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"content": "\u003cp>My friends know me as an unapologetic reader of romances.\u003c/p>\n\u003cp>Though I prefer my romance cloaked in a literary guise, as in Michael Ondaatje’s Orientalist fantasy, \u003cb>The English Patient\u003c/b> (a favorite from my schoolgirl days), I am not above supermarket paperbacks (the kind featuring well-muscled men embracing tousled, buxom women on the cover). I will even occasionally devour the short stories in the back of women’s magazines (such as \u003ci>Cosmo\u003c/i> or \u003ci>Glamour\u003c/i>). And they move me. Though I understand their tricks, these stories still make me cry.\u003c/p>\n\u003cp>I cried through the final thirty pages of Anita Shreve’s new novel, \u003cb>Body Surfing\u003c/b> (Little, Brown). At 29, Sydney Sklar, the novel’s narrator, is both a divorcee and a widow. Numbed by tragedy, Sydney seems content to drift with the current. When Sydney takes a position as a summer tutor, she drifts into the Edwards family. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My friends know me as an unapologetic reader of romances.\u003c/p>\n\u003cp>Though I prefer my romance cloaked in a literary guise, as in Michael Ondaatje’s Orientalist fantasy, \u003cb>The English Patient\u003c/b> (a favorite from my schoolgirl days), I am not above supermarket paperbacks (the kind featuring well-muscled men embracing tousled, buxom women on the cover). I will even occasionally devour the short stories in the back of women’s magazines (such as \u003ci>Cosmo\u003c/i> or \u003ci>Glamour\u003c/i>). And they move me. Though I understand their tricks, these stories still make me cry.\u003c/p>\n\u003cp>I cried through the final thirty pages of Anita Shreve’s new novel, \u003cb>Body Surfing\u003c/b> (Little, Brown). At 29, Sydney Sklar, the novel’s narrator, is both a divorcee and a widow. Numbed by tragedy, Sydney seems content to drift with the current. When Sydney takes a position as a summer tutor, she drifts into the Edwards family. Trouble comes in threes, and this will hold true for Sydney.\u003c/p>\n\u003cp>Though in many ways \u003cb>Body Surfing\u003c/b> hews closely to the conventions of the genre, the book departs from the typical romance by emphasizing Sydney’s desire to make a place in the world. Sydney hungers, not for a singular passion, but for family’s comfort and security. \u003cb>Body Surfing\u003c/b> plays on the contrast between the close-knit Edwards family, and Sydney’s own shattered nuclear family. Desire renders Sydney a close observer. She watches the Edwards family with an intensity that borders on obsession.\u003c/p>\n\u003cp>Shreve gives Sydney a voice that is slow and deliberate. Sydney seems to be all eyes, as if through sheer force of will she can assimilate the external world through her sense of sight. Consider Sydney’s description of the Edwards’ beach house in New Hampshire, “Knife blades of grass pierce the wooden slats of the boardwalk. Sweet pea overtakes the thatch. Unwanted fists of thistle push upward from the sand. On the small deck at the end of the boardwalk are two white Adirondack chairs…and a faded umbrella behind them. Two rusted and immensely heavy iron bases for the umbrella sit in a corner, neither of which, Sydney guesses, will ever leave the deck.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neither of the iron bases will leave the deck, but Sydney, as a stranger, must one day quit the house. Acutely aware of her own temporary status, she exists in a kind of purgatory, alternately jealous and critical, desirous and resentful. Comparing herself (the mistress, the nuclear family’s ultimate “outsider”) to her lover’s wife, Anne Sexton once wrote, “She is the sum of yourself and your dream./Climb her like a monument, step after step./She is solid./As for me, I am a watercolor./I wash off.”\u003c/p>\n\u003cp>Like Sexton, Sydney is fearful of her own impermanence, yet unable to take steps to remedy the situation. Instead, she savors the Edwards’ closeness, watching their family rituals and histories from the sidelines. Shreve’s writing, at its best, reminds me of Alice Munro or Joyce Carol Oates, two contemporary writers who treat the subjects of family and womanhood with a cool, careful precision.\u003c/p>\n\u003cp>Shreve was once a journalist, and her penchant for objectivism, for latching onto the choice detail, remains in evidence throughout her writing. \u003cb>Body Surfing\u003c/b> is not a Jamesian affair, full of interlinked sentences and choice epigrams. Shreve is fond of choppy sentences — perhaps a holdover from her correspondent days — and brief paragraphs. It is a kind of writing that is less psychological than descriptive, more prosaic than poetic. Characters commit actions, but like Sydney, we remain outside, unable to access (or understand) their motivations. Shreve’s gift lies in her ability to describe a situation, and hand over a mise-en-scene that is brief and pointed.\u003c/p>\n\u003cp>In its best moments, \u003cb>Body Surfing\u003c/b> is clear and lucid, like the sunlit rooms in the Edwards’ beach cottage. Shreve knows how to plot, and the narrative’s twists and turns are generally satisfying, though she includes encounters (like Sydney’s dinner with Mr. Cavalli, or the lesbian subplot involving Sydney’s pupil, Julie, and a surfer-girl from Montreal) that feel unmotivated.\u003c/p>\n\u003cp>Joyce Carol Oates’s assessment of Alice Munro’s \u003cb>The Progress of Love\u003c/b> can be equally applied to Anita Shreve’s \u003cb>Body Surfing\u003c/b>. Munro’s book, Oates writes, is “a volume of unflinching honesty, uncompromising in its dissection of the ways we deceive ourselves in the name of love; the bleakness of its vision is enriched by the author’s exquisite eye and ear for detail. Life is heartbreak, but it is also uncharted moments of kindness and reconciliation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Unlike Oates or Munro, who are equally comfortable delving into life’s less savory side, Shreve retains the romance’s penchant for a satisfying ending. Despite the plot’s tragic overtones, \u003cb>Body Surfing\u003c/b> remains a summer confection. Darkness comes and goes, but we remain buoyant, confident that the next cresting wave will propel us towards happiness.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I work in a bookstore. Not too long ago, a tiny, frail, elderly man was helped out of a cab and into the shop by two young men, who shuffled him up to the counter. “DO YOU KNOW WHO I AM!” the guy yelled at me. I admitted that I didn’t, and when he told me his name, I recognized it, but I’ve never read any of his work. He is someone highly regarded in certain literary circles, although he didn’t make much money from it, nor has he achieved fame, despite more than half a century of exquisitely crafted literary output. He shouted a couple more questions at me (“I want to speak with the owner! The OWN-ER!”) and his attendant shot me a sympathetic look. They took him to visit his books. After they left, I saw that he had taken all of his works (dusty and rarely purchased) from the low shelf where they were displayed, and moved them to eye-level, pointedly placing them next to and on top of some books by a far more famous, less talented, and long-dead contemporary.\u003c/p>\n\u003cp>When I started reading \u003cb>The Last Novel\u003c/b>, David Markson’s latest scrapbook of aphorisms and unattributed anecdotes, I realized that it was narrated by that guy. I don’t mean that actual literal person, I mean someone in a similar predicament. The Novelist (as Markson’s narrator calls himself), an unrecognized, aging writer, repeats a sad refrain throughout the book: “Old. Tired. Sick. Alone. Broke.” This is my first time grappling with Markson’s work, about which the terms Postmodern and Experimental get thrown around a lot. He pushes, to the point of breaking, the whole concept of what one can set down on paper and refer to as a “novel.”\u003c/p>\n\u003cp>\u003cb>The Last Novel\u003c/b> is more like a list, consisting of sentence-long paragraphs — many of them just sentence fragments. All of them are little biographical anecdotes about great authors, poets, composers, painters, and musicians of the past. These anecdotes fall into several categories:\u003cbr> 1) Stories about works now viewed as masterpieces that were scorned in their own time, or conversely, celebrated in their own time and now are unjustly consigned to the dustbin of history.\u003cbr>2) Stories from the lives of great geniuses who died penniless, with holes in their shoes, in debt to the grocer.\u003cbr>3)Tales of geniuses who got old and feeble and lost their faculties.\u003cbr> 4)Quotations, from antiquity through the present, about artists who can’t give up drinking.\u003cbr>5)Incidents of blatant anti-Semitism, directed at those aforementioned geniuses. \u003c/p>\n\u003cp>\u003cb>The Last Novel\u003c/b> is the fourth of four books (a quartet? a tetralogy?) that witness a creator’s struggle with — and against — what he is creating. In the first of the four, \u003cb>Reader’s Block\u003c/b>, the narrator is referred to as “The Reader.” In \u003cb>This Is Not a Novel\u003c/b>, he’s “The Writer.” In \u003cb>Vanishing Point\u003c/b> he’s moved up to “Author,” and finally in this one he’s graduated to Novelist. What is his reward? Loneliness, the deaths of his friends, a life that consists largely of encounters with pharmacists and the building superintendent.\u003c/p>\n\u003cp>The Novelist tells us almost nothing about himself, but the glimpses we do get are devastating: he notices a pharmacist noticing his threadbare coat. He calls the answering machines of friends recently dead, just to hear their voices on the outgoing message. But for the most part, if we want to know who the character is that’s telling the story, all we have to go on is his choice of moments from the lives of others that he catalogs here. “Vermeer died in 1675. at which time one of his largest debts was, in fact, to a Delft baker. For bread to feed a family of thirteen.” “I am quite content to go down in history as a scissors and paste man. Said Joyce.” “A heart attack while swimming, Theodore Roethke died of.” “I’ve had it with those cheap sons of bitches who claim they love poetry but never buy a book. Growled Kenneth Rexroth.” Individually you might think, why is he telling us this? but collectively, you get a fascinating glimpse of the Novelist through the company he keeps — in books.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None of the anecdotes are attributed. None of the quotes have quotation marks. This begs the question, how do we know if any of this is accurate? Is it plagiarized, is it made up? A couple months ago, \u003ci>Harper’s Magazine\u003c/i> published a \u003ca href=\"http://www.harpers.org/archive/2007/02/0081387\" target=\"offsite\" rel=\"noopener\">remarkable essay\u003c/a> by Jonathan Lethem on the subject of plagiarism. Using scores of examples, he makes the case that a lot of what now gets called “copyright infringement,” or misuse of “intellectual property” would be better viewed as part of the organic process of art making. Since the beginning of time, he asserts, artists have borrowed from one another, poaching little shiny bits and pieces, magpie-style, an “ecstasy of influence.” “Any text is woven entirely with citations, references, echoes, cultural languages, which cut across it through and through in a vast stereophony,” he says. At the end, Lethem provides an annotation that’s even longer than the original piece: it reveals that the entire essay is “plagiarized,” a Frankenstein’s monster stitched together from dozens of sources. I found it to be a brilliant, audacious piece of work. But David Markson blows Lethem out of the water. He’s turned borrowing from other sources into an entire career, and made it a form of art in itself. I thought of comparing the two even before I came across this passage in Markson’s novel: “Future generations will regard Bob Dylan with the awe reserved for Blake, Whitman, Picasso, and the like. Said an otherwise seemingly rational writer named Jonathan Lethem.”\u003c/p>\n\u003cp>The Novelist laments the great under-recognized masterpieces, but he seems to think there’s some objective standard for deciding what a masterpiece is — a standard of his own choosing. In addition to his negative opinion of Bob Dylan, he pauses to give bad reviews to some modern artists, easy targets mostly: Christo’s Central Park installation of orange-curtained gates and Damien Hirst’s rotting shark have nothing remotely to do with art, he asserts. Stravinsky’s “Rite Of Spring,” or Manet’s “Olympia,” though, are just a few of the UNjustly panned, in his opinion — even though they were the shocking works of their day. It comes dangerously close to boring old man humbuggery, and I’m grateful he didn’t pause to rant about how young kids these days only know how to write emails and back in my day we wrote by hand and studied the classics and blah blah blah. But you could feel it implied.\u003c/p>\n\u003cp>It’s really easy to get lazy and conflate Novelist’s thoughts and opinions with David Markson’s. But he’s way too much of a trickster to be so obvious. However, it isn’t easy to shake the suspicion that Markson is putting one over on you, and he’s enjoying your boredom and confusion. Your inability to understand his weird non-book proves Novelist is an unrecognized genius. “For no reason whatsoever, Novelist has just flung his cat out one of his four-flights-up front windows,” so says the bottom of page 131. But then, what’s this on 135? “Novelist does not own a cat, and thus most certainly would not have thrown one out a window. Nonetheless he would lay odds that more than one hopscotching reviewer will be reading carelessly enough here to never notice these two sentences and announce that he did so.” (Hey — screw you, Novelist! I read every word!)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I have a number of friends and colleagues who \u003ca href=\"http://www.edrants.com/?p=6121\" target=\"offsite\" rel=\"noopener\">worship David Markson\u003c/a>, and happily devour everything he’s ever written, including the recent reissue of two detective novels he wrote for a quick paycheck back in the sixties. \u003cb>Epitaph For a Tramp\u003c/b> and \u003cb>Epitaph For a Dead Beat\u003c/b> have come out recently as \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100162640\" target=\"offsite\" rel=\"noopener\">a single paperback volume\u003c/a>, and from what I’m told they are great fun. For someone who has the fortitude to take on Markson’s more esoteric work, \u003cb>Wittgenstein’s Mistress\u003c/b>, I’m told, is the one to read. The first novel that Markson wrote in the epigrammatic style that is now his trademark, its narrator is a woman who might be the only person alive on earth, or she might be insane. After all the hours I’ve spent trying to unravel what Markson means by all his trickery, I think I can relate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I work in a bookstore. Not too long ago, a tiny, frail, elderly man was helped out of a cab and into the shop by two young men, who shuffled him up to the counter. “DO YOU KNOW WHO I AM!” the guy yelled at me. I admitted that I didn’t, and when he told me his name, I recognized it, but I’ve never read any of his work. He is someone highly regarded in certain literary circles, although he didn’t make much money from it, nor has he achieved fame, despite more than half a century of exquisitely crafted literary output. He shouted a couple more questions at me (“I want to speak with the owner! The OWN-ER!”) and his attendant shot me a sympathetic look. They took him to visit his books. After they left, I saw that he had taken all of his works (dusty and rarely purchased) from the low shelf where they were displayed, and moved them to eye-level, pointedly placing them next to and on top of some books by a far more famous, less talented, and long-dead contemporary.\u003c/p>\n\u003cp>When I started reading \u003cb>The Last Novel\u003c/b>, David Markson’s latest scrapbook of aphorisms and unattributed anecdotes, I realized that it was narrated by that guy. I don’t mean that actual literal person, I mean someone in a similar predicament. The Novelist (as Markson’s narrator calls himself), an unrecognized, aging writer, repeats a sad refrain throughout the book: “Old. Tired. Sick. Alone. Broke.” This is my first time grappling with Markson’s work, about which the terms Postmodern and Experimental get thrown around a lot. He pushes, to the point of breaking, the whole concept of what one can set down on paper and refer to as a “novel.”\u003c/p>\n\u003cp>\u003cb>The Last Novel\u003c/b> is more like a list, consisting of sentence-long paragraphs — many of them just sentence fragments. All of them are little biographical anecdotes about great authors, poets, composers, painters, and musicians of the past. These anecdotes fall into several categories:\u003cbr> 1) Stories about works now viewed as masterpieces that were scorned in their own time, or conversely, celebrated in their own time and now are unjustly consigned to the dustbin of history.\u003cbr>2) Stories from the lives of great geniuses who died penniless, with holes in their shoes, in debt to the grocer.\u003cbr>3)Tales of geniuses who got old and feeble and lost their faculties.\u003cbr> 4)Quotations, from antiquity through the present, about artists who can’t give up drinking.\u003cbr>5)Incidents of blatant anti-Semitism, directed at those aforementioned geniuses. \u003c/p>\n\u003cp>\u003cb>The Last Novel\u003c/b> is the fourth of four books (a quartet? a tetralogy?) that witness a creator’s struggle with — and against — what he is creating. In the first of the four, \u003cb>Reader’s Block\u003c/b>, the narrator is referred to as “The Reader.” In \u003cb>This Is Not a Novel\u003c/b>, he’s “The Writer.” In \u003cb>Vanishing Point\u003c/b> he’s moved up to “Author,” and finally in this one he’s graduated to Novelist. What is his reward? Loneliness, the deaths of his friends, a life that consists largely of encounters with pharmacists and the building superintendent.\u003c/p>\n\u003cp>The Novelist tells us almost nothing about himself, but the glimpses we do get are devastating: he notices a pharmacist noticing his threadbare coat. He calls the answering machines of friends recently dead, just to hear their voices on the outgoing message. But for the most part, if we want to know who the character is that’s telling the story, all we have to go on is his choice of moments from the lives of others that he catalogs here. “Vermeer died in 1675. at which time one of his largest debts was, in fact, to a Delft baker. For bread to feed a family of thirteen.” “I am quite content to go down in history as a scissors and paste man. Said Joyce.” “A heart attack while swimming, Theodore Roethke died of.” “I’ve had it with those cheap sons of bitches who claim they love poetry but never buy a book. Growled Kenneth Rexroth.” Individually you might think, why is he telling us this? but collectively, you get a fascinating glimpse of the Novelist through the company he keeps — in books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>None of the anecdotes are attributed. None of the quotes have quotation marks. This begs the question, how do we know if any of this is accurate? Is it plagiarized, is it made up? A couple months ago, \u003ci>Harper’s Magazine\u003c/i> published a \u003ca href=\"http://www.harpers.org/archive/2007/02/0081387\" target=\"offsite\" rel=\"noopener\">remarkable essay\u003c/a> by Jonathan Lethem on the subject of plagiarism. Using scores of examples, he makes the case that a lot of what now gets called “copyright infringement,” or misuse of “intellectual property” would be better viewed as part of the organic process of art making. Since the beginning of time, he asserts, artists have borrowed from one another, poaching little shiny bits and pieces, magpie-style, an “ecstasy of influence.” “Any text is woven entirely with citations, references, echoes, cultural languages, which cut across it through and through in a vast stereophony,” he says. At the end, Lethem provides an annotation that’s even longer than the original piece: it reveals that the entire essay is “plagiarized,” a Frankenstein’s monster stitched together from dozens of sources. I found it to be a brilliant, audacious piece of work. But David Markson blows Lethem out of the water. He’s turned borrowing from other sources into an entire career, and made it a form of art in itself. I thought of comparing the two even before I came across this passage in Markson’s novel: “Future generations will regard Bob Dylan with the awe reserved for Blake, Whitman, Picasso, and the like. Said an otherwise seemingly rational writer named Jonathan Lethem.”\u003c/p>\n\u003cp>The Novelist laments the great under-recognized masterpieces, but he seems to think there’s some objective standard for deciding what a masterpiece is — a standard of his own choosing. In addition to his negative opinion of Bob Dylan, he pauses to give bad reviews to some modern artists, easy targets mostly: Christo’s Central Park installation of orange-curtained gates and Damien Hirst’s rotting shark have nothing remotely to do with art, he asserts. Stravinsky’s “Rite Of Spring,” or Manet’s “Olympia,” though, are just a few of the UNjustly panned, in his opinion — even though they were the shocking works of their day. It comes dangerously close to boring old man humbuggery, and I’m grateful he didn’t pause to rant about how young kids these days only know how to write emails and back in my day we wrote by hand and studied the classics and blah blah blah. But you could feel it implied.\u003c/p>\n\u003cp>It’s really easy to get lazy and conflate Novelist’s thoughts and opinions with David Markson’s. But he’s way too much of a trickster to be so obvious. However, it isn’t easy to shake the suspicion that Markson is putting one over on you, and he’s enjoying your boredom and confusion. Your inability to understand his weird non-book proves Novelist is an unrecognized genius. “For no reason whatsoever, Novelist has just flung his cat out one of his four-flights-up front windows,” so says the bottom of page 131. But then, what’s this on 135? “Novelist does not own a cat, and thus most certainly would not have thrown one out a window. Nonetheless he would lay odds that more than one hopscotching reviewer will be reading carelessly enough here to never notice these two sentences and announce that he did so.” (Hey — screw you, Novelist! I read every word!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I have a number of friends and colleagues who \u003ca href=\"http://www.edrants.com/?p=6121\" target=\"offsite\" rel=\"noopener\">worship David Markson\u003c/a>, and happily devour everything he’s ever written, including the recent reissue of two detective novels he wrote for a quick paycheck back in the sixties. \u003cb>Epitaph For a Tramp\u003c/b> and \u003cb>Epitaph For a Dead Beat\u003c/b> have come out recently as \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100162640\" target=\"offsite\" rel=\"noopener\">a single paperback volume\u003c/a>, and from what I’m told they are great fun. For someone who has the fortitude to take on Markson’s more esoteric work, \u003cb>Wittgenstein’s Mistress\u003c/b>, I’m told, is the one to read. The first novel that Markson wrote in the epigrammatic style that is now his trademark, its narrator is a woman who might be the only person alive on earth, or she might be insane. After all the hours I’ve spent trying to unravel what Markson means by all his trickery, I think I can relate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>War is a constant presence in our media. Violence and protests and shady government dealings make the headlines everyday, and the consequences of these current battles will likely be felt for generations. Where did all of this start? Why have we been saddled with violence just feeling like another inevitability?\u003c/p>\n\u003cp>\u003cb>The Ancient Book of Myth and War\u003c/b> from Red Window and AdHouse books offers a series of illustrations about the elemental beginnings of war, or at least its roots in our Western culture. Imagery of Greek gods and warriors feature prominently in the book, with the ratio of spears and swords far outnumbering the appearance of handguns. This historical take helps to offset the seriousness of the subject. Instead of gore and grief, comically tragic warriors, mythical monsters, and stylish abstractions recall battles. This is not a glorification or simplification of war, but rather a team using the history and power of the subject for a series of bold, experimental paintings.\u003c/p>\n\u003cp>All four artists who contributed to the book are colleagues at Pixar, and their work is saturated with the kind of retro, fluid ease in chunky brushstrokes, soft bleeds, and cartoony figures that must just be in the drinking water there. All of the artists also seem quite taken with Picasso, making heavy use of his imagery of maniacal bulls, multi-colored fractured faces, and jaunty abstraction. Media ranged from pen and ink, to water media, and digital.\u003c/p>\n\u003cp>Individually, the artists explore varied themes. \u003ca href=\"http://scottmorse.blogspot.com/\" target=\"offsite\" rel=\"noopener\">Scott Morse\u003c/a> took a serious approach, drawing on myths from many cultures, and investing his paintings with heavy symbolism. Morse also contributed a few modern war pieces, including a disturbing, though visually stunning, painting of a young child soldier killing under the watchful gaze of his father. This piece further referenced the manifestations of ancient war with use of the word “insurgent.” His lovely “The Hand-Off” makes expert use of the “impressionistic atmosphere” of wet-on-wet technique, and tells a fascinating story in one single moment.\u003c/p>\n\u003cp>\u003ca href=\"http://louromano.blogspot.com/target=\" offsite>Lou Romano\u003c/a> focused mainly on Greek mythology, with several appearances of Medusa, swords and shields, and the mighty Zeus in blocky, primitive forms. His “Trojan Horse” is an amazingly simple and evocative use of big, angular shapes and gradient color. Straying outside the Mediterranean, Romano’s depiction of Durga, a Hindu goddess, is a gorgeous balancing act of bold color and composition, and one of the best pieces in the book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://donshank.blogspot.com/\" target=\"offsite\" rel=\"noopener\">Don Shank\u003c/a> contributed only a few paintings, but his lovely abstractions of spindly lines and meditative color fields fit with the Cubist-inspired motif. His “Archway Usher,” of a lone figure sheparding geese on a sunny day, was particularly nice, and gave a peaceful and inviting intermission in a book of aggression and strife.\u003c/p>\n\u003cp>\u003ca href=\"http://n8wragg.blogspot.com/\" target=\"offsite\" rel=\"noopener\">Nate Wragg\u003c/a> illustrated the many trials of Pathetos, the sweetly inept warrior in the vein of some bumbling Odysseus. With a short little body, beady eyes, and pointy nose reminiscent of the \u003ca href=\"http://www.franchising.com/littlecaesarspizza/images/logo.gif\" target=\"offsite\" rel=\"noopener\">Little Caesar’s Pizza icon\u003c/a>, Pathetos navigates an adorably gruesome world of stylish, big-eyed yetis, hydra, and even the perils of the beautiful Venus.\u003c/p>\n\u003cp>Each of the thirty five paintings is set with a short explanatory paragraph. More so than in their visual work, the respective writing styles really set the four artists apart. Morse and Romano opt for a more serious, poetic brevity in explanation, and include notes on their process such as thoughts about what types of watercolor they used, or the benefits of a certain technique. Shank offers quick and maybe slightly sarcastic explanations that are an entertaining complement to his gorgeous art. His titles such as, “Map of the First Galactic War (Article 1)” give backstory to abstract paintings, and work to fit them inside the war theme. Wragg invests the most in his written contribution, telling a complete story of Pathetos and his numerous botched encounters with various monsters. This narrative gives the book a strong momentum and humor, and seeing poor Pathetos meet one gruesome end after another is weirdly endearing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Ancient Book of Myth and War\u003c/b> is available through Red Window and \u003ca href=\"http://www.adhousebooks.com\" target=\"offsite\" rel=\"noopener\">AdHouse Books.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cp>“Being around women whose opinions don’t count for anything makes you lazy,” says Ike Bradshaw, a prison guard whose voice is one of the four that narrate Susanna Moore’s newest novel. He’s talking about the inmates, of course, the women of Sloatsburg Correctional Institution who taunt, yell, fight and flirt with him, day in and day out. The context is left a little ambiguous, though, so he could be referring to the wife who recently left him. He could also be talking about Louise Forrest, the prison psychiatrist who is also his sometime lover and the main protagonist of this dark tale. Moore’s books straddle a line between the “popular” and the “literary,” for want of better terms. (The best known of them, \u003cb>In The Cut\u003c/b>, was made into a recent film starring Meg Ryan.) 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She talks about her hideously abusive childhood, her marriage to a controlling preacher, and the black-robed Horsemen of the Apocalypse that come riding their black stallions into her prison cell on occasion. “The Horsemen believed in me, and I believed in them,” she says. “The idea that I might of imagined them, well, I deserve to die if that is true.” (We always know a shift into Helen’s voice because she says “might of” instead of “might have.”) Through Helen’s eyes we discover the infinitely complex universe of life in a women’s prison. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most fascinating aspect of Moore’s novel is her dissection of the ongoing soap operatic relations among the prisoners. “Families” are formed, with mothers, fathers, children, cousins, nieces, nephews. Packaged commissary snacks are used as ingredients for all kinds of unhealthy and gross-sounding concoctions. If a woman is seen chewing bubble gum, it’s a sign she’s sleeping with a guard. Love affairs — complete with ungrammatical, grade-school-style mash notes — are constant, even between women who profess to hate lesbians. It’s all an attempt to find some kind of warmth or human kindness — or failing that, some kind of control or advantage — in a cold and unkind place. The endless rules and regulations make no sense: one inmate is denied a visit with her child because the kid is wearing a hooded coat — the hood is a dress code violation. Prisoners are not adults anymore, they’ve become the “Big Girls” of the title.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is another entire storyline that comes into play, involving Forrest and Ike Bradshaw, the guard, and how their relationship lights a fuse in the mind of Forrest’s son Ransom that leads to tragic consequences. We find out a lot more about Angie the starlet, whose insular life of manicures and tanning sessions ends up sounding like its own kind of prison. The characters are unforgettable, for sure. What doesn’t always work so well is the story that brings them all together. Some aspects don’t feel believable, and some of the shocking-twist plot points truly come out of nowhere. The up-to-the minute cultural references will probably sound dated almost immediately (in one scene, two guys in a bar debate Nicole Kidman and Tom Cruise’s divorce). But overall, \u003cb>The Big Girls\u003c/b> works more often than it doesn’t. The larger points Moore makes — about male-female relations, motherhood, and whether anyone is truly free — will stick with you for a long time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"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.",
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},
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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