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a>, Michelle Richmond of \u003ca href=\"http://www.fictionattic.com/\" target=\"offsite\" rel=\"noopener\">Fiction Attic\u003c/a>, Literary agent Sandy Dijkstra, Michael Ray of \u003ca href=\"http://www.all-story.com/\" target=\"offsite\" rel=\"noopener\">Zoetrope\u003c/a>, and Suzanne Kleid (yours truly!) from this here KQED arts blog will be discussing the future of literature (including, hopefully, who DOES care, and why, and what they’re working on.) Some of the topics I hope we’ll get to discuss are: what new small innovative presses are out there, and how do they keep themselves afloat? What good writing gets published solely online, and how does it differ from writing in print? Does the book world have anything to fear from the Amazon Kindle?\u003c/p>\n\u003cp>At 6:30 pm: \u003cb>The View From Here: Is the West Coast Driving American Literature?\u003c/b>\u003cbr>The topic of this one tickles me especially: years ago, I attended a panel at the Commonwealth Club at which there was a lot of anxiety over whether San Francisco would ever be “as good as New York” in terms of literary-ness, and it seemed that many people were very focused on this feeling that we were still somehow a backwater. Well, clearly that’s no longer the case. Over 100 of the NBCC’s 800 members live in the Bay Area. Many of the best book review editors in the country are on the west coast and three of them will be on this panel. Moderator Oscar Villalon edits the \u003ci>San Francisco Chronicle\u003c/i> book section. On the panel is David Ulin, book review editor of the \u003ci>Los Angeles Times\u003c/i>. They will be joined by Mary Ann Gwinn, book editor of the \u003ci>Seattle Times\u003c/i>, Ellen Heltzel of the “Book Babes” column, Jennifer Reese of \u003ci>Entertainment Weekly\u003c/i>, which distinguishes itself from the usual checkout-stand fare with its great book review section, and local novelist Andrew Sean Greer. \u003c/p>\n\u003cp> Saturday, January 12th at 6 pm: \u003cb>National Book Critics Circle Award Finalists announcement\u003c/b>\u003cbr>As if all that panel programming wasn’t cool enough, the actual announcement ceremony should prove to be a blast as well. Bay Area-based NBCC Board members and past winners will be announcing the finalists: folks like Dave Eggers, Amy Tan, Maxine Hong Kingston, Frederick Crews, Jane Ganahl, Paul Hoover and a whole raft of other luminaries will be in attendance. It all happens at \u003ca href=\"http://www.citylights.com\" target=\"offsite\" rel=\"noopener\">City Lights Bookstore\u003c/a>, 261 Columbus Avenue in San Francisco. (Insider’s tip: City Lights Bookstore is a small building, and they’re expecting full capacity. Get there early, or you’ll wind up standing out front with your nose against the glass. Factor in extra time for North Beach parking.)\u003c/p>\n\u003cp>If “nobody” cares about books anymore, then I’m immensely glad I live on the west coast where there seems to be a whole lot of “nobodies” who love books. I know a lot of you will come watch the panels, ask questions, buy books, read reviews, and help prove “everybody” wrong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The National Book Critics Circle Finalist Announcement and Panels is January 10, 11 and 12, 2008 in various San Francisco locations. \u003ca href=\"http://bookcriticscircle.blogspot.com/2008/01/coming-this-week-nbcc-finalists.html\" target=\"offsite\" rel=\"noopener\">Visit Critical Mass\u003c/a>, the NBCC’s blog for up-to-date information about the conference. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "32nd Annual Pushcart Prize: Best of the Small Presses",
"headTitle": "32nd Annual Pushcart Prize: Best of the Small Presses | KQED",
"content": "\u003cp>In the land of \u003cb>American Idol\u003c/b> and endless “favorite 100 kid stars of the 80’s” countdowns on VH1, there’s nothing that entertains better than a) contests, and b) best-of lists, compiled for our covenience. Both lend themselves well to the real fun, which is betting on who the chosen ones will be, and arguing for favorites who were unfairly passed over. The literary world doesn’t shy away from this. Pick up any issue of \u003ci>Poets and Writers\u003c/i> magazine and the listings of contest finalists wlll be the thickest part of the whole publication. The Nobel, Booker, and National Book Award finalists are endlessly discussed. And there’s a whole host of annual best-of publications that come out every year, some of them so highly specific as to be redundant. The \u003cb>Best American\u003c/b> series publishes annual books of sports writing, science writing, essays, and magazine writing. If you wrote an essay about, say, the physics of sports, and it was published in a magazine, which book would they put you in? All four?\u003c/p>\n\u003cp>I haven’t even gotten to \u003cb>Best New American Voices\u003c/b>, \u003cb>Best Nonrequired Reading\u003c/b>, \u003cb>Best American Short Stories\u003c/b>, \u003cb>Best American Poetry\u003c/b>, \u003cb>Best American Comics\u003c/b> — and that’s just ONE Houghton Mifflin series. There are other volumes as well, like Da Capo’s \u003cb>Best Music Writing\u003c/b>, the \u003cb>O. Henry Prize Stories\u003c/b> and occasional magazine issues like \u003ci>Granta\u003c/i> magazine’s \u003cb>Best of Young British Novelists\u003c/b>, and the \u003ci>New Yorker\u003c/i>‘s New Fiction Issue. The ultra-narrow specificity of the best-of books can get a little annoying. The magazines that the editors draw on in order to compile the list is, similarly, ultra-narrow. Lately, \u003cb>Best American Short Stories\u003c/b> will throw a bone to small and innovative publications like \u003ci>One Story\u003c/i>, but for the most part you’ll see a lot of \u003ci>Harper’s\u003c/i>, \u003ci>New Yorker\u003c/i>, and \u003ci>Atlantic Monthly\u003c/i> reprints.\u003c/p>\n\u003cp>All of this is just a preamble to my real point: thank heavens for the \u003cb>Pushcart Prize: Best of the Small Presses\u003c/b>. If you want to know where the real engine driving American writing is, one must look to the indie presses and magazines run by people with day jobs who do it out of the love in their hearts for literature, and who don’t give a crap about losing subcribers (possibly because they don’t have any). The brick-sized \u003cb>32nd annual Puschcart Prize Anthology\u003c/b> throws together memoir, essay, fiction, poetry, science, sports, and music writing, and a bunch of unclassifiable works that wouldn’t comfortably fit in any of the tiny niches the Best American crew has carved out.\u003c/p>\n\u003cp>Pushcart Prize nominations are made by editors at independent publications, who alert the Pushcart editors, headed by Bill Henderson, to their choices. The selections are winnowed down to, in this year’s case, 63 pieces. (By contrast, best \u003cb>American Short Stories\u003c/b> chooses precisely twenty stories per year.) The list of contributing presses is many pages long, and includes both venerable old survivors like SF’s very own \u003ci>\u003ca href=\"http://www.zyzzyva.org/\" target=\"offsite\" rel=\"noopener\">ZYZZYVA\u003c/a>\u003c/i>, and new upstarts like the terrific \u003ci>\u003ca href=\"http://www.apublicspace.org/\" target=\"offsite\" rel=\"noopener\">A Public Space\u003c/a>\u003c/i>. Inclusion in the anthology IS the prize itself. There is no process of longlisting and shortlisting and declaring one person a winner, while the rest grit their teeth and pretend they were happy just to be nominated. If you’re in, you won, and congratulations.\u003c/p>\n\u003cp>Bill Henderson’s stirring and brief introduction to the new volume is enough to make you want to leap out of your boring little life and do something fabulous yet financially non-remunerative. “Money is the yellow brick road. Oligarchs pick our entertainments, our celebrities, our presidents, and our wars. We children of the spirit are yesterday’s news, if we ever were news. Yet for three decades…[we] have flourished. The reason? (Simple, stupid.) Spirit will never be quelled, certainly not by mere bucks and bluster.” Henderson goes on to eulogize the woman to whom this year’s book is dedicated: one Hannah Turner. Up until her death this year at age 88, Turner penned a HAND-WRITTEN, calligraphed announcement for each and every Pushcart winner — at least 20,000 over the course of several decades. “She did it for a pittance, tirelessly, and was adamant that we not change the nomination format to make it easier for her.” Nobody loves a paying job as much as a dedicated amateur loves their avocation, and the loving dedication of the Pushcart organization, which still assembles its annual book through unpaid labors in a backyard shed, is a beautiful testament to this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plenty of Bay Area locals make appearances here, as usual. Rebecca Solnit’s essay from Orion, “Winged Mercury and the Golden Calf,” lays down all the ways the Gold Rush scarred, permanently, the Northern California landscape. Its most terrible legacy is all the mercury it left behind. This is something I never knew: mercury is used in large quantities in gold mining, and most of it escaped into our waterways: “Much of it is still there — a U.S. Fish and Wildlife biologist once told me that he and his peers sometimes find globules the size of a man’s fist in pristine-looking Sierra Nevada streams — but the rest of it ended up lining the bottom of San Francisco Bay.” It’s enough to make you shudder.\u003c/p>\n\u003cp>The short story “Pampkin’s Lament,” by local and Stegner fellow Peter Orner, was pulled from The Mission’s own \u003ca href=\"http://www.mcsweeneys.net/\" target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a> for inclusion. It’s a bittersweet story of a young boy watching his father, a campaign consultant, as he works for a losing Illinois gubernatorial candidate. “Pampkin got run over by a fez-wearing Shriner on a motorized flying carpet. The Shriner swore it was an accident, but this didn’t stop the Waukegan News Sun from running the headline PAMPKIN SWEPT UNDER RUG.” Its ending is suprising, sweet, and sad. Robert Olen Butler’s “18 1/2,” originally published in \u003ca href=\"http://www.all-story.com/\" target=\"offsite\" rel=\"noopener\">Zoetrope\u003c/a>, is a hysterical re-imagining of the missing eighteen and a half minutes on one of Nixon’s Watergate tapes. Nixon talks about Elvis, childhood poverty, why he wears his wingtips on the beach, and a late-night run-in with a certain drunk young man from the Texas Air National Guard.\u003c/p>\n\u003cp>A beautiful essay, “Fathead’s Hard Times,” by San Francisco resident W.S. Di Piero appears from Berkeley’s \u003ca href=\"http://www.threepennyreview.com/\" target=\"offsite\" rel=\"noopener\">Threepenny Review\u003c/a>. In it, he describes how his deep love and appreciation of music have helped him handle the chronic pain of a crippling spinal condition. “While in the hospital and for a long time thereafter, at night I kept by my ear a transistor radio…So whenever the pain spiked me awake — IT seemed deranged, because it migrated: now in my lower back, now knees, now upper legs — I had sounds running into my ear that instead of being a balm or distraction laytered me more deeply into the pain, its rhythms and registers.” Local legend Herbert Gold gets a Pushcart nod, as well, for his essay “A Genius of Grief: Memories of Saul Bellow.” His description of life as a young man in postwar Paris, hanging out with Bellow in St-Germain-des-Pres, is enough to make you wish you had a time machine.\u003c/p>\n\u003cp> If I had to complain about the book at all, I’d say that it skews a bit on the safe side, and the old guard is far more heavily represented than the young. As far as I can tell, they only draw from print publications and not online ones (this is common: as far as I know, \u003cb>Best American Nonrequired Reading\u003c/b> is the only major Best-of annual that regularly publishes internet-based work.) Pushcart’s Advisory Council is chock-full of gray eminences like Joyce Carol Oates, John Irving, and Gerald Stern.\u003c/p>\n\u003cp>The best thing about the book is how skillfully it’s been curated. Solnit’s gold-mining essay sits alongside a short story called “The Best Jeweler” by Clancy Martin, a tale of love and betrayal and macho behavior in a mall jewelry shop. Robert Olen Butler’s whimsical take on Richard Nixon’s inner life precedes a poem called “Skinny Dipping With Pat Nixon” by David Kirby, in which the poet discovers a latent carnal urge for the former first lady, now that he is the age that she was then. Like paintings in a museum, the pieces are set up in such a way that they complement and comment on one another.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Read the \u003cb>32nd Annual Pushcart Prize: Best of the Small Presses\u003c/b> in order, start to finish, and you’ll feel like you’ve been invited to the wittiest and most interesting cocktail party ever. And it’s one that won’t end anytime soon: Pushcart is a nonprofit entity, buffered from the cruel winds of commerce. Says Bill Henderson, “Our endowment insures that our non-profit project will endure despite the oligarchs. Our only overhead is that 8’x8′ shack, and it’s real sturdy.”\u003c/p>\n\n",
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"excerpt": "In the land of \u003cb>American Idol\u003c/b> and endless \"favorite 100 kid stars of the 80's\" countdowns on VH1, there's nothing that entertains better than a) contests, and b) best-of lists, compiled for our covenience. Both lend themselves well to the real fun, which is betting on who the chosen ones will be, and arguing for favorites who were unfairly passed over. The literary world doesn't shy away from this. Pick up any issue of \u003ci>Poets and Writers\u003c/i> magazine and the listings of contest finalists wlll be the thickest part of the whole publication. The Nobel, Booker, and National Book Award finalists are endlessly discussed. And there's a whole host of annual best-of publications that come out every year, some of them so highly specific as to be redundant. The \u003cb>Best American\u003c/b> series publishes annual books of sports writing, science writing, essays, and magazine writing. If you wrote an essay about, say, the physics of sports, and it was published in a magazine, which book would they put you in? All four?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the land of \u003cb>American Idol\u003c/b> and endless “favorite 100 kid stars of the 80’s” countdowns on VH1, there’s nothing that entertains better than a) contests, and b) best-of lists, compiled for our covenience. Both lend themselves well to the real fun, which is betting on who the chosen ones will be, and arguing for favorites who were unfairly passed over. The literary world doesn’t shy away from this. Pick up any issue of \u003ci>Poets and Writers\u003c/i> magazine and the listings of contest finalists wlll be the thickest part of the whole publication. The Nobel, Booker, and National Book Award finalists are endlessly discussed. And there’s a whole host of annual best-of publications that come out every year, some of them so highly specific as to be redundant. The \u003cb>Best American\u003c/b> series publishes annual books of sports writing, science writing, essays, and magazine writing. If you wrote an essay about, say, the physics of sports, and it was published in a magazine, which book would they put you in? All four?\u003c/p>\n\u003cp>I haven’t even gotten to \u003cb>Best New American Voices\u003c/b>, \u003cb>Best Nonrequired Reading\u003c/b>, \u003cb>Best American Short Stories\u003c/b>, \u003cb>Best American Poetry\u003c/b>, \u003cb>Best American Comics\u003c/b> — and that’s just ONE Houghton Mifflin series. There are other volumes as well, like Da Capo’s \u003cb>Best Music Writing\u003c/b>, the \u003cb>O. Henry Prize Stories\u003c/b> and occasional magazine issues like \u003ci>Granta\u003c/i> magazine’s \u003cb>Best of Young British Novelists\u003c/b>, and the \u003ci>New Yorker\u003c/i>‘s New Fiction Issue. The ultra-narrow specificity of the best-of books can get a little annoying. The magazines that the editors draw on in order to compile the list is, similarly, ultra-narrow. Lately, \u003cb>Best American Short Stories\u003c/b> will throw a bone to small and innovative publications like \u003ci>One Story\u003c/i>, but for the most part you’ll see a lot of \u003ci>Harper’s\u003c/i>, \u003ci>New Yorker\u003c/i>, and \u003ci>Atlantic Monthly\u003c/i> reprints.\u003c/p>\n\u003cp>All of this is just a preamble to my real point: thank heavens for the \u003cb>Pushcart Prize: Best of the Small Presses\u003c/b>. If you want to know where the real engine driving American writing is, one must look to the indie presses and magazines run by people with day jobs who do it out of the love in their hearts for literature, and who don’t give a crap about losing subcribers (possibly because they don’t have any). The brick-sized \u003cb>32nd annual Puschcart Prize Anthology\u003c/b> throws together memoir, essay, fiction, poetry, science, sports, and music writing, and a bunch of unclassifiable works that wouldn’t comfortably fit in any of the tiny niches the Best American crew has carved out.\u003c/p>\n\u003cp>Pushcart Prize nominations are made by editors at independent publications, who alert the Pushcart editors, headed by Bill Henderson, to their choices. The selections are winnowed down to, in this year’s case, 63 pieces. (By contrast, best \u003cb>American Short Stories\u003c/b> chooses precisely twenty stories per year.) The list of contributing presses is many pages long, and includes both venerable old survivors like SF’s very own \u003ci>\u003ca href=\"http://www.zyzzyva.org/\" target=\"offsite\" rel=\"noopener\">ZYZZYVA\u003c/a>\u003c/i>, and new upstarts like the terrific \u003ci>\u003ca href=\"http://www.apublicspace.org/\" target=\"offsite\" rel=\"noopener\">A Public Space\u003c/a>\u003c/i>. Inclusion in the anthology IS the prize itself. There is no process of longlisting and shortlisting and declaring one person a winner, while the rest grit their teeth and pretend they were happy just to be nominated. If you’re in, you won, and congratulations.\u003c/p>\n\u003cp>Bill Henderson’s stirring and brief introduction to the new volume is enough to make you want to leap out of your boring little life and do something fabulous yet financially non-remunerative. “Money is the yellow brick road. Oligarchs pick our entertainments, our celebrities, our presidents, and our wars. We children of the spirit are yesterday’s news, if we ever were news. Yet for three decades…[we] have flourished. The reason? (Simple, stupid.) Spirit will never be quelled, certainly not by mere bucks and bluster.” Henderson goes on to eulogize the woman to whom this year’s book is dedicated: one Hannah Turner. Up until her death this year at age 88, Turner penned a HAND-WRITTEN, calligraphed announcement for each and every Pushcart winner — at least 20,000 over the course of several decades. “She did it for a pittance, tirelessly, and was adamant that we not change the nomination format to make it easier for her.” Nobody loves a paying job as much as a dedicated amateur loves their avocation, and the loving dedication of the Pushcart organization, which still assembles its annual book through unpaid labors in a backyard shed, is a beautiful testament to this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plenty of Bay Area locals make appearances here, as usual. Rebecca Solnit’s essay from Orion, “Winged Mercury and the Golden Calf,” lays down all the ways the Gold Rush scarred, permanently, the Northern California landscape. Its most terrible legacy is all the mercury it left behind. This is something I never knew: mercury is used in large quantities in gold mining, and most of it escaped into our waterways: “Much of it is still there — a U.S. Fish and Wildlife biologist once told me that he and his peers sometimes find globules the size of a man’s fist in pristine-looking Sierra Nevada streams — but the rest of it ended up lining the bottom of San Francisco Bay.” It’s enough to make you shudder.\u003c/p>\n\u003cp>The short story “Pampkin’s Lament,” by local and Stegner fellow Peter Orner, was pulled from The Mission’s own \u003ca href=\"http://www.mcsweeneys.net/\" target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a> for inclusion. It’s a bittersweet story of a young boy watching his father, a campaign consultant, as he works for a losing Illinois gubernatorial candidate. “Pampkin got run over by a fez-wearing Shriner on a motorized flying carpet. The Shriner swore it was an accident, but this didn’t stop the Waukegan News Sun from running the headline PAMPKIN SWEPT UNDER RUG.” Its ending is suprising, sweet, and sad. Robert Olen Butler’s “18 1/2,” originally published in \u003ca href=\"http://www.all-story.com/\" target=\"offsite\" rel=\"noopener\">Zoetrope\u003c/a>, is a hysterical re-imagining of the missing eighteen and a half minutes on one of Nixon’s Watergate tapes. Nixon talks about Elvis, childhood poverty, why he wears his wingtips on the beach, and a late-night run-in with a certain drunk young man from the Texas Air National Guard.\u003c/p>\n\u003cp>A beautiful essay, “Fathead’s Hard Times,” by San Francisco resident W.S. Di Piero appears from Berkeley’s \u003ca href=\"http://www.threepennyreview.com/\" target=\"offsite\" rel=\"noopener\">Threepenny Review\u003c/a>. In it, he describes how his deep love and appreciation of music have helped him handle the chronic pain of a crippling spinal condition. “While in the hospital and for a long time thereafter, at night I kept by my ear a transistor radio…So whenever the pain spiked me awake — IT seemed deranged, because it migrated: now in my lower back, now knees, now upper legs — I had sounds running into my ear that instead of being a balm or distraction laytered me more deeply into the pain, its rhythms and registers.” Local legend Herbert Gold gets a Pushcart nod, as well, for his essay “A Genius of Grief: Memories of Saul Bellow.” His description of life as a young man in postwar Paris, hanging out with Bellow in St-Germain-des-Pres, is enough to make you wish you had a time machine.\u003c/p>\n\u003cp> If I had to complain about the book at all, I’d say that it skews a bit on the safe side, and the old guard is far more heavily represented than the young. As far as I can tell, they only draw from print publications and not online ones (this is common: as far as I know, \u003cb>Best American Nonrequired Reading\u003c/b> is the only major Best-of annual that regularly publishes internet-based work.) Pushcart’s Advisory Council is chock-full of gray eminences like Joyce Carol Oates, John Irving, and Gerald Stern.\u003c/p>\n\u003cp>The best thing about the book is how skillfully it’s been curated. Solnit’s gold-mining essay sits alongside a short story called “The Best Jeweler” by Clancy Martin, a tale of love and betrayal and macho behavior in a mall jewelry shop. Robert Olen Butler’s whimsical take on Richard Nixon’s inner life precedes a poem called “Skinny Dipping With Pat Nixon” by David Kirby, in which the poet discovers a latent carnal urge for the former first lady, now that he is the age that she was then. Like paintings in a museum, the pieces are set up in such a way that they complement and comment on one another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Read the \u003cb>32nd Annual Pushcart Prize: Best of the Small Presses\u003c/b> in order, start to finish, and you’ll feel like you’ve been invited to the wittiest and most interesting cocktail party ever. And it’s one that won’t end anytime soon: Pushcart is a nonprofit entity, buffered from the cruel winds of commerce. Says Bill Henderson, “Our endowment insures that our non-profit project will endure despite the oligarchs. Our only overhead is that 8’x8′ shack, and it’s real sturdy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Toni Mirosevich’s nonfiction \u003cb>Pink Harvest\u003c/b>, winner of the First Series in Creative Nonfiction Award from Mid-List Press, contains 25 nonfiction stories or “tales of happenstance.” Each story explores the shifting, tilting moments or encounters that can happen on any given day, whenever any of us walk into the world — a chance meeting with a homeless stranger, getting pulled over by airport security during an orange/red/pink/mauve alert, or a day when, out of the blue, you feel a wave of loneliness while pumping gas. In the book, every chance or accidental happening has a way of linking up with other accidental, unremarkable moments to form a wide net of meaning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cb>Famous Fathers and Other Stories\u003c/b> is a debut collection of stories about emotional damage, unhealed heartbreak, and bizarre relationships. In these eleven stories, adultery and impropriety become disquietingly mundane. Mothers expect daughters to be complicit in their love affairs; children seek shelter in families that aren’t their own; fathers court their daughters; a couple enters into a marriage that lasts thirty days a year; and a young girl hits the road with the simple guy who bags groceries at Piggly Wiggly while her mother imagines her safely at school. Beautifully restrained and shot through with tenderness, \u003cb>Famous Fathers and Other Stories\u003c/b> establishes Ehrhardt as both a leading practitioner of the short story and an empathetic interpreter of the lives of wounded people who, instead of asking for what they want, take what is offered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Poetic, sensuous and witty, Veronica Gonzalez’s debut novel unfolds like a fairy tale spanning the duty hills of Los Angeles and the glittering nightlife of Mexico City. Raised in northeast LA by her widowed father, a baker, Mona has grown up believing her mother died minutes after her birth, and her twin brother was simply given away. Stifled by unnameable doubts as a child, when her father dies, Mona sets off on a quest to discover her long-lost twin. The journey takes her into the labyrinth of her own fabulations about her parents’ lives, and a dreamy Mexico City that exists only as cultural imagination. In the process she encounters a band of Nordic men, her Chinese double, a lascivious giant, and a tribe of feral children. Gonzalez masterfully probes the oddness of Mona’s interior world until it becomes a twisted parable for all kinds of displacement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"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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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"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",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"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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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"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": {
"site": "news",
"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/",
"meta": {
"site": "news",
"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": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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