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"content": "\u003cp>I can hear the detractors rolling their eyes already: leave it to the cutesy tongue-in-cheekers at McSweeney’s to publish a debut novel by a 90-year-old man. You can put it on the shelf next to the book by Amy Fusselman that won a contest allegedly looking for a book about “electrical engineering on boats,” The novel \u003cb>Lemon\u003c/b> which had 10,000 unique hand-drawn front covers, and the issue of the quarterly designed to look like a pile of junk mail. Either this outside-the-box thing is terribly exciting or painfully precious, depending on how cynical you’ve become and how long it’s been since your college graduation.\u003c/p>\n\u003cp>So Millard Kaufman might be a 90-year-old debut novelist, but that doesn’t mean he wasn’t already an acclaimed, accomplished writer. Kaufman had a long screenwriting career and was nominated for Oscars twice. He co-created \u003cb>Mr. Magoo\u003c/b>. And although he didn’t actually write it, he was given screen credit as the writer of the seminal, unmatched Noir film \u003cb>Gun Crazy\u003c/b>, as cover for the blacklisted Dalton Trumbo. I watched one of Kaufman’s films this week, \u003cb>Bad Day At Black Rock\u003c/b>, which garnered Oscar nominations for both Kaufman and star Spencer Tracy. A train stops in a dusty desert town, a mysterious man disembarks, and begins asking uncomfortable questions to the leathery, tightlipped locals. They are all hiding something, and eventually the truth comes out: in the heightened emotional climate of the days following Pearl Harbor, a mob killed and torched the home of a Japanese-American rancher. “We were drunk,” one of the guilt-stricken participants confesses. “Patriotic drunk.”\u003c/p>\n\u003cp>Kaufman is a great chronicler of the hangover that follows a binge of Patriotic Drunk. And that is the subject of his goofy, rollicking, absurdist, bad-dream carnival ride of a novel, \u003cb>Bowl Of Cherries\u003c/b>. You might expect a gentleman of his age and accomplishment to write something that takes place during his own glory years, or something transparently autobiographical. No way, not here. \u003cb>Bowl Of Cherries\u003c/b> is the tale of teenage Judd Breslau. Abandoned first by his angry professor father and then by his poet mother, Judd is packed off to Yale, where he’s been given a scholarship he doesn’t deserve. Judd is quickly kicked out when he fails to distinguish himself as a scholar. His dissertation is “full of seepage.” (He’s more interested in finding uses for great-sounding words than in actual meaning.) “A host of favorite terms bounces around my mind, derived from half a dozen legitimate languages, melded into a kind of lobotomized esperanto so piss-elegant they self-destructed on the tongue into parody.”\u003c/p>\n\u003cp>Judd stumbles across a bathrobe-wearing benign kook named Phillips Chatterton, who has some crazy notions about the pyramids and sound waves. He offers Judd a place to live if he’ll help with Chatterton’s “research,” playing a tuba at a block of wood in the hopes that it will levitate. Judd accepts for one reason only: Nutty old Chatterton has a beautiful daughter, Valerie, and Judd figures that once he can get rid of her pesky boyfriend, he’ll have a shot. \u003c/p>\n\u003cp>Parsing the plot would be a fool’s errand. When we first meet Judd, he’s trapped in a prison in the Iraqi province of Assama, “a flat depression in the shape of a chicken.” How he came to be there, and whether he will escape his fate (“ganching,” a method of execution by which one is thrown out of a tower onto sharp stakes) is what drives the engine of the book. I will say that Judd ends up in Assama in the employ of a contractor called Resource Analysis and Technology (RAT), a subsidiary of Ultra Global Husbandry (UGH), engaging in various shenanigans involving the secret ingredient of an inexhaustible building substance, and covertly providing nuclear materials to the American-friendly local tribal chief. My favorite scene is one in which Judd and the director of RAT meet with the President of our United States. “Frowning or grinning, he spoke in that bourbon-and-branch baritone, renowned for his state of the union speeches, his justly famous jokes with journalists, his congratulatory messages to winners of the World Series, the Super Bowl, and the Westminster Dog Show. I felt the weight of the man’s magic.” While referring to the province variously as “Assara,” “Assoko” and “Asexual,” the unnamed President shoots baskets into a hoop hidden behind the Great Seal of the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When writers of a certain age try rendering the Kids Of Today, often they run into trouble, dating themselves with incorrect slang and less than up-to-date cultural references. Kaufman avoids this by focusing on the things that the Kids Of Today have in common with the kids of any day: aimlessness about the future, sexual jealousy, problems getting along with their parents. Though it’s supposed to be 2003, the slang of the young characters’ speech is peppered with 1940’s-isms. (“Suddenly Miss Goody-Shoes had transmogrified before my eyes into Mistress Dolly Drop Drawers.”) But since the whole book is an absurdist funhouse it doesn’t feel at all out of place. A few anachronisms creep in, as when Judd is sent out to purchase a specialty porn movie and returns with a reel of film, purchased from a brick-and-mortar movie studio. Doesn’t Kaufman know that these days any young porn starlet worth her salt could run her entire empire without leaving her dorm room?\u003c/p>\n\u003cp>Which brings me to the other problem. Kaufman seems to have a notion, shared by Tom Wolfe (as displayed in Wolfe’s recent college campus novel \u003cb>I Am Charlotte Simmons\u003c/b>) that all young women of the 21st century are routinely expected to have sex with anyone, at any time, at the slightest provocation. Three major characters in \u003cb>Bowl Of Cherries\u003c/b> are girls in their late teens/early twenties, and all three of them are prodigious sexual athletes, who spend most of their time allowing themselves to be groped and sullied by various unworthy male paws, without blinking an eye. (I mean come on, everyone knows that was the SIXTIES.) There’s something Hugh Hefner-esque in the portrayals of the girls which I could have done without. But I digress.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Quibbles aside, Kaufman is a hell of a writer. If the world is fair, \u003cb>Bowl Of Cherries\u003c/b> will go down as one of the great satiric treatments of the current ongoing conflict. At different points I heard echoes of \u003cb>Catch-22, Dr. Strangelove, M*A*S*H,\u003c/b> even in some weird way, Brecht’s \u003cb>Mother Courage and Her Children\u003c/b>: in each case, a realistic portrayal of war doesn’t even begin to get to the root of it, you have to paint, in garish colors, the whole absurd cartoony circus that allows us to justify something as hideous as war. Kaufman is a veteran, both of actual combat and its Hollywood version. One thing he knows for sure is that you can’t stay Patriotic Drunk forever. At some point you sober up.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When writers of a certain age try rendering the Kids Of Today, often they run into trouble, dating themselves with incorrect slang and less than up-to-date cultural references. Kaufman avoids this by focusing on the things that the Kids Of Today have in common with the kids of any day: aimlessness about the future, sexual jealousy, problems getting along with their parents. Though it’s supposed to be 2003, the slang of the young characters’ speech is peppered with 1940’s-isms. (“Suddenly Miss Goody-Shoes had transmogrified before my eyes into Mistress Dolly Drop Drawers.”) But since the whole book is an absurdist funhouse it doesn’t feel at all out of place. A few anachronisms creep in, as when Judd is sent out to purchase a specialty porn movie and returns with a reel of film, purchased from a brick-and-mortar movie studio. Doesn’t Kaufman know that these days any young porn starlet worth her salt could run her entire empire without leaving her dorm room?\u003c/p>\n\u003cp>Which brings me to the other problem. Kaufman seems to have a notion, shared by Tom Wolfe (as displayed in Wolfe’s recent college campus novel \u003cb>I Am Charlotte Simmons\u003c/b>) that all young women of the 21st century are routinely expected to have sex with anyone, at any time, at the slightest provocation. Three major characters in \u003cb>Bowl Of Cherries\u003c/b> are girls in their late teens/early twenties, and all three of them are prodigious sexual athletes, who spend most of their time allowing themselves to be groped and sullied by various unworthy male paws, without blinking an eye. (I mean come on, everyone knows that was the SIXTIES.) There’s something Hugh Hefner-esque in the portrayals of the girls which I could have done without. But I digress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Quibbles aside, Kaufman is a hell of a writer. If the world is fair, \u003cb>Bowl Of Cherries\u003c/b> will go down as one of the great satiric treatments of the current ongoing conflict. At different points I heard echoes of \u003cb>Catch-22, Dr. Strangelove, M*A*S*H,\u003c/b> even in some weird way, Brecht’s \u003cb>Mother Courage and Her Children\u003c/b>: in each case, a realistic portrayal of war doesn’t even begin to get to the root of it, you have to paint, in garish colors, the whole absurd cartoony circus that allows us to justify something as hideous as war. Kaufman is a veteran, both of actual combat and its Hollywood version. One thing he knows for sure is that you can’t stay Patriotic Drunk forever. At some point you sober up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ask a writer who their favorite living writer is. There’s a good chance they’ll throw out the name Jim Shepard. (The other correct answers are Alice Munro and/or Charles Baxter.) If you’re a regular \u003ci>New Yorker\u003c/i> or \u003ci>Harper’s\u003c/i> reader you’ve probably encountered him. If you’ve attended an MFA program or a summer writer’s conference, you may have taken a class from him. If you have had the good fortune to see him read, perhaps as an “opening act” for a more famous friend, you most likely roared with laughter, applauded loudly, and then lined up to buy his book, thinking, “why haven’t I heard of this guy before?”\u003c/p>\n\u003cp>If you’re anyone else (and “anyone else” here constitutes probably 98% of the American populace) you have no clue who he is, other than maybe a vague but erroneous notion. “Oh yeah, he’s Sam Shepard’s son, right?” is a common response. (Unless Sam became a father around age eight — no.) Jim Shepard has a small but vocal cohort of rabid fans, all of whom wait with bated breath as each book is released, saying “maybe this will be the one.” Maybe this will be the book that finally pushes him over into the fame-and-fortune, celebrated-author column, where he can win National Book Awards and hang out in a special secret room to smoke cigars with Don DeLillo and William T. Vollmann and Cormac McCarthy. Actually, he might do that already. And if he does, Don and Bill and Cormac probably say to him, “Hell, Shepard, why aren’t you more famous? Maybe this next book will be the one.”\u003c/p>\n\u003cp>\u003cb>Like You’d Understand, Anyway\u003c/b> is Shepard’s ninth book. Yes, NINTH. Six novels and two story collections precede this one. The last story collection was \u003cb>Love and Hydrogen\u003c/b>, and its title story appeared in the \u003cb>Best American Short Stories\u003c/b> collection for 2002. That story was about a deeply felt love affair between two men, Gnuss and Meinert, crew members on the Hindenberg’s final voyage. It demonstrated Shepard’s trademark ability to set up a scene that is incredibly historically specific and emotionally universal at the same time. “…Gnuss was a child during the absolute worst years of the inflation… [his]most cherished toy for a year and a half was a clothespin on which his father hand painted a face.” We may not all be German, or zeppelin crew members, or World War I survivors, or even gay; but we can all understand how a forbidden passion might lead two people to tryst feverishly on a ladder up against a giant balloon of flammable gas. Shepard’s most recent novel was \u003cb>Project X\u003c/b>, a brutally accurate portrayal of what it’s like to be a bottom-of-the barrel outcast in junior high school. The two boys at the center of that book plot a terrible revenge, and up until the last second it’s still impossible to tell if it’s all a little boy fantasy or horribly real. Mark my words, \u003cb>Project X\u003c/b> will wreck you, it’ll make you do that thing where you laugh out loud and sob at the same time. But this new collection? This WILL be the one. It has to be.\u003c/p>\n\u003cp>I almost don’t want to tell you about the stories in the book, so as not to spoil your experience. As I read each of them I sat openmouthed, like I was watching a tightrope walker or magician do something that should be impossible. The backdrops for the action are dizzyingly different. “The First South Central Australian Expedition” is the diary of men dragging a whaleboat across a bone-dry and deadly expanse of desert. Disasters, disappointment, hunger, thirst, and mutiny are rendered in heartbreakingly understated Victorian prose by their deluded captain: “We are now fifteen weeks out and for the last six have continued to wait for some kind of happy transformation in the path ahead.” The first story, “The Zero Meter Diving Team” is narrated by Boris Yakovlevich Prushinsky, Soviet chief nuclear engineer during the Chernobyl disaster. His hour-by-hour account of the chain of missteps leading up to the reactor meltdown, and the relationship between him and his two brothers, both of whom are hideously wounded by the radiation, is unforgettable. “Here’s what it’s like to bear up under so much guilt: everywhere you drag yourself you leave a trail. Late at night, you gaze back and view an upsetting record of where you’ve been.” \u003c/p>\n\u003cp>“Trample The Dead, Hurdle the Weak” is a peek inside the training regimen of an elite high school football team. “We’re talking summer practice, two-a-days, guys keeling over in the heat. When more than one guy has the dry heaves we call it Hee Haw because of the sound.” The narrator has come to believe, through Google research, that the star of a rival school’s team might also be his half-brother, another son of the father he never knew. He pours all of his energy in training into the thought of meeting his double on the field, in hopes of kicking his ass.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> That’s just a tiny taste. You may have noticed some of the running themes here: men, manliness. Relationships between brothers who love each other, but can’t express it in any way except fierce competition. Sons who will do absolutely anything in pursuit of acceptance by fathers who are continually disappointed. There are practically no women in the whole book. Normally something like that would irk me, but in this case it works, since most of the stories are set in high-testosterone, all-male environments: battlefields, summer camps, nuclear reactors, expeditions to dangerous and remote locales. This is the only short story collection I’ve ever seen that had a two-page bibliography of historical sources. Not only does Shepard take us inside Chernobyl and high school football, but we also meet a young Roman soldier guarding a lonely outpost in “Hadrian’s Wall,” an executioner punctiliously manning his guillotine during the Reign Of Terror in “Sans Farine” (a story tapped by Stephen King for inclusion in \u003cb>Best American Short Stories 2007\u003c/b>), and in “Ancestral Legacies,” Nazi mountain climbers yeti-hunting in Tibet. Just for starters.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Shepard’s fame problem is demographic. He’s a middle-aged, married white guy with kids. He’s a college professor by day. Nine books deep in a long career you can’t call him a “debut” anything. The publishing machine loves nothing more than hype. Unproven, talentless knuckleheads like Kaavya Visnawathan or James Frey or, ye gods, JT “Laura Albert” LeRoy have big checks thrown at them and then publishers have to dissemble and apologize when they turn out to be frauds. Shepard’s personal life doesn’t have any obvious edgy elements on which hype can be built. But here’s all the hype you need: Jim Shepard is one of America’s greatest underrecognized literary giants, and if you run out and buy a copy of \u003cb>Like You’d Understand, Anyway\u003c/b> tomorrow, this will be your chance to tell all your friends you liked him before it became cool to say so.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shepard’s fame problem is demographic. He’s a middle-aged, married white guy with kids. He’s a college professor by day. Nine books deep in a long career you can’t call him a “debut” anything. The publishing machine loves nothing more than hype. Unproven, talentless knuckleheads like Kaavya Visnawathan or James Frey or, ye gods, JT “Laura Albert” LeRoy have big checks thrown at them and then publishers have to dissemble and apologize when they turn out to be frauds. Shepard’s personal life doesn’t have any obvious edgy elements on which hype can be built. But here’s all the hype you need: Jim Shepard is one of America’s greatest underrecognized literary giants, and if you run out and buy a copy of \u003cb>Like You’d Understand, Anyway\u003c/b> tomorrow, this will be your chance to tell all your friends you liked him before it became cool to say so.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Right off the bat, yes the title is brilliant: It both makes me laugh and makes me feel like a right ponce (because I DID love school! And I DO love work!). Welsh’s breakout novel \u003cb>Trainspotting\u003c/b> holds a dear place in my heart. The way Welsh used various levels of Scottish dialect for different characters, in places it was like a foreign language, forced you to slow down and feel the sound of the words in your mouth. Only Anthony Burgess in \u003cb>A Clockwork Orange\u003c/b> has done a better job of rendering the contents of a drugged-up young man’s mind as vicious and beautiful poetry. \u003cb>Trainspotting\u003c/b>, and the hit movie spawned from it, made Irvine Welsh rich and famous. He spends a lot of time here in the Bay Area: I once spied him at a party at the Bambuddha Lounge, where every time I glanced at him he was scribbling on a slip of paper — signing autographs, he was — for anyone who asked, all night long. If you’re an Edinburgh Castle regular, you may have also seen him give a reading there, and if you’re like me you may have just nodded and laughed at random intervals because ye didnae ken a feckin word but ye hud a grand oul piss-up ennywey, ha hoor sor.\u003c/p>\n\u003cp>What I’m trying to say is that I’ve always had generally positive feelings toward oul’ Irvine, and when I picked up \u003cb>If You Liked School, You’ll Love Work\u003c/b>, I was genuinely insulted by what a bloody mess it is. Containing four short stories (including the title story) and one long novella entitled “The Kingdom Of Fife,” the book is about as nuanced as a terrible dirty joke. I say this as someone who is not reflexively offended by stuff. I thought \u003cb>Borat\u003c/b> was a brilliant film, for example, and I differ with fellow KQED blogger Paula Rogers, who found the work of \u003ca href=\"http://www.kqed.org/arts/lit/index.jsp?id=15120\" target=\"offsite\" rel=\"noopener\"> underground comics god R. Crumb\u003c/a> to be upsettingly misogynist and racist. So Irvine Welsh had an extremely high bar to cross for me to say this: the stories in this book are almost across-the-board misogynist, and in places, racist as well. But more offensive to me is the fact that they are lazy, unfunny, and poorly written.\u003c/p>\n\u003cp>The collection kicks off with “Rattlesnakes.” Three San Francisco residents on their way back from Burning Man get stranded in the Nevada desert. The protagonist, Eugene, is a third wheel, tagging along with his friend Scott and lusting after Scott’s girlfriend Madeline. Out of gas and camping on the roadside, Eugene gets bit by a rattlesnake, in a very unfortunate spot. (Guess where! Just GUESS.) A tussle ensues over which half of the horrified couple gets to suck the poison out, and just when it seems like it couldn’t get much wackier, folks, they’re set upon by Mexican highway bandits. Despite a career of making fascinating anti-heroes out of Scottish street toughs, Welsh opts to depict these guys with a level of compassionate nuance not seen since the Frito Bandito: “–Two faggots and a dirty leetal lady, Alejandro said evenly, his features creasing up in malice.”\u003c/p>\n\u003cp>“The D.O.G.S. of Lincoln Park” takes place in Chicago and centers on a group of backstabbing, careerist female friends. They are the “D.O.G.S.” of the title: “Desperate obsessive girl snobs.” One of them loses her papillon, Toto, and turns to her neighbor for help. Her neighbor happens to be a Korean chef with a penchant for wielding knives. “…blade very very sharp. Can easy sever four inches of bamboo.” Consider this for a moment: A menacing asian swordsman chef… a missing dog — if you’re thinking, oh please god, he couldn’t possibly be going THERE — you’d be wrong. It ends with an allegedly humorous twist, but still: lazy, dumb, bad. 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The final, longest story takes place in Cowdenbeath, a town in Fife, Scotland, and concerns various characters surrounding the horse tracks and stables there. A burnout ex-jockey lusts after a pair of pretty young show jumpers, and one of them, Jenni, slowly cottons on to the fact that her tatooed gruff old dad is a major player in local organized crime. But even this one story has plenty of groaningly ridiculous plot elements, and Welsh’s trademark dialect writing feels like a party trick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m bewildered. The guy is on the masthead of \u003cb>Tin House\u003c/b>. Is literary credibility something we can revoke? Is there a license we can pull? I guess not. I haven’t read any Irvine Welsh books since \u003cb>Trainspotting\u003c/b>, so maybe this decline has been ongoing. Maybe he just decided that there was no money in crafting literature, especially if your core readership are the same guys who made \u003cb>Jackass\u003c/b> number one at the box office. Or perhaps Welsh was pressed to deliver the second in a two-book deal? His last novel \u003cb>Bedroom Secrets Of Master Chefs\u003c/b> just came out in paperback, and this followup is coming right on its heels. In the afterword, Irvine Welsh thanks his screenwriting partner for “providing me with the space to complete these stories, at a period when demands on our time were particularly high.” Bingo. Maybe someday he’ll have time to compose another masterpiece. Meanwhile, this outing is for the hardcore fans only. To misquote Dylan Thomas’s assessment of Flann O’Brien: this is just the book to give your brother, if he is a loud, dirty, boozy boy. But he’s just about the only one who’ll enjoy it.\u003c/p>\n\n",
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"content": "\u003cp>Sebastian Lane is 7 years old and everyone keeps asking him if he’s okay. His mother used to ask, and now it’s his sister Cass, his dad, his teacher Mrs. Lambert, constantly asking. When not asking, they’re telling him that everything is going to be all right. It’s supposed to seem comforting, maybe, but young Sebby doesn’t seem to notice or care whether things are all right or not. He’s a little kid, a strange one at that, and his mom is dead. She’s been hit and killed by car. How could it possibly be helpful for any adult to ask him if he’s okay?\u003c/p>\n\u003cp>\u003cb>Up High In The Trees\u003c/b> is a debut novel by San Francisco teacher and writer Kiara Brinkman, and Grove/Atlantic appears to be putting some serious marketing budget behind it. Check any of your favorite mommy blogs over the last couple weeks and it’ll be there, in the AdSense sidebar. I had some trepidation about reading it, actually. Everything that I knew about the plot can be summed up in four words: Autistic Kid, Dead Mom. Ever since Mark Haddon’s \u003cb>Curious Incident of the Dog In The Night-Time\u003c/b>, narrated by an autistic teenager, books narrated by fictional or actual people on the autism spectrum have become a bit of a publishing fad. Especially beloved are savants that have abilites that appear magical to boring neurotypicals like you and me (Daniel Tammet, author of \u003cb>Born On A Blue Day\u003c/b> , can allegedly recite pi to 22,514 places). These books lead us to believe that men with Asperger’s are always doing calculus, and women with autism are wordlessly communing with animals (like Temple Grandin does with livestock, or Dawn Prince-Hughes with gorillas). Going in, I wondered, is this book going to be painfully precious? As I’ve remarked before, novels in the Women’s Weepie vein tend to traffic in issues that almost automatically make you burst into tears before you finish the first page. Did Kiara manage to write a whole Autistic-Kid-Dead-Mom book without making it so every reader wants to crawl into the cupboard under the sink?\u003c/p>\n\u003cp>Miraculously, yes. But not for the reasons I’d imagined. She managed it because her novel isn’t an Autistic Kid book. It wasn’t until three-quarters of the way through the book that I noticed something. Never once does she say that Sebby is autistic. It’s in the ads, on the jacket and in the reviews, but it’s not ever stated in her book. It’s fiction, for God’s sake, it doesn’t need to be. Sebby is certainly odd, dislocated from his place and time. Hence the title: “up high in the trees” is where Sebby’s mom told him he lived before he was born. And he’s still there, floating above, looking down. Does he have autism? Who cares? I’m a reader, not a doctor, I’m not in the business of diagnosis. Giving Sebby a convenient label takes away a great deal of the beauty and mystery from an otherworldly creation. It dumbs down what turned out to be a very beautiful and deeply strange little book. He’s certainly odd, but no odder than anyone else in the story.\u003c/p>\n\u003cp>If Sebby has some sort of diagnosed cognitive issue going on, he himself is not aware of it. He crawls into small, dark, comforting spaces, and is yelled at to “stop hiding.” In school, he just falls asleep. Blessedly, he doesn’t do math or do any horse-whispering. \u003cb>Up High In The Trees\u003c/b> is entirely filtered through Sebby’s skewed perspective, in short vignettes, usually less than a page long. As a result, the plot is fragmented, he sees and recounts things that don’t make a whole lot of sense. His mother has been hit and killed by a car under ambiguous circumstances. His father pulls Sebby out of school and holes up with him in the family’s mountain cabin. Sebby’s two older siblings, Cass and Leo, stay home. Alone with Sebby, Dad begins to completely unravel. Here’s a favorite scene of the Lane family attempting to interact in some kind of normal fashion:\u003cbr>“I’m having a Beatles party, [Dad] says.\u003cbr>What? Leo asks. \u003cbr>A Beatles party, says Dad. I’m playing all the songs in order. Some songs I have to listen to more than once, he says, because they’re too good. \u003cbr>In order of the American release or the UK release? Leo asks. He wipes his nose with the back of his hand.\u003cbr>American, dad says.\u003cbr>Oh, Leo says and walks away.\u003cbr>It’s Thanksgiving, Cass tells Dad.”\u003cbr>The “Beatles party” Thanksgiving continues for 16 straight hours. The Lane kids wonder aloud if someone should make a turkey, but decide against it. Would YOU be able to tell which member of this family is allegedly the “autistic” one, given the way they all behave? Suspend some disbelief, folks! It’s fiction. Strange behavior does not have to be explained away in a novel, if it serves a purpose.\u003c/p>\n\u003cp>Brinkman uses no quotation marks when characters speak, which contributes to the dislocated, underwater feeling. Sebby imagines incidents from his mother’s life, things that happened when he wasn’t there or wasn’t born. These might be stories he’s been told, or he’s inventing them, or maybe he really is “up high in the trees,” traveling through his mother’s past, watching them happen: “At the end of the pier, Mother dropped her favorite thing. It was an owl carved out of pink soap. She dropped the pink owl in the water to see if she would jump in to save it and she did.” Such an emotionally complex, symbolically rich sentence, I don’t even want to attempt to unpack it. The book is full of those. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Up High In The Trees\u003c/b> takes place in 1992. There are passing references to world events, to Clinton’s election and other things. It appears, though, that the main reason for anchoring the narrative in that year is that it establishes the parents as baby boomers, and gives Brinkman a reason to weave a ’60s soundtrack through the novel that you can practically hear. Music is being listened to, or discussed, constantly. The aforementioned Beatles, the Mamas and the Papas, the Beach Boys: Brinkman never quotes the lyrics directly but gets Sebby to mention them in a sideways fashion that lets you identify the songs. In one particularly moving passage, Sebby comes upon his father singing the lyrics of Van Morrison’s “Cypress Avenue” at the top of his lungs. “The words get stuck in Dad’s head and then he has to let them out. This has happened before… Dad says the words about cherry wine. His head is rocking and his hand bangs against his chest with each word.” Whether we’re looking at a man wracked by grief, Asperger’s, drunkenness, or mental illness, Brinkman leaves in the eye of the beholder. Sebby doesn’t have words for any of these things, and so neither do we.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One good thing that could come out of this book being marketed as part of the current autism fad is that it will attract readers who would never have otherwise picked it up. Tricked into thinking they’re reading popular fiction, they will instead find a fairly audacious, difficult, small literary masterpiece. If you allow Sebby Lane to transport you up high in the trees, you will be altered by the experience.\u003c/p>\n\n",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"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",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"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.",
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"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",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"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",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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