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"content": "\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“It was a new kind of post-punk, alternative music that straddled obscurity and directness, dissent and delicacy, unapologetic and unashamed pure pop,” he writes about the reaction to the band’s music in the early 1980s.\u003c/p>\n\u003cp>Carlin’s book offers plenty of behind the scenes details and trivia about R.E.M.’s rise. Fans will enjoy reading about how record executives were wary of making “Losing My Religion,” the band’s iconic hit, the first single from its album \u003cem>Out of Time\u003c/em>.\u003c/p>\n\u003cp>It’s also a fascinating history of a different era in music before social media created viral stars, when bands like R.E.M. rose up through college radio. The early sections of the book offer a vivid description of the music scene in Athens and the band’s beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Mosab Abu Toha’s searing new book of poems, \u003ci>Forest of Noise\u003c/i>, doesn’t give any false comfort or platitudes about hope. Instead, Toha looks readers in the eye and asks them to bear witness to the destruction of his homeland, Gaza.\u003c/p>\n\u003cp>It opens:\u003c/p>\n\u003cblockquote>\u003cp>Every child in Gaza is me.\u003cbr>\nEvery mother and father is me.\u003cbr>\nEvery house is my heart.\u003cbr>\nEvery tree is my leg.\u003cbr>\nEvery plant is my arm.\u003cbr>\nEvery flower is my eye.\u003cbr>\nEvery hole in the earth\u003cbr>\nIs my wound.\u003c/p>\u003c/blockquote>\n\u003cp>Abu Toha will read from \u003ci>Forest of Noise\u003c/i> on Monday, Nov. 4 at 7 p.m. at \u003ca href=\"https://citylights.com/events/mosab-abu-toha-2/\">City Lights Books\u003c/a> in San Francisco’s North Beach neighborhood (the event will also be livestreamed). On Tuesday, Nov. 5, he’ll be at \u003ca href=\"https://greenapplebooks.com/\">Green Apple Books\u003c/a> in the Richmond District for a signing at 2 p.m., followed by another one at \u003ca href=\"https://www.booksmith.com/\">The Booksmith\u003c/a> in the Haight at 3:15 p.m.\u003c/p>\n\u003cp>Abu Toha composed the verses in the book over the past year as Israeli bombs rained down, destroying his home and the two branches of the \u003ca href=\"https://lithub.com/founding-the-first-english-language-library-in-gaza/\">Edward Said Public Library\u003c/a>, which he founded in 2014. Airstrikes killed dozens of his extended family members and friends. After an arduous journey — during which he was captured by Israeli forces, stripped and beaten — Abu Toha, his wife and three young children relocated to Egypt and then Syracuse, New York, where he is now a fellow at Syracuse University.\u003c/p>\n\u003cp>It’s painful to imagine what might’ve happened to Abu Toha if he wasn’t an American Book Award-winning author, and if there hadn’t been an international outcry over his detainment. Now, in his essays for \u003ci>\u003ca href=\"https://www.nytimes.com/2024/10/06/opinion/schools-shelters-gaza-israel.html\">The New York Times\u003c/a>\u003c/i> and \u003ca href=\"https://www.newyorker.com/magazine/2024/01/01/a-palestinian-poets-perilous-journey-out-of-gaza\">\u003cem>The New Yorker\u003c/em>\u003c/a>, and in interviews with \u003ca href=\"https://www.pbs.org/newshour/show/palestinian-poet-mosab-abu-toha-processes-the-war-in-gaza-through-his-art\">PBS\u003c/a> and \u003ca href=\"https://www.msnbc.com/all-in/watch/web-exclusive-acclaimed-palestinian-poet-who-escaped-gaza-speaks-with-chris-hayes-222742085820\">MSNBC\u003c/a>, he has made it his mission to speak for those who weren’t able to get out of Gaza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The only hope that I see in poetry is that I share the stories of people who are no longer with us,” he told PBS recently. “And the other hope would be moving people to act and to stop the poems from happening again and again, because poems for me are not only a piece of writing. They are something that is happening.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Mosab Abu Toha presents ‘Forest of Noise’ at \u003ca href=\"https://citylights.com/events/mosab-abu-toha-2/\">City Lights Books\u003c/a> (261 Columbus Ave.) on Nov. 4 at 7 p.m. The event will also be livestreamed. \u003ca href=\"https://citylights.com/events/mosab-abu-toha-2/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>On Nov. 5, \u003ca href=\"https://www.instagram.com/mosab_abutoha/p/DB9YbwUShyB/?hl=en&img_index=1\">he will sign books\u003c/a> at Green Apple Books (506 Clement St.) at 2 p.m. and The Booksmith (1727 Haight St.) at 3:15 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mosab Abu Toha’s searing new book of poems, \u003ci>Forest of Noise\u003c/i>, doesn’t give any false comfort or platitudes about hope. Instead, Toha looks readers in the eye and asks them to bear witness to the destruction of his homeland, Gaza.\u003c/p>\n\u003cp>It opens:\u003c/p>\n\u003cblockquote>\u003cp>Every child in Gaza is me.\u003cbr>\nEvery mother and father is me.\u003cbr>\nEvery house is my heart.\u003cbr>\nEvery tree is my leg.\u003cbr>\nEvery plant is my arm.\u003cbr>\nEvery flower is my eye.\u003cbr>\nEvery hole in the earth\u003cbr>\nIs my wound.\u003c/p>\u003c/blockquote>\n\u003cp>Abu Toha will read from \u003ci>Forest of Noise\u003c/i> on Monday, Nov. 4 at 7 p.m. at \u003ca href=\"https://citylights.com/events/mosab-abu-toha-2/\">City Lights Books\u003c/a> in San Francisco’s North Beach neighborhood (the event will also be livestreamed). On Tuesday, Nov. 5, he’ll be at \u003ca href=\"https://greenapplebooks.com/\">Green Apple Books\u003c/a> in the Richmond District for a signing at 2 p.m., followed by another one at \u003ca href=\"https://www.booksmith.com/\">The Booksmith\u003c/a> in the Haight at 3:15 p.m.\u003c/p>\n\u003cp>Abu Toha composed the verses in the book over the past year as Israeli bombs rained down, destroying his home and the two branches of the \u003ca href=\"https://lithub.com/founding-the-first-english-language-library-in-gaza/\">Edward Said Public Library\u003c/a>, which he founded in 2014. Airstrikes killed dozens of his extended family members and friends. After an arduous journey — during which he was captured by Israeli forces, stripped and beaten — Abu Toha, his wife and three young children relocated to Egypt and then Syracuse, New York, where he is now a fellow at Syracuse University.\u003c/p>\n\u003cp>It’s painful to imagine what might’ve happened to Abu Toha if he wasn’t an American Book Award-winning author, and if there hadn’t been an international outcry over his detainment. Now, in his essays for \u003ci>\u003ca href=\"https://www.nytimes.com/2024/10/06/opinion/schools-shelters-gaza-israel.html\">The New York Times\u003c/a>\u003c/i> and \u003ca href=\"https://www.newyorker.com/magazine/2024/01/01/a-palestinian-poets-perilous-journey-out-of-gaza\">\u003cem>The New Yorker\u003c/em>\u003c/a>, and in interviews with \u003ca href=\"https://www.pbs.org/newshour/show/palestinian-poet-mosab-abu-toha-processes-the-war-in-gaza-through-his-art\">PBS\u003c/a> and \u003ca href=\"https://www.msnbc.com/all-in/watch/web-exclusive-acclaimed-palestinian-poet-who-escaped-gaza-speaks-with-chris-hayes-222742085820\">MSNBC\u003c/a>, he has made it his mission to speak for those who weren’t able to get out of Gaza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The only hope that I see in poetry is that I share the stories of people who are no longer with us,” he told PBS recently. “And the other hope would be moving people to act and to stop the poems from happening again and again, because poems for me are not only a piece of writing. They are something that is happening.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Mosab Abu Toha presents ‘Forest of Noise’ at \u003ca href=\"https://citylights.com/events/mosab-abu-toha-2/\">City Lights Books\u003c/a> (261 Columbus Ave.) on Nov. 4 at 7 p.m. The event will also be livestreamed. \u003ca href=\"https://citylights.com/events/mosab-abu-toha-2/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>On Nov. 5, \u003ca href=\"https://www.instagram.com/mosab_abutoha/p/DB9YbwUShyB/?hl=en&img_index=1\">he will sign books\u003c/a> at Green Apple Books (506 Clement St.) at 2 p.m. and The Booksmith (1727 Haight St.) at 3:15 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967647\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png\" alt=\"A book cover featuring an illustration of a chicken.\" width=\"1436\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1020x1421.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-768x1070.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1103x1536.png 1103w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">‘What the Chicken Knows’ by Sy Montgomery. \u003ccite>(Atria Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three clucks to Sy Montgomery, who 14 years after publishing \u003cem>Birdology\u003c/em>, is still finding ways to make money off the charming stories she told in that book about various avian species. \u003cem>What the Chicken Knows\u003c/em>, subtitled \u003cem>A New Appreciation of the World’s Most Familiar Bird\u003c/em> was a chapter in \u003cem>Birdology\u003c/em>, but is being re-released as a mini hardcover.\u003c/p>\n\u003cp>Readers who haven’t read it will be, briefly, captivated. In just 67 pages (16 of which are glossy color photographs) Montgomery introduces us to her “Ladies,” the ever-changing flock of hens she raised on her New Hampshire farm for decades starting in the 1980s. Blending her personal experiences as queen of the coop with everything you’ve ever wanted to know about chicken behavior, it’s a fun and informative way to spend an hour.\u003c/p>\n\u003cp>[aside postid='arts_13966822']Here’s a sampling of what you’ll learn: Chickens outnumber people 4:1, they have more in common, anatomically, with dinosaurs than humans, you can mail order up to 350 different varieties of chicks, and roosters really are much meaner than hens. Montgomery sprinkles in those facts and plenty more as she shares stories about how her chickens behaved over the years and what they taught her about “how rich and varied their lives are, as fraught and joyous and changeable as our own.”\u003c/p>\n\u003cp>Montgomery is wary of anthropomorphizing her feathered friends, so while she names them, she also tells plenty of stories that could be rebranded for a TV show called \u003cem>When Chickens Attack!\u003c/em> The funniest involves her minister, who makes the mistake of running his hand down one of the hens’ backs, a gesture that makes them assume a distinctive mating crouch. Across the yard, Alex “saw a moral travesty, an insult to his roosterhood: the minister was trying to have sex with his hen.” The minister survives the bloody “spurs first” attack to the back of his calves, but learns to tend his own flock.\u003c/p>\n\u003cp>\u003cem>What the Chicken Knows\u003c/em> joins \u003cem>A Hummingbird’s Gift\u003c/em> and \u003cem>The Hawk’s Way\u003c/em> as standalone mini-books pulled from the pages of \u003cem>Birdology\u003c/em>. Each has a new introduction by the author and would make nice stocking stuffers for bird lovers in anyone’s life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘What the Chicken Knows’ by Sy Montgomery is out on Nov. 5, 2024, via Atria Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cfigure id=\"attachment_13967331\" class=\"wp-caption aligncenter\" style=\"max-width: 1344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png\" alt=\"A book cover featuring an illustration of flowers against a yellow circle on a black background.\" width=\"1344\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png 1344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-800x1190.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1020x1518.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-768x1143.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1032x1536.png 1032w\" sizes=\"(max-width: 1344px) 100vw, 1344px\">\u003cfigcaption class=\"wp-caption-text\">‘Masquerade’ by Mike Fu. \u003ccite>(Tin House Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meadow is coming up on 10 years living in New York, and he’s still adrift. His boyfriend ghosted him, his current residence is actually a housesitting gig, and his bartending job isn’t exactly filling his parents with pride. But this summer, strange things keep happening that will make or break him.\u003c/p>\n\u003cp>[aside postid='arts_13967077']Right at the start of Mike Fu’s debut novel, \u003cem>Masquerade\u003c/em>, Meadow finds a strange book called \u003cem>The Masquerade\u003c/em> — written by someone with his same name.\u003c/p>\n\u003cp>In a rush to catch the plane to visit his parents in Shanghai, he stuffs the book in his bag. As he reads it, he finds uncanny parallels between his life and the novel.\u003c/p>\n\u003cp>Dream-like, \u003cem>Masquerade\u003c/em> begins somewhat aimless, introducing small mysteries and oddities that provide an unnerving background hum to an otherwise aimless plot. Like Meadow, we’re not sure where this is all going, or what is going to prove important later, though the occasional foreshadowing reminds us there’s a bigger issue at hand.\u003c/p>\n\u003cp>There’s a disappearance. There’s an apparent doppelganger, and maybe a ghost, too. And a strange mirror haunts Meadow’s dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jumping around in time, Fu slowly reveals Meadow’s history — largely revolving around existential dread quieted or swept aside by a constant stream of parties and benders.\u003c/p>\n\u003cp>In his 20s, Meadow throws himself into postgraduate studies to avoid the financial crash, and then into office work to avoid the self-important but pointless academic work, then into bartending when he finds office work just as pointless and soul-sucking. Now in his 30s, he’s reckoning with a sort of second coming-of-age.\u003c/p>\n\u003cp>[aside postid='arts_13966822']\u003cem>Masquerade\u003c/em> is a meandering, surreal, and unsettling search for identity as Meadow examines the masks he’s worn throughout his adult life.\u003c/p>\n\u003cp>While various oddities turn out to be only mysterious — rather than actual mysteries — the novel’s ending has a hopefulness and purpose that helps counterbalance the main character’s lack of agency throughout most of the story.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Masquerade’ by Mike Fu is released on Oct. 29, 2024, via Tin House Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jumping around in time, Fu slowly reveals Meadow’s history — largely revolving around existential dread quieted or swept aside by a constant stream of parties and benders.\u003c/p>\n\u003cp>In his 20s, Meadow throws himself into postgraduate studies to avoid the financial crash, and then into office work to avoid the self-important but pointless academic work, then into bartending when he finds office work just as pointless and soul-sucking. Now in his 30s, he’s reckoning with a sort of second coming-of-age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Masquerade\u003c/em> is a meandering, surreal, and unsettling search for identity as Meadow examines the masks he’s worn throughout his adult life.\u003c/p>\n\u003cp>While various oddities turn out to be only mysterious — rather than actual mysteries — the novel’s ending has a hopefulness and purpose that helps counterbalance the main character’s lack of agency throughout most of the story.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Masquerade’ by Mike Fu is released on Oct. 29, 2024, via Tin House Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>[aside postid='arts_13967093']The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Small Press Distribution’s Closure, Indie Publishers Band Together",
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"content": "\u003cp>When Isis Asare took on the job as the executive director of Aunt Lute Books this year, they were excited to continue the press’s legacy of celebrating often-overlooked authors. \u003ca href=\"https://www.auntlute.com/\">Aunt Lute Books\u003c/a>, an intersectional feminist press based in San Francisco, published groundbreaking work like Audre Lorde’s 1980 book \u003cem>The Cancer Journals\u003c/em>, a feminist analysis of the experience of breast cancer, and Gloria Anzaldúa’s \u003cem>Borderlands/La Frontera\u003c/em>, a landmark text on the Chicana experience.\u003c/p>\n\u003cp>[aside postID='arts_13954963']But in March, small presses around the country were left grappling with a sudden and extraordinary blow. Small Press Distribution (SPD), the only nonprofit independent literary distributor in the country, \u003ca href=\"https://www.kqed.org/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down\">announced that it was closing immediately\u003c/a>. Hundreds of presses nationwide needed to rethink how to get books to universities, libraries, bookstores and readers.\u003c/p>\n\u003cp>“It was definitely a very trial-by-fire transition. I think everybody throughout the indie publishing industry was caught very off guard,” Asare says. “I had a lot of sleepless nights about like, ‘How do we get the word out?’ And, ‘When people place an order, where do they go?’ It was really, really hard. I cannot overstate how difficult it was.”\u003c/p>\n\u003cp>Now, roughly six months since the closure of SPD, small presses are finding ways to keep going and stay connected. That camaraderie was visible at Litquake’s Book Fair at Yerba Buena Gardens on Saturday, where a contingent of presses formerly distributed by SPD gathered and displayed their wares.\u003c/p>\n\u003cp>“The dissolution of SPD was rough on a lot of folks, so it’s nice to be able to support people finding their way back after that,” says Sophia Cross, director of operations at Litquake. “The big five publishing houses have millions of dollars available for marketing. The scale of publicity is much, much smaller for a small press. Opportunities like these are really crucial to get in front of people.”\u003c/p>\n\u003cfigure id=\"attachment_13966960\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED.jpg\" alt=\"stacks of books on table at outdoor event\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Books for sale at Aunt Lute Books’ booth at the Litquake book fair in Yerba Buena Gardens on Oct. 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A phenomenal blow’\u003c/h2>\n\u003cp>At the Oct. 19 book fair, Aunt Lute Books, Kelsey Street Press, Pelekinesis and Sixteen Rivers Press joined the spread of small presses and literary magazines. Nearby, poets and musicians performed for Litquake Out Loud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the Aunt Lute Books stand, the press’ operations director, María Mínguez Arias, stood proudly beside a catalog of treasured books, including new titles like Michele Tracy Berger’s \u003cem>\u003ca href=\"https://www.auntlute.com/doll-seed-and-other-stories\">Doll Seed: Stories\u003c/a>\u003c/em> and Kathya Alexander’s \u003cem>\u003ca href=\"https://www.auntlute.com/keep-a-livin\">Keep A’Livin’\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>The closure of SPD was a “phenomenal blow” that put many presses at the brink of closure, Mínguez Arias says. Aunt Lute Books has since found a new distributor in Consortium Book Sales & Distribution.\u003c/p>\n\u003cp>“I really like to think that the worst is over,” Mínguez Arias says. “The general challenge is that we have a mission that is not aligned with profit. It’s as simple as that.”\u003c/p>\n\u003cfigure id=\"attachment_13966961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED.jpg\" alt=\"person does a financial transaction on phone over table of books\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">María Mínguez Arias, right, sells a book to Rebecca Gold, left, at the Litquake Book Fair. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before SPD shut down, the nonprofit closed its warehouse in Berkeley and \u003ca href=\"https://www.berkeleyside.org/2023/03/30/small-press-distribution-berkeley\">raised more than $100,000\u003c/a> through GoFundMe to move tens of thousands of books to warehouses in Tennessee and Michigan. SPD’s closure left small presses scrambling to figure out how to get their inventories of physical books back.\u003c/p>\n\u003cp>Mark Givens of the Pomona Valley press \u003ca href=\"https://www.pelekinesis.com/\">Pelekinesis\u003c/a> could have driven to Berkeley to pick the books up — had he known about SPD’s fate. “But instead they shipped them off to Michigan,” Givens says.\u003c/p>\n\u003cp>Over the span of more than a decade, Pelekinesis amassed some 4,000 books in the SPD warehouse; it would cost thousands of dollars to ship the books back to California, Givens says.\u003c/p>\n\u003cp>“After some calculation, a little bit of back and forth, I said, ‘Alright.’ I authorized them to destroy the books,” Givens says. “That was heartbreaking, and it was $40,000 worth of inventory.”\u003c/p>\n\u003cp>Pelekinesis, now distributed by Ingram, will press on. Givens is looking on the bright side. The small press world is very nimble, he said, and adept at making changes.\u003c/p>\n\u003cfigure id=\"attachment_13966965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED.jpg\" alt=\"small crowd visit white tents on lawn with tables set up underneath\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Individuals attend the Litquake Book Fair in Yerba Buena Gardens on Oct. 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Saving the small press community\u003c/h2>\n\u003cp>One organization has been key to stopping small presses from spiraling in the wake of SPD’s collapse: the \u003ca href=\"https://www.clmp.org/\">Community of Literary Magazines and Presses\u003c/a> (CLMP). The New York organization is dedicated to maintaining a vibrant, diverse literary landscape by helping small literary publishers. CLMP just announced a new grant opportunity, the \u003ca href=\"https://www.clmp.org/small-press-future-fund/\">Small Press Future Fund\u003c/a>, which offers grants of up to $15,000 to presses once distributed by SPD.\u003c/p>\n\u003cp>Mary Gannon, CLMP’s executive director, said the organization has fielded hundreds of questions and calls from presses, launched surveys to understand their needs, hosted one-on-one consultations, and more. The group is also collecting data.\u003c/p>\n\u003cp>Gannon said about half of the active presses distributed by SPD have found new distributors. She estimated 10 presses at most have closed since SPD shut down.\u003c/p>\n\u003cp>The small press community so far appears to have avoided catastrophe, but the fight to sustain and adapt continues. The CLMP website describes how presses owed money by SPD, or who faced unexpected costs when SPD sent their inventory to a third party without authorization, \u003ca href=\"https://www.clmp.org/how-to-submit-claims-and-file-complaints-against-spd/\">can take steps to protect their rights\u003c/a>, like filing a complaint with the California Attorney General’s Office.\u003c/p>\n\u003cfigure id=\"attachment_13966963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED.jpg\" alt=\"person looks at book picked up from table of books under tent at outdoor event\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raymon Sutedjo-The looks at a book at the Litquake book fair in Yerba Buena Gardens on Oct. 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the situation looks bleak, Gannon notes. According to a July 16, 2024 court filing, SPD has extensive liabilities, including owing over 160 publishers more than $316,500 total. SPD’s cash balance was roughly $73,000 as of April 30, the same filing states.\u003c/p>\n\u003cp>Gannon says the last few months have been a wake-up call.\u003c/p>\n\u003ch2>Troubleshooting distribution\u003c/h2>\n\u003cp>“Distribution is an aspect of the book business that is frequently talked about as being problematic. Like as a system it is difficult-slash-potentially broken,” Gannon says. “I’m an eternal optimist. The situation, although devastating and horrible, has brought to light some pain points in the system that perhaps we can innovate and address moving forward.”\u003c/p>\n\u003cp>Back at the Litquake Book Fair, \u003ca href=\"https://sixteenrivers.org/\">Sixteen Rivers Press\u003c/a> is still navigating the new literary landscape. Sixteen Rivers Press, a shared-work, nonprofit poetry collective dedicated to Northern California poets, is taking on the task of distributing their books themselves.\u003c/p>\n\u003cp>“We’ve got boxes and boxes of books in all of our garages to send books to people who want them. But now it’s a different ballgame,” says Camille Norton, a press member. “Now it’s outreach to bookstores, and of course bookstores are having a hard time.”\u003c/p>\n\u003cfigure id=\"attachment_13966967\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED.jpg\" alt=\"person sits behind table of books, smiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carla Hall, a poet with Kelsey Street Press, poses for a photo at the Litquake Book Fair. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pressing on\u003c/h2>\n\u003cp>Many small presses operate on shoestring budgets, and are run by committed volunteers dedicated to championing writers and poets otherwise ignored by major publishers. \u003ca href=\"https://www.kelseystreetpress.org/\">Kelsey Street Press\u003c/a> has been publishing experimental feminist poetics for 50 years. Carla Hall is honored to represent the press, and show off its storied history.\u003c/p>\n\u003cp>“I came to the city thinking I could be a poet in San Francisco. That fairy tale dream,” Hall says. “And here I am, supporting an amazing press.”\u003c/p>\n\u003cp>Kelsey Street Press is now distributed by Asterism Books, a Seattle trade distributor and online bookstore designed, built, and run by independent publishers. Asterism, founded in 2021, has been a lifeline for many publishers after the collapse of SPD. They hovered below 50 presses in February, but Asterism now distributes roughly 160 presses, estimates founder Joshua Rothes.\u003c/p>\n\u003cp>Despite finding a new distributor, Kelsey Street Press is still taking orders on their website — while also planning book releases, a \u003ca href=\"https://www.kelseystreetpress.org/post/50th-anniversary-celebration-reading-10-25-24-3pm\">50th anniversary event\u003c/a>, and an eventual move out of Berkeley.\u003c/p>\n\u003cp>“We’re burned out. I sometimes think, ‘How do we do it?’” Hall says.\u003c/p>\n\u003cp>Yet Kelsey Street Press and the others persevere, because they believe in that small press ethos.\u003c/p>\n\u003cp>“We need to continue to create space for artists that are marginalized, period,” Hall said. “There’s so much hatred out there. There’s just a lot of darkness going on. Fundamentally, if people spent more time with books, and in particular poetry, we would be better off for it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The Litquake Festival continues this week, culminating in San Francisco’s Lit Crawl on Saturday, Oct. 26. \u003ca href=\"https://www.litquake.org/2024-schedule\">Click here for a complete schedule events\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in March, small presses around the country were left grappling with a sudden and extraordinary blow. Small Press Distribution (SPD), the only nonprofit independent literary distributor in the country, \u003ca href=\"https://www.kqed.org/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down\">announced that it was closing immediately\u003c/a>. Hundreds of presses nationwide needed to rethink how to get books to universities, libraries, bookstores and readers.\u003c/p>\n\u003cp>“It was definitely a very trial-by-fire transition. I think everybody throughout the indie publishing industry was caught very off guard,” Asare says. “I had a lot of sleepless nights about like, ‘How do we get the word out?’ And, ‘When people place an order, where do they go?’ It was really, really hard. I cannot overstate how difficult it was.”\u003c/p>\n\u003cp>Now, roughly six months since the closure of SPD, small presses are finding ways to keep going and stay connected. That camaraderie was visible at Litquake’s Book Fair at Yerba Buena Gardens on Saturday, where a contingent of presses formerly distributed by SPD gathered and displayed their wares.\u003c/p>\n\u003cp>“The dissolution of SPD was rough on a lot of folks, so it’s nice to be able to support people finding their way back after that,” says Sophia Cross, director of operations at Litquake. “The big five publishing houses have millions of dollars available for marketing. The scale of publicity is much, much smaller for a small press. Opportunities like these are really crucial to get in front of people.”\u003c/p>\n\u003cfigure id=\"attachment_13966960\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED.jpg\" alt=\"stacks of books on table at outdoor event\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Books for sale at Aunt Lute Books’ booth at the Litquake book fair in Yerba Buena Gardens on Oct. 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A phenomenal blow’\u003c/h2>\n\u003cp>At the Oct. 19 book fair, Aunt Lute Books, Kelsey Street Press, Pelekinesis and Sixteen Rivers Press joined the spread of small presses and literary magazines. Nearby, poets and musicians performed for Litquake Out Loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the Aunt Lute Books stand, the press’ operations director, María Mínguez Arias, stood proudly beside a catalog of treasured books, including new titles like Michele Tracy Berger’s \u003cem>\u003ca href=\"https://www.auntlute.com/doll-seed-and-other-stories\">Doll Seed: Stories\u003c/a>\u003c/em> and Kathya Alexander’s \u003cem>\u003ca href=\"https://www.auntlute.com/keep-a-livin\">Keep A’Livin’\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>The closure of SPD was a “phenomenal blow” that put many presses at the brink of closure, Mínguez Arias says. Aunt Lute Books has since found a new distributor in Consortium Book Sales & Distribution.\u003c/p>\n\u003cp>“I really like to think that the worst is over,” Mínguez Arias says. “The general challenge is that we have a mission that is not aligned with profit. It’s as simple as that.”\u003c/p>\n\u003cfigure id=\"attachment_13966961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED.jpg\" alt=\"person does a financial transaction on phone over table of books\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">María Mínguez Arias, right, sells a book to Rebecca Gold, left, at the Litquake Book Fair. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before SPD shut down, the nonprofit closed its warehouse in Berkeley and \u003ca href=\"https://www.berkeleyside.org/2023/03/30/small-press-distribution-berkeley\">raised more than $100,000\u003c/a> through GoFundMe to move tens of thousands of books to warehouses in Tennessee and Michigan. SPD’s closure left small presses scrambling to figure out how to get their inventories of physical books back.\u003c/p>\n\u003cp>Mark Givens of the Pomona Valley press \u003ca href=\"https://www.pelekinesis.com/\">Pelekinesis\u003c/a> could have driven to Berkeley to pick the books up — had he known about SPD’s fate. “But instead they shipped them off to Michigan,” Givens says.\u003c/p>\n\u003cp>Over the span of more than a decade, Pelekinesis amassed some 4,000 books in the SPD warehouse; it would cost thousands of dollars to ship the books back to California, Givens says.\u003c/p>\n\u003cp>“After some calculation, a little bit of back and forth, I said, ‘Alright.’ I authorized them to destroy the books,” Givens says. “That was heartbreaking, and it was $40,000 worth of inventory.”\u003c/p>\n\u003cp>Pelekinesis, now distributed by Ingram, will press on. Givens is looking on the bright side. The small press world is very nimble, he said, and adept at making changes.\u003c/p>\n\u003cfigure id=\"attachment_13966965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED.jpg\" alt=\"small crowd visit white tents on lawn with tables set up underneath\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Individuals attend the Litquake Book Fair in Yerba Buena Gardens on Oct. 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Saving the small press community\u003c/h2>\n\u003cp>One organization has been key to stopping small presses from spiraling in the wake of SPD’s collapse: the \u003ca href=\"https://www.clmp.org/\">Community of Literary Magazines and Presses\u003c/a> (CLMP). The New York organization is dedicated to maintaining a vibrant, diverse literary landscape by helping small literary publishers. CLMP just announced a new grant opportunity, the \u003ca href=\"https://www.clmp.org/small-press-future-fund/\">Small Press Future Fund\u003c/a>, which offers grants of up to $15,000 to presses once distributed by SPD.\u003c/p>\n\u003cp>Mary Gannon, CLMP’s executive director, said the organization has fielded hundreds of questions and calls from presses, launched surveys to understand their needs, hosted one-on-one consultations, and more. The group is also collecting data.\u003c/p>\n\u003cp>Gannon said about half of the active presses distributed by SPD have found new distributors. She estimated 10 presses at most have closed since SPD shut down.\u003c/p>\n\u003cp>The small press community so far appears to have avoided catastrophe, but the fight to sustain and adapt continues. The CLMP website describes how presses owed money by SPD, or who faced unexpected costs when SPD sent their inventory to a third party without authorization, \u003ca href=\"https://www.clmp.org/how-to-submit-claims-and-file-complaints-against-spd/\">can take steps to protect their rights\u003c/a>, like filing a complaint with the California Attorney General’s Office.\u003c/p>\n\u003cfigure id=\"attachment_13966963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED.jpg\" alt=\"person looks at book picked up from table of books under tent at outdoor event\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raymon Sutedjo-The looks at a book at the Litquake book fair in Yerba Buena Gardens on Oct. 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the situation looks bleak, Gannon notes. According to a July 16, 2024 court filing, SPD has extensive liabilities, including owing over 160 publishers more than $316,500 total. SPD’s cash balance was roughly $73,000 as of April 30, the same filing states.\u003c/p>\n\u003cp>Gannon says the last few months have been a wake-up call.\u003c/p>\n\u003ch2>Troubleshooting distribution\u003c/h2>\n\u003cp>“Distribution is an aspect of the book business that is frequently talked about as being problematic. Like as a system it is difficult-slash-potentially broken,” Gannon says. “I’m an eternal optimist. The situation, although devastating and horrible, has brought to light some pain points in the system that perhaps we can innovate and address moving forward.”\u003c/p>\n\u003cp>Back at the Litquake Book Fair, \u003ca href=\"https://sixteenrivers.org/\">Sixteen Rivers Press\u003c/a> is still navigating the new literary landscape. Sixteen Rivers Press, a shared-work, nonprofit poetry collective dedicated to Northern California poets, is taking on the task of distributing their books themselves.\u003c/p>\n\u003cp>“We’ve got boxes and boxes of books in all of our garages to send books to people who want them. But now it’s a different ballgame,” says Camille Norton, a press member. “Now it’s outreach to bookstores, and of course bookstores are having a hard time.”\u003c/p>\n\u003cfigure id=\"attachment_13966967\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED.jpg\" alt=\"person sits behind table of books, smiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241019_LITQUAKEBOOKFAIR_GC-26-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carla Hall, a poet with Kelsey Street Press, poses for a photo at the Litquake Book Fair. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pressing on\u003c/h2>\n\u003cp>Many small presses operate on shoestring budgets, and are run by committed volunteers dedicated to championing writers and poets otherwise ignored by major publishers. \u003ca href=\"https://www.kelseystreetpress.org/\">Kelsey Street Press\u003c/a> has been publishing experimental feminist poetics for 50 years. Carla Hall is honored to represent the press, and show off its storied history.\u003c/p>\n\u003cp>“I came to the city thinking I could be a poet in San Francisco. That fairy tale dream,” Hall says. “And here I am, supporting an amazing press.”\u003c/p>\n\u003cp>Kelsey Street Press is now distributed by Asterism Books, a Seattle trade distributor and online bookstore designed, built, and run by independent publishers. Asterism, founded in 2021, has been a lifeline for many publishers after the collapse of SPD. They hovered below 50 presses in February, but Asterism now distributes roughly 160 presses, estimates founder Joshua Rothes.\u003c/p>\n\u003cp>Despite finding a new distributor, Kelsey Street Press is still taking orders on their website — while also planning book releases, a \u003ca href=\"https://www.kelseystreetpress.org/post/50th-anniversary-celebration-reading-10-25-24-3pm\">50th anniversary event\u003c/a>, and an eventual move out of Berkeley.\u003c/p>\n\u003cp>“We’re burned out. I sometimes think, ‘How do we do it?’” Hall says.\u003c/p>\n\u003cp>Yet Kelsey Street Press and the others persevere, because they believe in that small press ethos.\u003c/p>\n\u003cp>“We need to continue to create space for artists that are marginalized, period,” Hall said. “There’s so much hatred out there. There’s just a lot of darkness going on. Fundamentally, if people spent more time with books, and in particular poetry, we would be better off for it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Litquake Festival continues this week, culminating in San Francisco’s Lit Crawl on Saturday, Oct. 26. \u003ca href=\"https://www.litquake.org/2024-schedule\">Click here for a complete schedule events\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "blood-test-by-charles-baxter-book-review-satire-pantheon",
"title": "What if a ‘Blood Test’ Predicted You’d Commit Murder?",
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"headTitle": "What if a ‘Blood Test’ Predicted You’d Commit Murder? | KQED",
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"content": "\u003cfigure id=\"attachment_13967018\" class=\"wp-caption aligncenter\" style=\"max-width: 1324px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/9780593700853-e1729620182658.jpeg\" alt=\"A book cover featuring a painting of a rodent inside a crystal ball. \" width=\"1324\" height=\"2000\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Test’ by Charles Baxter. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a challenging time for social satire: For one thing, the country sometimes seems as divided by what it finds funny as it is by politics. But \u003cem>Blood Test, \u003c/em>a new novel by Charles Baxter, perhaps spans divisions because it draws upon a tried-and-true comic predicament: namely, the little guy who’s forced to punch above his weight with a larger entity.\u003c/p>\n\u003cp>[aside postid='arts_13966951']That entity might be industry — as in Charlie Chaplin’s masterpiece \u003cem>Modern Times\u003c/em>; or government and law-enforcement agencies — as in Jess Walter’s superb 2005 novel \u003ca href=\"https://www.npr.org/2006/06/23/5459182/excerpt-citizen-vince\">\u003cem>Citizen Vince\u003c/em>\u003c/a>, about an ex-con determined to exercise his right to vote for the first time. In \u003cem>Blood Test\u003c/em>, the entity is the pharmaceutical industry.\u003c/p>\n\u003cp>The Everyman hero of this tale is a middle-age, divorced father of two named Brock Hobson, who sells insurance for a living in Ohio. One day, Brock makes an appointment at the local medical clinic to have a pain checked out. Here’s Brock’s description of the clinic and his fellow patients, a thumbnail description of a lot of places in America:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The [parking] spaces [outside the clinic] are usually filled. We have a lot of near-dead people in these parts. You can see them staggering in, breathing hard, young and old, propped up by their canes or walkers … It’s probably the postindustrial air we breathe here, or maybe the nitrate-scented water we drink out of the tap. Could be herbicides we spray on everything or the fact that a third of the town has a drinking problem, and another third is on meth and/or Oxy. You fall down here in Kingsboro, Ohio, you’re in good company. It’s a grand party of the infirm down there on the ground.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The doctor who briskly assesses Brock’s pain as stress-related also susses out that he has the money to purchase a product a medical start-up company is offering: It’s a blood test that can not only predict health problems down the road, but also behaviors, like say, romantic entanglements or promotions.\u003c/p>\n\u003cp>[aside postid='arts_13966911']Brock impulsively signs up for the test which also requires answering a questionnaire with queries such as: “WHAT IS YOUR PREFERRED METHOD FOR OPENING TIN CANS?” and “IF YOU FOUND OUT THAT GOD DOES NOT LIKE YOU HOW WOULD YOU FIX THE PROBLEM?” Eventually the results come back, predicting that mild-mannered Brock will “embark on a major crime wave”; indeed, it’s likely he’s going to commit a murder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What ensues is a screwball adventure (and I do mean “screwball” — there’s even a banana peel joke here!) in which Brock tries to outrun his homicidal fate and assert his individual free will.\u003c/p>\n\u003cp>If he is predestined to murder somebody, however, the most likely candidate would be Burt Kindlov — his ex-wife’s boyfriend. Burt is a handsome bully, deeply immersed in a Dianetics-type lifestyle practice. He’s also shamed Brock’s depressed teenage son for being gay. Brock deftly encapsulates his nemesis’ personality this way:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>Burt has an imperturbable ignorance about the world and what people are really like. If you were to ask him where Italy is located on the globe, he wouldn’t know but would despise you for asking.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Humor, as we know, often arises from pain. Going back as far as his 2000 novel \u003cem>The Feast of Love\u003c/em>, which was nominated for a National Book Award, Baxter has wielded wit and satire to entertain \u003cem>and\u003c/em> to illuminate harder truths about the world his characters inhabit. Brock’s smalltown Ohio is a place where the most flourishing business, besides the medical clinic, is Famous Discount store, where customers can browse discount DVDs with titles like \u003cem>His Holiness Pope Robot\u003c/em> and buy off-brand diet cola that “tastes like fizzy sugared cat food.”\u003c/p>\n\u003cp>[aside postid='arts_13966822']For sure, it can be a “zany” place where people find themselves drawn to certainty through sketchy blood tests and lifestyle practices; but, as Brock says, “[I]f you don’t like zany you probably shouldn’t live in America. You can always go to somewhere like Switzerland.” In \u003cem>Blood Test,\u003c/em> Baxter invites us to laugh at this all-American zaniness and to acknowledge some of the pain that fuels it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Test’ by Charles Baxter is out now, via Pantheon.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967018\" class=\"wp-caption aligncenter\" style=\"max-width: 1324px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967018\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/9780593700853-e1729620182658.jpeg\" alt=\"A book cover featuring a painting of a rodent inside a crystal ball. \" width=\"1324\" height=\"2000\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Test’ by Charles Baxter. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a challenging time for social satire: For one thing, the country sometimes seems as divided by what it finds funny as it is by politics. But \u003cem>Blood Test, \u003c/em>a new novel by Charles Baxter, perhaps spans divisions because it draws upon a tried-and-true comic predicament: namely, the little guy who’s forced to punch above his weight with a larger entity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That entity might be industry — as in Charlie Chaplin’s masterpiece \u003cem>Modern Times\u003c/em>; or government and law-enforcement agencies — as in Jess Walter’s superb 2005 novel \u003ca href=\"https://www.npr.org/2006/06/23/5459182/excerpt-citizen-vince\">\u003cem>Citizen Vince\u003c/em>\u003c/a>, about an ex-con determined to exercise his right to vote for the first time. In \u003cem>Blood Test\u003c/em>, the entity is the pharmaceutical industry.\u003c/p>\n\u003cp>The Everyman hero of this tale is a middle-age, divorced father of two named Brock Hobson, who sells insurance for a living in Ohio. One day, Brock makes an appointment at the local medical clinic to have a pain checked out. Here’s Brock’s description of the clinic and his fellow patients, a thumbnail description of a lot of places in America:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The [parking] spaces [outside the clinic] are usually filled. We have a lot of near-dead people in these parts. You can see them staggering in, breathing hard, young and old, propped up by their canes or walkers … It’s probably the postindustrial air we breathe here, or maybe the nitrate-scented water we drink out of the tap. Could be herbicides we spray on everything or the fact that a third of the town has a drinking problem, and another third is on meth and/or Oxy. You fall down here in Kingsboro, Ohio, you’re in good company. It’s a grand party of the infirm down there on the ground.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The doctor who briskly assesses Brock’s pain as stress-related also susses out that he has the money to purchase a product a medical start-up company is offering: It’s a blood test that can not only predict health problems down the road, but also behaviors, like say, romantic entanglements or promotions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Brock impulsively signs up for the test which also requires answering a questionnaire with queries such as: “WHAT IS YOUR PREFERRED METHOD FOR OPENING TIN CANS?” and “IF YOU FOUND OUT THAT GOD DOES NOT LIKE YOU HOW WOULD YOU FIX THE PROBLEM?” Eventually the results come back, predicting that mild-mannered Brock will “embark on a major crime wave”; indeed, it’s likely he’s going to commit a murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What ensues is a screwball adventure (and I do mean “screwball” — there’s even a banana peel joke here!) in which Brock tries to outrun his homicidal fate and assert his individual free will.\u003c/p>\n\u003cp>If he is predestined to murder somebody, however, the most likely candidate would be Burt Kindlov — his ex-wife’s boyfriend. Burt is a handsome bully, deeply immersed in a Dianetics-type lifestyle practice. He’s also shamed Brock’s depressed teenage son for being gay. Brock deftly encapsulates his nemesis’ personality this way:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>Burt has an imperturbable ignorance about the world and what people are really like. If you were to ask him where Italy is located on the globe, he wouldn’t know but would despise you for asking.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Humor, as we know, often arises from pain. Going back as far as his 2000 novel \u003cem>The Feast of Love\u003c/em>, which was nominated for a National Book Award, Baxter has wielded wit and satire to entertain \u003cem>and\u003c/em> to illuminate harder truths about the world his characters inhabit. Brock’s smalltown Ohio is a place where the most flourishing business, besides the medical clinic, is Famous Discount store, where customers can browse discount DVDs with titles like \u003cem>His Holiness Pope Robot\u003c/em> and buy off-brand diet cola that “tastes like fizzy sugared cat food.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For sure, it can be a “zany” place where people find themselves drawn to certainty through sketchy blood tests and lifestyle practices; but, as Brock says, “[I]f you don’t like zany you probably shouldn’t live in America. You can always go to somewhere like Switzerland.” In \u003cem>Blood Test,\u003c/em> Baxter invites us to laugh at this all-American zaniness and to acknowledge some of the pain that fuels it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Test’ by Charles Baxter is out now, via Pantheon.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At first glance there doesn’t seem to be room for overlap between a traditional hard-boiled detective story and the crucibles of a group of punks in West Oakland. But in Joshua Mohr’s new book, \u003cem>\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>\u003c/em>, these two worlds collide head on, exploding across the page in glittering sentences that tell an eccentric and grimy vigilante story. \u003c/p>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em> has an unlikely origin story in a different music genre entirely. A friend contacted Mohr about contributing to an anthology of stories based on Taylor Swift songs, and Mohr, who has a 10-year-old Swift-loving daughter, jumped at the opportunity. \u003c/p>\n\u003cp>“I finished it and I was like, ‘This guy’s not done squawking in my ear,’” Mohr says over Zoom. A very different version of that first self-contained piece became chapter one of his new novel. \u003c/p>\n\u003cp>Further inspiration came to the author, who splits his time between San Francisco and Seattle, after a visit to Seattle’s National Nordic Museum. The trip prompted a deep dive into Viking mythology and Mohr, a “card-carrying nerd,” found himself 30-plus books deep into the lore. \u003c/p>\n\u003cp>“The cool thing about these books is it’s every possible genre,” he says excitedly. “It’s magical realism, it’s horror, love stories, fantasies. Whatever I wanted to throw in there, I could. It became this really beautiful blank canvas to really allow my imagination to leap down every rabbit hole I possibly could find.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That narrative flexibility led to a realization: “There were no limits in the Saint universe.” Mohr’s already found enough story to turn Saint’s Viking punk tales into a three-book saga. \u003c/p>\n\u003cfigure id=\"attachment_13966978\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg\" alt=\"white man with arms behind back on a leafy street\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13966978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Mohr drew from his own experiences as a teenager in a punk house for the novel. \u003ccite>(Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk mystery\u003c/h2>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em>, the first installment of Saint’s saga, has a simple premise. A local punk bands’ gear goes missing and Saint, a middling guitarist in the West Oakland scene, takes it upon himself to investigate on behalf of his peers. Mohr strikes a harmonious chord between the tropes of hard-boiled detective stories: a central mystery, a cynical anti-hero playing lead investigator, events taking place in low-rent places, and the anti-establishment and anti-consumerist ethos of punk culture. \u003c/p>\n\u003cp>Saint has a freewheeling spirit (an inheritance from his Viking ancestors) and spent eight years at San Quentin where he got a glass eye and a neck tattoo that reads “No More Drunken Mistakes.” Throughout the book he is plagued by visions of blown-glass birds that circle his head like he’s a concussed cartoon character. \u003c/p>\n\u003cp>The book possesses a dark whimsy and humor — there’s a busker named Elon Busk — that is anchored by Saint’s thirst for truth and street justice. There’s also a colorfully degenerate cast of characters in his life, including someone named Got Jokes. The Bay Area’s preternaturally gloomy weather nurtures the novel’s dark mood. “The day gave off a gray stare,” Mohr writes. “You never knew if the fog was gonna burn off.” \u003c/p>\n\u003cp>Mohr even adopts the noir trope of first-person narration. The book opens with a run-on sentence written stream-of-consciousness style, a succession of alternately manic and beautiful rambling. “Amphetamine poetry,” as one character puts it. And then, quite fittingly, Saint loses his train of thought before finishing his sentence. The book unfolds in this stop and start zigzag style, mirroring the short frenetic bursts of punk songs. \u003c/p>\n\u003cp>[aside postID='arts_13966951,arts_13966911,arts_13966390' label='More Books']\u003c/p>\n\u003ch2>Dramatizing gentrification\u003c/h2>\n\u003cp>Mohr’s punchy writing and observations draw from his own experiences as a 17-year-old in a San Francisco punk house. “No house starts out as a punk house,” the author says of the slow but natural way he ended up living with his friend, a member of the band American Steel, in a place where the basement and kitchen ended up becoming home to even more people. \u003c/p>\n\u003cp>“There are things that chronologically probably wouldn’t have happened when Saint was telling his story, that I would be scraping from a memory of mine from 1995 or 1999,” he explains. “I used to play in shitty punk bands, we practiced in West Oakland. In the book, I called [the rehearsal space] Sound Check, but in reality it’s called Sound Wave, and it was a pretty wild place in the ’90s.” \u003c/p>\n\u003cp>Another scraped-from-reality sequence finds Saint in a warehouse fire similar to the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> that claimed 36 lives in 2016. In it, Saint experiences a kind of theoretical time slip as he ponders how the outcome may have changed if he arrived at another time: in an alternate universe, in an alternate warehouse, lives may have been lost. He imagines 36 names to attach to these lives, the names of the actual Ghost Ship fire victims, “friends who can still live forever if we fan their story.” In Mohr’s book they are immortal.\u003c/p>\n\u003cp>The rollicking pace of the book is only ever interrupted by hallucinatory interludes in an imaginary Whole Foods. There, Saint and the frontman of a popular pop punk band Saint despises (because he’s a more hardcore Butthole Surfers and Bad Brains kind of guy) have tête-à-têtes in a checkout line. \u003c/p>\n\u003cp>“I’d lived in West Oakland since it was really West Oakland,” a fresh from lockup Saint remarks early on in the book. “I made it back … and it had a Whole Foods.” \u003c/p>\n\u003cp>“It’s a really difficult thing to make gentrification interesting because it immediately sounds as though you’re trying to feed your audience the vegetables she probably doesn’t want to eat,” Mohr says. “You have to figure out a way to dramatize it in the most compelling way, but also subtextually get at the heart of those stories. When a pal of mine told me that there was a Whole Foods in West Oakland, I was like, ‘What?’ And then that became the running joke in Saint’s life: he can either be a Viking or he can have a Whole Foods.” \u003c/p>\n\u003cp>Saint’s spiritual wrestling match with gentrification will be particularly familiar to Bay Area residents. There is a mystery to unravel in this book, but Saint’s story is ultimately about so much more than the who, what, where and why of this case. It is a search for salvation, for Valhalla, for community in a shifting and merciless world, that is ultimately deeply human.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>’ is out Oct. 29, 2024 from Unnamed Press. A musical companion project by Slummy (Saint’s fictional band), a five-song EP titled ‘The Wrong Side,’ will be released in late October.\u003cbr>\n\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance there doesn’t seem to be room for overlap between a traditional hard-boiled detective story and the crucibles of a group of punks in West Oakland. But in Joshua Mohr’s new book, \u003cem>\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>\u003c/em>, these two worlds collide head on, exploding across the page in glittering sentences that tell an eccentric and grimy vigilante story. \u003c/p>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em> has an unlikely origin story in a different music genre entirely. A friend contacted Mohr about contributing to an anthology of stories based on Taylor Swift songs, and Mohr, who has a 10-year-old Swift-loving daughter, jumped at the opportunity. \u003c/p>\n\u003cp>“I finished it and I was like, ‘This guy’s not done squawking in my ear,’” Mohr says over Zoom. A very different version of that first self-contained piece became chapter one of his new novel. \u003c/p>\n\u003cp>Further inspiration came to the author, who splits his time between San Francisco and Seattle, after a visit to Seattle’s National Nordic Museum. The trip prompted a deep dive into Viking mythology and Mohr, a “card-carrying nerd,” found himself 30-plus books deep into the lore. \u003c/p>\n\u003cp>“The cool thing about these books is it’s every possible genre,” he says excitedly. “It’s magical realism, it’s horror, love stories, fantasies. Whatever I wanted to throw in there, I could. It became this really beautiful blank canvas to really allow my imagination to leap down every rabbit hole I possibly could find.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That narrative flexibility led to a realization: “There were no limits in the Saint universe.” Mohr’s already found enough story to turn Saint’s Viking punk tales into a three-book saga. \u003c/p>\n\u003cfigure id=\"attachment_13966978\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg\" alt=\"white man with arms behind back on a leafy street\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13966978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Mohr drew from his own experiences as a teenager in a punk house for the novel. \u003ccite>(Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk mystery\u003c/h2>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em>, the first installment of Saint’s saga, has a simple premise. A local punk bands’ gear goes missing and Saint, a middling guitarist in the West Oakland scene, takes it upon himself to investigate on behalf of his peers. Mohr strikes a harmonious chord between the tropes of hard-boiled detective stories: a central mystery, a cynical anti-hero playing lead investigator, events taking place in low-rent places, and the anti-establishment and anti-consumerist ethos of punk culture. \u003c/p>\n\u003cp>Saint has a freewheeling spirit (an inheritance from his Viking ancestors) and spent eight years at San Quentin where he got a glass eye and a neck tattoo that reads “No More Drunken Mistakes.” Throughout the book he is plagued by visions of blown-glass birds that circle his head like he’s a concussed cartoon character. \u003c/p>\n\u003cp>The book possesses a dark whimsy and humor — there’s a busker named Elon Busk — that is anchored by Saint’s thirst for truth and street justice. There’s also a colorfully degenerate cast of characters in his life, including someone named Got Jokes. The Bay Area’s preternaturally gloomy weather nurtures the novel’s dark mood. “The day gave off a gray stare,” Mohr writes. “You never knew if the fog was gonna burn off.” \u003c/p>\n\u003cp>Mohr even adopts the noir trope of first-person narration. The book opens with a run-on sentence written stream-of-consciousness style, a succession of alternately manic and beautiful rambling. “Amphetamine poetry,” as one character puts it. And then, quite fittingly, Saint loses his train of thought before finishing his sentence. The book unfolds in this stop and start zigzag style, mirroring the short frenetic bursts of punk songs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Dramatizing gentrification\u003c/h2>\n\u003cp>Mohr’s punchy writing and observations draw from his own experiences as a 17-year-old in a San Francisco punk house. “No house starts out as a punk house,” the author says of the slow but natural way he ended up living with his friend, a member of the band American Steel, in a place where the basement and kitchen ended up becoming home to even more people. \u003c/p>\n\u003cp>“There are things that chronologically probably wouldn’t have happened when Saint was telling his story, that I would be scraping from a memory of mine from 1995 or 1999,” he explains. “I used to play in shitty punk bands, we practiced in West Oakland. In the book, I called [the rehearsal space] Sound Check, but in reality it’s called Sound Wave, and it was a pretty wild place in the ’90s.” \u003c/p>\n\u003cp>Another scraped-from-reality sequence finds Saint in a warehouse fire similar to the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> that claimed 36 lives in 2016. In it, Saint experiences a kind of theoretical time slip as he ponders how the outcome may have changed if he arrived at another time: in an alternate universe, in an alternate warehouse, lives may have been lost. He imagines 36 names to attach to these lives, the names of the actual Ghost Ship fire victims, “friends who can still live forever if we fan their story.” In Mohr’s book they are immortal.\u003c/p>\n\u003cp>The rollicking pace of the book is only ever interrupted by hallucinatory interludes in an imaginary Whole Foods. There, Saint and the frontman of a popular pop punk band Saint despises (because he’s a more hardcore Butthole Surfers and Bad Brains kind of guy) have tête-à-têtes in a checkout line. \u003c/p>\n\u003cp>“I’d lived in West Oakland since it was really West Oakland,” a fresh from lockup Saint remarks early on in the book. “I made it back … and it had a Whole Foods.” \u003c/p>\n\u003cp>“It’s a really difficult thing to make gentrification interesting because it immediately sounds as though you’re trying to feed your audience the vegetables she probably doesn’t want to eat,” Mohr says. “You have to figure out a way to dramatize it in the most compelling way, but also subtextually get at the heart of those stories. When a pal of mine told me that there was a Whole Foods in West Oakland, I was like, ‘What?’ And then that became the running joke in Saint’s life: he can either be a Viking or he can have a Whole Foods.” \u003c/p>\n\u003cp>Saint’s spiritual wrestling match with gentrification will be particularly familiar to Bay Area residents. There is a mystery to unravel in this book, but Saint’s story is ultimately about so much more than the who, what, where and why of this case. It is a search for salvation, for Valhalla, for community in a shifting and merciless world, that is ultimately deeply human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>’ is out Oct. 29, 2024 from Unnamed Press. A musical companion project by Slummy (Saint’s fictional band), a five-song EP titled ‘The Wrong Side,’ will be released in late October.\u003cbr>\n\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966954\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png\" alt=\"A book cover depicting a roadside cross and teddy bear.\" width=\"1380\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1020x1478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-768x1113.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1060x1536.png 1060w\" sizes=\"(max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorials’ by Richard Chizmar. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Chizmar, who co-wrote parts of the \u003cem>Gwendy\u003c/em> trilogy with Stephen King from 2017-2022 (\u003cem>Gwendy’s Button Box\u003c/em> and \u003cem>Gwendy’s Final Task\u003c/em>), has written his longest novel yet and readers should not be surprised that it reads, at least somewhat, like something from the mind of Stephen King.\u003c/p>\n\u003cp>\u003cem>Memorials\u003c/em> is set in 1983 as three students embark on a road trip through Appalachia, documenting roadside memorials for their American Studies 301 class at York College. We soon learn that Billy, Melody and Troy experienced personal loss prior to their college years, so the act of documenting sites where someone else’s loved ones lost their lives turns out to be both educational and personal. Chizmar intentionally gives the trio a very \u003cem>Scooby Doo\u003c/em>-like vibe, even making their wheels, a “Volkswagen Westfalia pop-top camper,” reminiscent of the Mystery Machine.\u003c/p>\n\u003cp>[aside postid='arts_13966390']The plot starts off slow as they meander the back roads, taking Polaroids and shooting VHS video of crosses and balloons and stuffed animals that mark the spots where people died. Chizmark employs a cool narrative trick, providing transcripts of the video footage as they interview locals and loved ones. “The camera zooms closer on his face. His brown eyes are somber but steady. He clears his throat and continues,” is how part of the transcript of Billy’s interview reads. Billy lost his parents in a car accident in Sudbury, Pennsylvania, and it’s when he returns home, visits their roadside memorial, and starts asking questions, that the novel gets more interesting.\u003c/p>\n\u003cp>The story is stuffed with foreshadowing, as various characters are introduced and act suspiciously and as Billy, Melody and Troy begin to find occult signs at memorials and experience strange visions. And while the point is to definitely build tension until the novel’s climax, it sometimes comes across as heavy-handed. A few too many chapters end with italics and you can practically hear the foreboding music as the scene fades to black.\u003c/p>\n\u003cp>When the plot puzzle begins to assemble in the final 100 or so pages, \u003cem>Memorials\u003c/em> really takes off and becomes something altogether different, genuinely earning its placement in the horror section of the bookstore. Readers will have to decide for themselves if the payoff is worth it, but it’s an enjoyable enough ride.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Memorials’ by Richard Chizmar is out on Oct. 22, 2024, via Gallery Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s painful to read those stories of men wrongly condemned and forgotten, slowly abandoned by everyone, casualties of an overzealous criminal justice system.\u003c/p>\n\u003cp>\u003cem>Framed\u003c/em> is John Grisham’s second foray into nonfiction and his storytelling skills are well-displayed here. Jim McCloskey is founder of Centurion Ministries, which works to free the wrongly convicted. \u003cem>The Sing Sing Files\u003c/em> focuses on six men imprisoned in the infamous New York prison.\u003c/p>\n\u003cp>[aside postid='arts_13966790']Both books are meticulous to a fault in recounting the steps that led each of the men they focus on to conviction and imprisonment. \u003cem>Framed\u003c/em> is more clinical, carefully assembling the stories of those wrongly imprisoned, but Slepian’s book is the more compelling and emotionally wrenching of the two, starkly illuminating the unimaginable suffering of the wrongly imprisoned and their families.\u003c/p>\n\u003cp>Grisham and McCloskey present 10 unrelated cases around the nation; Slepian focuses on how the pursuit of one wrongful conviction led him to examine the other five.\u003c/p>\n\u003cp>Slepian cites figures suggesting 100,000 more innocents remain among approximately 2 million people locked away in American jails and prisons. America leads the world in the number of people imprisoned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the authors explain, we came to this sorry state through a combination of factors: Pressure to close cases, police and prosecutorial neglect, outright fabrications of evidence, confirmation bias and the tendency to disregard information that does not fit our emerging theory. Bogus “experts” swayed juries. Jurors gave in to pressure from other jurors. Judges refused new trials. Prosecutor reliance on jailhouse informants factored into one-fifth of wrongful convictions, according to an estimate by the Innocence Project cited in Slepian’s book. We the people have not summoned the “collective will to hold people in power accountable,” he writes.\u003c/p>\n\u003cp>All three writers are measured in their accounting for these justice system failures although the reader is sure to find some of the police, prosecutors and judges described here to be the real villains.\u003c/p>\n\u003cp>But most of the guilt for a failed system must be ours, Grisham writes. “If we as a society had the political gumption to change unfair laws, practices and procedures, we could avoid virtually all wrongful convictions.”\u003c/p>\n\u003cp>Well, maybe.\u003c/p>\n\u003cp>[aside postid='arts_13966390']For now, emerging as heroes are defense lawyers who work for free, sometimes for years, to secure justice for those lacking any resources to hire lawyers to pursue their cases. In the cases described in these two books, the authors themselves deserve great credit for persevering in their quest to free the innocent.\u003c/p>\n\u003cp>It’s discouraging that this topic is not a subject in the presidential campaign nor, apparently, much of an issue to our fellow Americans. But for Slepian, investigating cases of wrongful imprisonment has become a focal part of his work as an NBC news producer. He writes that the sheer number of such cases is part of the “tragic consequences of America’s system of mass incarceration.”\u003c/p>\n\u003cp>And to him personally, pursuing such cases is more than a journalistic quest, it is, he writes, part of his “obligation as a human being.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Framed: Astonishingly True Stories of Wrongful Convictions’ by John Grisham and Jim McCloskey is out now via Doubleday. ‘The Sing Sing Files: One Journalist, Six Innocent Men and a 20-Year Fight for Justice’ by Dan Slepian is available via Celadon Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For now, emerging as heroes are defense lawyers who work for free, sometimes for years, to secure justice for those lacking any resources to hire lawyers to pursue their cases. In the cases described in these two books, the authors themselves deserve great credit for persevering in their quest to free the innocent.\u003c/p>\n\u003cp>It’s discouraging that this topic is not a subject in the presidential campaign nor, apparently, much of an issue to our fellow Americans. But for Slepian, investigating cases of wrongful imprisonment has become a focal part of his work as an NBC news producer. He writes that the sheer number of such cases is part of the “tragic consequences of America’s system of mass incarceration.”\u003c/p>\n\u003cp>And to him personally, pursuing such cases is more than a journalistic quest, it is, he writes, part of his “obligation as a human being.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Framed: Astonishingly True Stories of Wrongful Convictions’ by John Grisham and Jim McCloskey is out now via Doubleday. ‘The Sing Sing Files: One Journalist, Six Innocent Men and a 20-Year Fight for Justice’ by Dan Slepian is available via Celadon Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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},
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"requestOutcomesReducer": {
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}
}
