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"content": "\u003cp>San Francisco disability justice activist and beloved author \u003ca href=\"https://www.kqed.org/news/tag/alice-wong\">Alice Wong\u003c/a> has been selected to receive a MacArthur ‘genius grant.’\u003c/p>\n\u003cp>The John D. and Catherine T. MacArthur Foundation announced its 22 selections for the 2024 class of fellows yesterday and introduced Wong via a short video posted to X.\u003c/p>\n\u003cp>https://twitter.com/macfound/status/1841152664039551115\u003c/p>\n\u003cp>Wong also \u003ca href=\"https://twitter.com/SFdirewolf/status/1841166111511101524\">announced the news on X\u003c/a>, stating: “Hard to believe but I am a 2024 @macfound Fellow! I am accepting the MacArthur Fellowship amidst the genocide happening in Gaza and indiscriminate terroristic attacks in Lebanon by the state of Israel on the 76th year of their occupation of Palestine.”\u003c/p>\n\u003cp>Recipients of the grant will each receive $800,000 over five years to dedicate to their particular disciplines. MacArthur fellows are nominated by their peers and are selected by the foundation on the basis of “exceptional creativity, as demonstrated through a track record of significant achievement, and manifest promise for important future advances.” The grant is intended to enable fellows to pursue their most innovative ideas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong, the founding director of the \u003ca href=\"https://disabilityvisibilityproject.com/\">Disability Visibility Project\u003c/a>, was born with a progressive neuromuscular disability. She has worked tirelessly to draw attention to the hardships and discrimination faced by Americans living with disabilities. Wong has amplified the voices of disabled writers with two essay anthologies, 2020’s \u003cem>Disability Visibility\u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/news/11984990/alice-wongs-disability-intimacy-anthology-is-a-deep-dive-into-relationships-and-community\">\u003cem>Disability Intimacy\u003c/em>\u003c/a>. She also released a memoir, \u003cem>Year of the Tiger: An Activist’s Life\u003c/em>, in 2022.\u003c/p>\n\u003cp>[aside postid='news_11934545']After suffering a series of serious medical crises that year, \u003ca href=\"https://www.kqed.org/news/11934545/my-life-is-in-my-caregivers-hands-disability-advocate-alice-wongs-vision-for-a-new-approach-to-health-care\">Wong wrote for KQED\u003c/a>: “What I’ve known in my bones during my entire 48 years on this planet is that nothing is certain, and that we must build a world that acknowledges our interdependence with one another so no one ever falls through the cracks … I know we can transform the world if we have the political and collective will to do so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wong was the only 2024 fellow to hail from the Bay Area. Two other Californians made the list, however. Pasadena’s Joseph Parker, an evolutionary biologist working at the California Institute of Technology, and Juan Felipe Herrera, a poet, educator and writer based in Fresno.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong, the founding director of the \u003ca href=\"https://disabilityvisibilityproject.com/\">Disability Visibility Project\u003c/a>, was born with a progressive neuromuscular disability. She has worked tirelessly to draw attention to the hardships and discrimination faced by Americans living with disabilities. Wong has amplified the voices of disabled writers with two essay anthologies, 2020’s \u003cem>Disability Visibility\u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/news/11984990/alice-wongs-disability-intimacy-anthology-is-a-deep-dive-into-relationships-and-community\">\u003cem>Disability Intimacy\u003c/em>\u003c/a>. She also released a memoir, \u003cem>Year of the Tiger: An Activist’s Life\u003c/em>, in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>[aside postID='arts_13962878']It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allan Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allan Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\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>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Greenberg also recounts how Lewis was a early and vocal ally of the gay and lesbian community, advocating for their rights when even other liberal politicians kept their distance.\u003c/p>\n\u003cp>Throughout the book, Greenberg further humanizes Lewis by taking readers inside his family life including his strong relationship with his wife and details on how he spent his final days before succumbing to cancer in 2020.\u003c/p>\n\u003cp>The poem “Invictus” by William Ernest Henley plays a starring role in the biography, which describes how Lewis would recite its verses as a child and would later chant them in his office. Just like that poem, Greenberg’s riveting biography describes someone who was the captain of his soul.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘John Lewis: A Life’ by David Greenberg is released on Oct. 8, 2024, via Simon & Schuster.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13965685\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg\" alt=\"A book cover showing chess pieces on a board viewed from above. The shadows each piece creates resembles the outline of a person.\" width=\"978\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-800x1227.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-160x245.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-768x1178.jpeg 768w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">‘Intermezzo’ by Sally Rooney. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sally Rooney, who made such a splash with her first novel, \u003cem>Conversations with Friends, \u003c/em>back in 2017, has made it clear with each succeeding book that she is no flash in the pan. \u003cem>Intermezzo\u003c/em>, her fourth novel, is her most fully developed and moving yet.\u003c/p>\n\u003cp>It’s about two Irish brothers, 32-year-old Peter Koubek, a Dublin lawyer, and 22-year-old Ivan, a chess prodigy, and their troubled relationships with each other and the women in their lives. After their mother moved in with another man when Ivan was small, they were raised mainly by their father, an engineer who immigrated to Ireland in the 1980s from Slovakia. We meet them soon after their father’s death following years battling cancer. Both brothers, at loose ends, are struggling with the question, “Under what conditions is life endurable?”\u003c/p>\n\u003cp>[aside postid='arts_13965284']The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>[aside postid='arts_13964548']While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>[aside postid='arts_13963867']\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13965285\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg\" alt=\"A book cover featuring an illustration of a black bird.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1020x1540.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1017x1536.jpeg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1356x2048.jpeg 1356w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Death at the Sign of the Rook’ by Kate Atkinson. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like a great city, the mystery genre is home to many different communities. There are police procedurals, locked-room teasers, hard-boiled detective yarns and the soothing small-town cozies you find on Acorn TV. One of the merrier neighborhoods is that of the meta-mystery — PBS’ \u003ca href=\"https://video.kqed.org/show/magpie-murders/\">\u003cem>Magpie Murders\u003c/em>\u003c/a> series is a great example — whose creators don’t simply tell a story. They lean into the artificiality of mysteries, highlighting and sometimes laying bare the gambits and tropes that keep us reading.\u003c/p>\n\u003cp>The latest arrival in this neighborhood is \u003cem>Death at the Sign of the Rook\u003c/em>, the sunny sixth entry in \u003ca href=\"https://www.kqed.org/arts/10136754/bragging-rights-great-lit-perfect-for-summer-reading\">Kate Atkinson\u003c/a>‘s addictive series about Jackson Brodie, a sometimes saturnine private detective with a German shepherd’s keen eye for abuse. Last time out, in \u003cem>Big Sky\u003c/em>, Brodie cracked a child molestation gang in a tale that recalled the real-life case of BBC entertainer \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/01/11/169146888/jimmy-savile-sexually-abused-hundreds-police-report-concludes\">Jimmy Savile\u003c/a>. Perhaps because that story was so grim — too nasty, really, for Atkinson’s generous style — she’s made this latest installment a lark. The book flirts with, and tweaks, Golden-Age mysteries like those of Agatha Christie.\u003c/p>\n\u003cp>[aside postid='arts_13964548']\u003cem>Death at the Sign of the Rook\u003c/em> begins with an invitation to a “Murder Mystery Weekend” at Burton Makepeace House, a Downton Abbey-like stately home in Yorkshire. There, we’re told, guests will engage in what sounds like a live-action version of the game \u003cem>Clue\u003c/em>, with actors playing all the parts. The invitation doesn’t mention that the weekend is being offered because Burton Makepeace’s owners, Lord and Lady Milton, are strapped for cash.\u003c/p>\n\u003cp>From the moment we read about a weekend devoted to solving a fake murder, we know there will be a real one. We also know that Brodie will wind up there. The question is how.\u003c/p>\n\u003cp>The answer starts with him being asked to find a painting stolen by the woman who’d been caring for his clients’ terminally ill mother. To track her down, he enlists the aid of Det. Constable Reggie Chase. She had investigated an earlier art theft at — where else? — Burton Makepeace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Atkinson loves a densely-populated story. Even as Brodie and Reggie pursue leads, the book takes us inside the heads of three other key characters, who’ve all lost something big: Simon, a village reverend, has lost his faith. Ben, an army major, lost his leg in Afghanistan, and with it his sense of purpose. And Lady Milton — whose thoughts are hilariously WASP-ish — has lost her privilege. We know that this trio will play a part in the Murder Mystery Weekend.\u003c/p>\n\u003cp>[aside postid='arts_13963133']The heart of the novel is, of course, Brodie, now in his 60s, grumpy about the changing world, but happy with his new Land Rover Defender. As the victim of an abusive father, he’s possessed of a strict code: “You were allowed to hit men — sometimes it was wrong not to — but not women, children, or dogs.” Six novels in, it’s clear that Atkinson treasures Brodie as an appealing fantasy, an ideal version of the flawed, all too human modern male, battered by experience but filled with decency and curiosity and gruff charm.\u003c/p>\n\u003cp>Of course, Atkinson also writes prize-winning literary fiction — her masterpiece is 2015’s \u003ca href=\"https://www.npr.org/2015/05/06/403127284/after-life-a-god-in-ruins-picks-up-the-epic-tale-of-the-todds\">\u003cem>A God in Ruins\u003c/em> \u003c/a>— yet she feels no need to cordon off the Brodie novels from her so-called “serious” ones. Her mysteries brim with the same warm attention to vulnerable souls, the same nifty wit — she uses parentheticals like a guillotine — and the same fascination with the world around her.\u003c/p>\n\u003cp>Indeed, Atkinson uses this latest mystery to ruminate on scads of things: politics, television programs, art theft, the horrors of war, the decline of religion, violence against women and the workings of old-fashioned mystery novels with their “bloodless plots.” Hers is not a fiction of zen astringency.\u003c/p>\n\u003cp>[aside postid='arts_13963659']On the contrary, \u003cem>Death at the Sign of the Rook\u003c/em> strews loose ends all over the Yorkshire countryside. Have I mentioned that there’s an escaped killer on the prowl? Or that a white-out blizzard is about to hit Burton Makepeace? Yet even as characters and events and ideas proliferate, Atkinson never loses sight of any of them. Her books always start out looking shaggy, but wind up being anything but.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the time we reach the Murder Mystery Weekend itself, all the book’s loose ends get woven together. And even though this novel makes fun of the classic murder mystery — with its baroque plots and too-neat solutions — Atkinson understands its delights. As everything clicks into place — and the mystery is solved — we let out a satisfied, \u003cem>Ahhh\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965285\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg\" alt=\"A book cover featuring an illustration of a black bird.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1020x1540.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1017x1536.jpeg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1356x2048.jpeg 1356w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Death at the Sign of the Rook’ by Kate Atkinson. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like a great city, the mystery genre is home to many different communities. There are police procedurals, locked-room teasers, hard-boiled detective yarns and the soothing small-town cozies you find on Acorn TV. One of the merrier neighborhoods is that of the meta-mystery — PBS’ \u003ca href=\"https://video.kqed.org/show/magpie-murders/\">\u003cem>Magpie Murders\u003c/em>\u003c/a> series is a great example — whose creators don’t simply tell a story. They lean into the artificiality of mysteries, highlighting and sometimes laying bare the gambits and tropes that keep us reading.\u003c/p>\n\u003cp>The latest arrival in this neighborhood is \u003cem>Death at the Sign of the Rook\u003c/em>, the sunny sixth entry in \u003ca href=\"https://www.kqed.org/arts/10136754/bragging-rights-great-lit-perfect-for-summer-reading\">Kate Atkinson\u003c/a>‘s addictive series about Jackson Brodie, a sometimes saturnine private detective with a German shepherd’s keen eye for abuse. Last time out, in \u003cem>Big Sky\u003c/em>, Brodie cracked a child molestation gang in a tale that recalled the real-life case of BBC entertainer \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/01/11/169146888/jimmy-savile-sexually-abused-hundreds-police-report-concludes\">Jimmy Savile\u003c/a>. Perhaps because that story was so grim — too nasty, really, for Atkinson’s generous style — she’s made this latest installment a lark. The book flirts with, and tweaks, Golden-Age mysteries like those of Agatha Christie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Death at the Sign of the Rook\u003c/em> begins with an invitation to a “Murder Mystery Weekend” at Burton Makepeace House, a Downton Abbey-like stately home in Yorkshire. There, we’re told, guests will engage in what sounds like a live-action version of the game \u003cem>Clue\u003c/em>, with actors playing all the parts. The invitation doesn’t mention that the weekend is being offered because Burton Makepeace’s owners, Lord and Lady Milton, are strapped for cash.\u003c/p>\n\u003cp>From the moment we read about a weekend devoted to solving a fake murder, we know there will be a real one. We also know that Brodie will wind up there. The question is how.\u003c/p>\n\u003cp>The answer starts with him being asked to find a painting stolen by the woman who’d been caring for his clients’ terminally ill mother. To track her down, he enlists the aid of Det. Constable Reggie Chase. She had investigated an earlier art theft at — where else? — Burton Makepeace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, Atkinson loves a densely-populated story. Even as Brodie and Reggie pursue leads, the book takes us inside the heads of three other key characters, who’ve all lost something big: Simon, a village reverend, has lost his faith. Ben, an army major, lost his leg in Afghanistan, and with it his sense of purpose. And Lady Milton — whose thoughts are hilariously WASP-ish — has lost her privilege. We know that this trio will play a part in the Murder Mystery Weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The heart of the novel is, of course, Brodie, now in his 60s, grumpy about the changing world, but happy with his new Land Rover Defender. As the victim of an abusive father, he’s possessed of a strict code: “You were allowed to hit men — sometimes it was wrong not to — but not women, children, or dogs.” Six novels in, it’s clear that Atkinson treasures Brodie as an appealing fantasy, an ideal version of the flawed, all too human modern male, battered by experience but filled with decency and curiosity and gruff charm.\u003c/p>\n\u003cp>Of course, Atkinson also writes prize-winning literary fiction — her masterpiece is 2015’s \u003ca href=\"https://www.npr.org/2015/05/06/403127284/after-life-a-god-in-ruins-picks-up-the-epic-tale-of-the-todds\">\u003cem>A God in Ruins\u003c/em> \u003c/a>— yet she feels no need to cordon off the Brodie novels from her so-called “serious” ones. Her mysteries brim with the same warm attention to vulnerable souls, the same nifty wit — she uses parentheticals like a guillotine — and the same fascination with the world around her.\u003c/p>\n\u003cp>Indeed, Atkinson uses this latest mystery to ruminate on scads of things: politics, television programs, art theft, the horrors of war, the decline of religion, violence against women and the workings of old-fashioned mystery novels with their “bloodless plots.” Hers is not a fiction of zen astringency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the contrary, \u003cem>Death at the Sign of the Rook\u003c/em> strews loose ends all over the Yorkshire countryside. Have I mentioned that there’s an escaped killer on the prowl? Or that a white-out blizzard is about to hit Burton Makepeace? Yet even as characters and events and ideas proliferate, Atkinson never loses sight of any of them. Her books always start out looking shaggy, but wind up being anything but.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the time we reach the Murder Mystery Weekend itself, all the book’s loose ends get woven together. And even though this novel makes fun of the classic murder mystery — with its baroque plots and too-neat solutions — Atkinson understands its delights. As everything clicks into place — and the mystery is solved — we let out a satisfied, \u003cem>Ahhh\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Upon waking in a garden-like void, a disoriented pomegranate named Anar and a woman named Guli question their existence: Who are they? What is their purpose? Suddenly, a pair of divine hands plucks them from their quiet panic and launches them through a journey — one in which they are born and reborn, their souls interlinked but their relationship ever-changing. From cycle to cycle, Anar and Guli shape-shift, taking on different physical forms as they amalgamate and coalesce, inflicting the sharpness of their hate, anger, desire, hunger and shame onto one another.\u003c/p>\n\u003cp>The two perform the ceaseless and sometimes futile yearning for transformation in Oakland-based artist Yasmeen Abedifard’s new comic collection, \u003ca href=\"https://store.silversprocket.net/products/pre-order-when-to-pick-a-pomegranate-by-yasmeen\">\u003cem>When to Pick a Pomegranate\u003c/em>\u003c/a> (out Sept. 25 via Silver Sprocket). In seven short comics that follow the plant life cycle, Anar and Guli’s iterations begin as a seed before evolving through propagation and bursting with ripeness until they inevitably rot. As they repeat the process over and over, they experience a Punnett square of change: endless outcomes in which their autonomy and sense of self is tested and morphed.\u003c/p>\n\u003cfigure id=\"attachment_13964556\" class=\"wp-caption aligncenter\" style=\"max-width: 1142px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover.png\" alt=\"\" width=\"1142\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-800x977.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-1020x1245.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-768x937.png 768w\" sizes=\"(max-width: 1142px) 100vw, 1142px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘When to Pick a Pomegranate’ by Yasmeen Abedifard. \u003ccite>(Silver Sprocket)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the sections of her book, Abedifard’s artistry has bloomed through various life stages. Her parents immigrated to the U.S. from Iran, and Abedifard was raised in the South Bay suburb of Sunnyvale, where she developed an affinity for drawing and cartoons. “They had a public library, and there was a manga section, and so my mom would take me and my sister,” she says during an interview in a Berkeley park. “We would plop ourselves down and I would just read a whole book.”\u003c/p>\n\u003cp>As a teen, Abedifard got into making digital art on a small Wacom tablet and began posting her illustrations onto the platform DeviantArt. With a penchant for drawing characters, she contemplated going to art school for college. “But I had two immigrant parents that were like — maybe try something else. And I actually have some gratitude to that,” Abedifard reflects.\u003c/p>\n\u003cp>She ended up studying psychology and Middle Eastern Studies at the University of San Francisco. “I got to learn a lot about Islamic and Persian history. I got to learn a lot about how the brain works and how cognitive function impacts your daily life — all of these things that became really important to me.”\u003c/p>\n\u003cfigure id=\"attachment_13964560\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book.png\" alt='Repeated drawings of a woman eating a pomegranate. Text reads: \"I was ripe.\"' width=\"876\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book-800x970.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book-768x931.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Yasmeen Abedifard from her book ‘When to Pick a Pomegranate.’ \u003ccite>(Courtesy of Yasmeen Abedifard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abedifard immediately entered an interdisciplinary visual arts MFA program at Cornell, where she grew increasingly lost and disillusioned with the critique she was receiving. While many of her peers were older artists who worked with abstract imagery, she was drawn to figurative work inspired by illuminated manuscripts and Islamic iconography.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I started to become really frustrated because all that I was getting critiqued on or talked about was material, like how things are made rather than the actual image itself,” Abedifard explains. “Because I was like, I want you to see what this image is and what it makes you feel, right? I felt like I was totally an imposter, being really young and in a new space. And then I was like, ‘Why don’t I just make comics again? This is the thing I like to do.’”\u003c/p>\n\u003cfigure id=\"attachment_13964558\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964558\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book.png\" alt='A drawing of a pomegranate tearing itself open. The text reads: \"i want to tear these thoughts out of my flesh. How could I forget just how rotten I am?\"' width=\"876\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book-800x970.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book-768x931.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">The version of Yasmeen Abedifard’s comic ‘Rotten’ that appears in her book ‘When to Pick a Pomegranate.’ \u003ccite>(Yasmeen Abedifard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her excitement was reinvigorated. She redrew the first comic she ever made (“Rotten”), screen printed all of the pages and exhibited them at a group show at the end of her first year. In her second year, she leaned into comics making and experimented with animation and other visual mediums that allowed her to explore her interests in Persian art, poetry and storytelling.\u003c/p>\n\u003cp>\u003cem>When to Pick a Pomegranate\u003c/em> is the culmination of the ways Abedifard’s path has diverged and reconverged in her love of cartoons, comics and her desire to connect with her heritage. There are several references to Persian art, history and language, including in the naming of the comics. “Every title, I have it in Farsi as well, because there’s a lot of meaning in the Farsi that the English doesn’t have,” says Abedifard. “For example, this word خراب (“rotten”) is like a fruit went bad, right? But also, it means something is broken or wrong.”\u003c/p>\n\u003cp>In \u003cem>When to Pick a Pomegranate\u003c/em>, Abedifard once again redrew “Rotten,” this time with a stark, saturated color palette bathed in hellish hues of blood red and black. Lyrical prose and Abedifard’s signature style of expressive emotions amplify both humorous and emotionally anguished scenes — “Rotten” dives into an all-consuming self-loathing that rots Anar from the inside out. He dreams of tearing himself apart to be free of a shameful desire, represented through an evocative panel of body horror.\u003c/p>\n\u003cfigure id=\"attachment_13964561\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964561\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book.png\" alt=\"\" width=\"876\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book-800x970.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book-768x931.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Yasmeen Abedifard from her book ‘When to Pick a Pomegranate.’ \u003ccite>(Courtesy of Yasmeen Abedifard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This comic was grappling with this idea of desiring something that was not allowed, and sort of dealing with the core queer trauma of feeling disgusted with oneself [and] trying to think about ways to remove it,” says Abedifard. “I feel like this one brings up so many feelings I have around desire, eroticism, sensuality, intimacy, shame, trauma, anger … It’s my baby because it’s my first comic, [and] I just wanted to hammer it home this time.”\u003c/p>\n\u003cp>Beyond its focus on change and the anxieties around it, \u003cem>When to Pick a Pomegranate\u003c/em> challenges readers to question: How do we heal from events that threaten to stunt us? How can we rediscover pleasure, joy and rest in ourselves and our communities? Dedicated to “saplings plucked too early,” the collection is a visually and emotionally complex venture into a contemporary kind of myth-making, one in which historical images are supplanted by daring, new roots.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘When to Pick a Pomegranate’ will be published Sept. 25, 2024. Abedifard’s book tour kicks off with a \u003ca href=\"https://www.instagram.com/p/C_L9XzKyOov/\">release party\u003c/a> at San Francisco comics shop Silver Sprocket on Sept. 21. \u003ca href=\"https://www.instagram.com/p/C_lVuTxv9Bx/?hl=en\">More information about the full book tour here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "A Pomegranate Goes on a Cosmic Journey in Yasmeen Abedifard’s New Book | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Upon waking in a garden-like void, a disoriented pomegranate named Anar and a woman named Guli question their existence: Who are they? What is their purpose? Suddenly, a pair of divine hands plucks them from their quiet panic and launches them through a journey — one in which they are born and reborn, their souls interlinked but their relationship ever-changing. From cycle to cycle, Anar and Guli shape-shift, taking on different physical forms as they amalgamate and coalesce, inflicting the sharpness of their hate, anger, desire, hunger and shame onto one another.\u003c/p>\n\u003cp>The two perform the ceaseless and sometimes futile yearning for transformation in Oakland-based artist Yasmeen Abedifard’s new comic collection, \u003ca href=\"https://store.silversprocket.net/products/pre-order-when-to-pick-a-pomegranate-by-yasmeen\">\u003cem>When to Pick a Pomegranate\u003c/em>\u003c/a> (out Sept. 25 via Silver Sprocket). In seven short comics that follow the plant life cycle, Anar and Guli’s iterations begin as a seed before evolving through propagation and bursting with ripeness until they inevitably rot. As they repeat the process over and over, they experience a Punnett square of change: endless outcomes in which their autonomy and sense of self is tested and morphed.\u003c/p>\n\u003cfigure id=\"attachment_13964556\" class=\"wp-caption aligncenter\" style=\"max-width: 1142px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover.png\" alt=\"\" width=\"1142\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-800x977.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-1020x1245.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Book-cover-768x937.png 768w\" sizes=\"(max-width: 1142px) 100vw, 1142px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘When to Pick a Pomegranate’ by Yasmeen Abedifard. \u003ccite>(Silver Sprocket)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the sections of her book, Abedifard’s artistry has bloomed through various life stages. Her parents immigrated to the U.S. from Iran, and Abedifard was raised in the South Bay suburb of Sunnyvale, where she developed an affinity for drawing and cartoons. “They had a public library, and there was a manga section, and so my mom would take me and my sister,” she says during an interview in a Berkeley park. “We would plop ourselves down and I would just read a whole book.”\u003c/p>\n\u003cp>As a teen, Abedifard got into making digital art on a small Wacom tablet and began posting her illustrations onto the platform DeviantArt. With a penchant for drawing characters, she contemplated going to art school for college. “But I had two immigrant parents that were like — maybe try something else. And I actually have some gratitude to that,” Abedifard reflects.\u003c/p>\n\u003cp>She ended up studying psychology and Middle Eastern Studies at the University of San Francisco. “I got to learn a lot about Islamic and Persian history. I got to learn a lot about how the brain works and how cognitive function impacts your daily life — all of these things that became really important to me.”\u003c/p>\n\u003cfigure id=\"attachment_13964560\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book.png\" alt='Repeated drawings of a woman eating a pomegranate. Text reads: \"I was ripe.\"' width=\"876\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book-800x970.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-2-POM-book-768x931.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Yasmeen Abedifard from her book ‘When to Pick a Pomegranate.’ \u003ccite>(Courtesy of Yasmeen Abedifard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abedifard immediately entered an interdisciplinary visual arts MFA program at Cornell, where she grew increasingly lost and disillusioned with the critique she was receiving. While many of her peers were older artists who worked with abstract imagery, she was drawn to figurative work inspired by illuminated manuscripts and Islamic iconography.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I started to become really frustrated because all that I was getting critiqued on or talked about was material, like how things are made rather than the actual image itself,” Abedifard explains. “Because I was like, I want you to see what this image is and what it makes you feel, right? I felt like I was totally an imposter, being really young and in a new space. And then I was like, ‘Why don’t I just make comics again? This is the thing I like to do.’”\u003c/p>\n\u003cfigure id=\"attachment_13964558\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964558\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book.png\" alt='A drawing of a pomegranate tearing itself open. The text reads: \"i want to tear these thoughts out of my flesh. How could I forget just how rotten I am?\"' width=\"876\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book-800x970.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Rotten-page-Yasmeen-POM-book-768x931.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">The version of Yasmeen Abedifard’s comic ‘Rotten’ that appears in her book ‘When to Pick a Pomegranate.’ \u003ccite>(Yasmeen Abedifard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her excitement was reinvigorated. She redrew the first comic she ever made (“Rotten”), screen printed all of the pages and exhibited them at a group show at the end of her first year. In her second year, she leaned into comics making and experimented with animation and other visual mediums that allowed her to explore her interests in Persian art, poetry and storytelling.\u003c/p>\n\u003cp>\u003cem>When to Pick a Pomegranate\u003c/em> is the culmination of the ways Abedifard’s path has diverged and reconverged in her love of cartoons, comics and her desire to connect with her heritage. There are several references to Persian art, history and language, including in the naming of the comics. “Every title, I have it in Farsi as well, because there’s a lot of meaning in the Farsi that the English doesn’t have,” says Abedifard. “For example, this word خراب (“rotten”) is like a fruit went bad, right? But also, it means something is broken or wrong.”\u003c/p>\n\u003cp>In \u003cem>When to Pick a Pomegranate\u003c/em>, Abedifard once again redrew “Rotten,” this time with a stark, saturated color palette bathed in hellish hues of blood red and black. Lyrical prose and Abedifard’s signature style of expressive emotions amplify both humorous and emotionally anguished scenes — “Rotten” dives into an all-consuming self-loathing that rots Anar from the inside out. He dreams of tearing himself apart to be free of a shameful desire, represented through an evocative panel of body horror.\u003c/p>\n\u003cfigure id=\"attachment_13964561\" class=\"wp-caption aligncenter\" style=\"max-width: 876px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964561\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book.png\" alt=\"\" width=\"876\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book-800x970.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Yasmeen-painting-3-POM-book-768x931.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Yasmeen Abedifard from her book ‘When to Pick a Pomegranate.’ \u003ccite>(Courtesy of Yasmeen Abedifard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This comic was grappling with this idea of desiring something that was not allowed, and sort of dealing with the core queer trauma of feeling disgusted with oneself [and] trying to think about ways to remove it,” says Abedifard. “I feel like this one brings up so many feelings I have around desire, eroticism, sensuality, intimacy, shame, trauma, anger … It’s my baby because it’s my first comic, [and] I just wanted to hammer it home this time.”\u003c/p>\n\u003cp>Beyond its focus on change and the anxieties around it, \u003cem>When to Pick a Pomegranate\u003c/em> challenges readers to question: How do we heal from events that threaten to stunt us? How can we rediscover pleasure, joy and rest in ourselves and our communities? Dedicated to “saplings plucked too early,” the collection is a visually and emotionally complex venture into a contemporary kind of myth-making, one in which historical images are supplanted by daring, new roots.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘When to Pick a Pomegranate’ will be published Sept. 25, 2024. Abedifard’s book tour kicks off with a \u003ca href=\"https://www.instagram.com/p/C_L9XzKyOov/\">release party\u003c/a> at San Francisco comics shop Silver Sprocket on Sept. 21. \u003ca href=\"https://www.instagram.com/p/C_lVuTxv9Bx/?hl=en\">More information about the full book tour here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s get something important out of the way first: \u003cem>Deprog\u003c/em> might just be one of the most bizarre \u003ca href=\"https://www.kqed.org/arts/tag/graphic-novels\">graphic novels\u003c/a> of the year.\u003c/p>\n\u003cp>At the center of the story is Tate Debs, a BDSM-loving lesbian who specializes in “deprogramming” cult survivors. One day, a beautiful femme named Vera enters Tate’s office (located in the back of a video store) and begs for assistance in getting her brother out of a cult that calls itself The Caring. It just so happens that Tate was born and raised inside the group, and barely survived it herself. Soon, Tate, Vera and video store guy Lester are on a mission to the desert to infiltrate the cult and track down its mysterious leader, Lorenz.\u003c/p>\n\u003cp>[aside postid='arts_13963277']While that all probably sounds fairly straightforward, this is a story that spirals quickly. By the end of Chapter 1, Tate and Vera are going at it in a sex dungeon. By the end of Chapter 2, we’ve been introduced to mysterious twins handing out cult seltzer with a label that reads: “He who drinks bathwater of the universe cares for the unified self.” (A statement that, by the end of the graphic novel, actually makes sense.) By the end of the final fourth chapter, there’s been brainwashing, torture, jaw-dropping childhood secrets revealed and dyke-related quips aplenty.\u003c/p>\n\u003cp>\u003cem>Deprog\u003c/em> was originally published as four separate comic books, the last of which came out in June. The series is the brainchild of four female collaborators led by writer and sexual subculture expert \u003ca href=\"https://www.instagram.com/tinahornsass/?hl=en\">Tina Horn\u003c/a>, who spent her formative years in the Bay Area. \u003ca href=\"https://www.lisasterle.com/\">Lisa Sterle\u003c/a> (best known for her \u003ca href=\"https://www.lisasterle.com/mwt\">Modern Witch Tarot\u003c/a> deck) illustrated, \u003ca href=\"https://www.instagram.com/GabContrerasR/\">Gab Contreras\u003c/a> acted as colorist, and Greek artist \u003ca href=\"https://www.instagram.com/danistrips/?hl=en\">DaNi\u003c/a> was responsible for the cover art. Their work is gleefully and unabashedly sexy, but is careful to include realistic depictions of women’s bodies — pubic hair, round bellies and all.\u003c/p>\n\u003cp>All of which is to say that \u003cem>Deprog\u003c/em> is a total trip — one that women, queer folk and fans of neo-noir will surely enjoy taking.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Deprog’ is released on Sept. 24, 2024, via \u003ca href=\"https://deadskypublishing.com/\">Dead Sky Publishing\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While that all probably sounds fairly straightforward, this is a story that spirals quickly. By the end of Chapter 1, Tate and Vera are going at it in a sex dungeon. By the end of Chapter 2, we’ve been introduced to mysterious twins handing out cult seltzer with a label that reads: “He who drinks bathwater of the universe cares for the unified self.” (A statement that, by the end of the graphic novel, actually makes sense.) By the end of the final fourth chapter, there’s been brainwashing, torture, jaw-dropping childhood secrets revealed and dyke-related quips aplenty.\u003c/p>\n\u003cp>\u003cem>Deprog\u003c/em> was originally published as four separate comic books, the last of which came out in June. The series is the brainchild of four female collaborators led by writer and sexual subculture expert \u003ca href=\"https://www.instagram.com/tinahornsass/?hl=en\">Tina Horn\u003c/a>, who spent her formative years in the Bay Area. \u003ca href=\"https://www.lisasterle.com/\">Lisa Sterle\u003c/a> (best known for her \u003ca href=\"https://www.lisasterle.com/mwt\">Modern Witch Tarot\u003c/a> deck) illustrated, \u003ca href=\"https://www.instagram.com/GabContrerasR/\">Gab Contreras\u003c/a> acted as colorist, and Greek artist \u003ca href=\"https://www.instagram.com/danistrips/?hl=en\">DaNi\u003c/a> was responsible for the cover art. Their work is gleefully and unabashedly sexy, but is careful to include realistic depictions of women’s bodies — pubic hair, round bellies and all.\u003c/p>\n\u003cp>All of which is to say that \u003cem>Deprog\u003c/em> is a total trip — one that women, queer folk and fans of neo-noir will surely enjoy taking.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Deprog’ is released on Sept. 24, 2024, via \u003ca href=\"https://deadskypublishing.com/\">Dead Sky Publishing\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13964275\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football.png\" alt=\"A book cover featuring an American football.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Why We Love Football: A History in 100 Moments’ by Joe Posnanski. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joe Posnanski is getting pretty good at this whole sports countdown thing.\u003c/p>\n\u003cp>The award-winning sportswriter’s previous books have profiled significant ballplayers (\u003cem>The Baseball 100\u003c/em>) and ticked off 50 of the biggest occasions in the history of our national pastime (\u003cem>Why We Love Baseball\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13926031']Posnanski is back with a new sport and total. \u003cem>In Why We Love Football: A History in 100 Moments\u003c/em>, the former \u003cem>Sports Illustrated\u003c/em> scribe pens a thoroughly enjoyable look back at the players and plays that have come to define America’s most popular sport.\u003c/p>\n\u003cp>Sure, one could argue with what was included and what was not, the order, etc. But at the end of the day, the book is a love letter to football — a poignant, informative and at times hilarious look at what makes the gridiron game such a part of the national fabric.\u003c/p>\n\u003cp>“It takes us fans to the mountaintop, and it tears our hearts out,” Posnanski writes. “It lifts us and crushes us, thrills us and revolts us, leaves us empty and leaves us wanting and leaves us breathless.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are no-brainers in there — the 1972 “Immaculate Reception” that lifted the Pittsburgh Steelers over the Oakland Raiders to their first-ever playoff victory, the “Kick-Six” missed field goal return for Auburn that stunned Alabama in the 2013 Iron Bowl and Bart Starr’s title-winning quarterback keeper during the 1967 NFL Championship “Ice Bowl” game against Dallas at Lambeau Field — but \u003cem>Why We Love Football\u003c/em> is at its best when it explores the off-the-beaten-path moments in the game’s long history.\u003c/p>\n\u003cp>And the intersection of football and pop culture. The passage on former Notre Dame coach Dan Devine’s portrayal in the underdog feel-good film \u003cem>Rudy\u003c/em> alone might be worth the book’s purchase price.\u003c/p>\n\u003cp>[aside postid='arts_13962267']For football fans like this reviewer, the book is an absolute must-read. But it should be accessible to the football-averse, too, with its brilliant writing and research that unearths gems and perspectives that bring the game and its characters to life. Readers will find themselves laughing out loud at times.\u003c/p>\n\u003cp>“Football matters because, at its best, the game illustrates life at its most exuberant and most passionate and most emotionally heightened,” Posnanski writes.\u003c/p>\n\u003cp>\u003cem>Why We Love Football\u003c/em> proves that statement by reminding us all what makes it the No. 1 sport in the land.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Why We Love Football: A History in 100 Moments’ by Joe Posnanski is released on Sept. 17, 2024 via Dutton.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Posnanski is back with a new sport and total. \u003cem>In Why We Love Football: A History in 100 Moments\u003c/em>, the former \u003cem>Sports Illustrated\u003c/em> scribe pens a thoroughly enjoyable look back at the players and plays that have come to define America’s most popular sport.\u003c/p>\n\u003cp>Sure, one could argue with what was included and what was not, the order, etc. But at the end of the day, the book is a love letter to football — a poignant, informative and at times hilarious look at what makes the gridiron game such a part of the national fabric.\u003c/p>\n\u003cp>“It takes us fans to the mountaintop, and it tears our hearts out,” Posnanski writes. “It lifts us and crushes us, thrills us and revolts us, leaves us empty and leaves us wanting and leaves us breathless.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are no-brainers in there — the 1972 “Immaculate Reception” that lifted the Pittsburgh Steelers over the Oakland Raiders to their first-ever playoff victory, the “Kick-Six” missed field goal return for Auburn that stunned Alabama in the 2013 Iron Bowl and Bart Starr’s title-winning quarterback keeper during the 1967 NFL Championship “Ice Bowl” game against Dallas at Lambeau Field — but \u003cem>Why We Love Football\u003c/em> is at its best when it explores the off-the-beaten-path moments in the game’s long history.\u003c/p>\n\u003cp>And the intersection of football and pop culture. The passage on former Notre Dame coach Dan Devine’s portrayal in the underdog feel-good film \u003cem>Rudy\u003c/em> alone might be worth the book’s purchase price.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For football fans like this reviewer, the book is an absolute must-read. But it should be accessible to the football-averse, too, with its brilliant writing and research that unearths gems and perspectives that bring the game and its characters to life. Readers will find themselves laughing out loud at times.\u003c/p>\n\u003cp>“Football matters because, at its best, the game illustrates life at its most exuberant and most passionate and most emotionally heightened,” Posnanski writes.\u003c/p>\n\u003cp>\u003cem>Why We Love Football\u003c/em> proves that statement by reminding us all what makes it the No. 1 sport in the land.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Why We Love Football: A History in 100 Moments’ by Joe Posnanski is released on Sept. 17, 2024 via Dutton.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13963868\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg\" alt=\"A book cover featuring a photo of a Black woman standing in a body of water looking at artwork hanging from a clothes rack.\" width=\"1000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-768x1152.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re Alone’ by Edwidge Danticat. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading Edwidge Danticat’s \u003cem>We’re Alone \u003c/em>is like sitting down to listen to an old friend. Personal, touching, rich in observations, smart, resonant, vibrant and complex, the eight essays that make up this collection open a door into Danticat’s past and present, her history and the history of Haiti, her relationship to worldly things and to the work of timeless writers. With clear, concise prose that delves into harsh topics without losing its sense of humor, Danticat once again proves that she is one of contemporary literature’s strongest, most graceful voices.\u003c/p>\n\u003cp>\u003cem>We’re Alone\u003c/em> opens with a preface in which Danticat explains that, for her, writing essays is a quest for a very specific “kind of aloneness/togetherness, as well as something akin to what the Haitian American anthropologist and artist Gina Athena Ulysse has labeled \u003cem>rasanblaj\u003c/em>, which she defines as “assembly, compilation, enlisting, regrouping (of people, spirits, things, ideas).” That aloneness/togetherness is present in every essay. We all experience things differently, but the way Danticat talks about love, loss, migration, grief and injustice, to name a few, makes them feel patently universal.\u003c/p>\n\u003cp>[aside postid='arts_13960144']This short collection has no throwaways, but some standouts merit individual attention.\u003c/p>\n\u003cp>“They Are Waiting in the Hills: Traveling with Lorraine Hansberry, Audre Lorde, James Baldwin, Gabriel García Márquez, Paule Marshall, and Toni Morrison” is, despite its long title, a wonderfully paced essay in which Danticat shares some of her own travels and experiences throughout her career while simultaneously entering into a conversation, full of admiration, with the authors named in the title. Danticat is an accomplished writer, but this essay is all about her love of literature and the way the work of others have impacted her and sometimes worked as a lens through which she could start processing various experiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “This Is My Body,” we’re right there with the author two days before Christmas of 2017 as she ditches her car, runs away from a shooter at a mall and hides behind a bush. The shooting turned out to be one of many hoaxes perpetrated that year so people could steal from stores during the ensuing chaos, but for Danticat, recounting the experience is an excuse to get the conversation started. From there, the piece morphs into an essay about parenting, her own mother’s death from cancer, and how she tried to parent even from beyond the grave by leaving Danticat and her brothers a tape with instructions for life, including what she wanted the author to wear at her funeral. From there, the essay moves — smoothly, always — into a discussion of hunger and, among other things, the ethics of force-feeding at Guantanamo and a recognition of how the “grace of the young Parkland survivors, their eloquence, their efforts to include less privileged youth — among them young people of color whose communities are chronically and disproportionately affected by gun violence — has been especially eye opening.”\u003c/p>\n\u003cp>“By the Time You Read This” is another marvel that seamlessly weaves together past and present while exploring the death of George Floyd, recounting the racism Danticat observed while riding New York City Transit buses, and then touches on the massive migration of African Americans from rural areas in the South to cities in the North of the United States.\u003c/p>\n\u003cp>[aside postid='arts_13963659']The rest of the essays share the same shapeshifting nature. However, they do so while also containing at least one of the cohesive elements that make the book feel like a whole; history, family, racism, Haiti, migration, literature, etc. Danticat masterfully moves from one topic or idea to the next with the powerful fluidity of a raging river. From every Haitian being suspected of having AIDS to memories of the “ruthless Duvalier dictatorship,” every essay here contains at least a slice of history. From a discussion of temporary protected status for Haitians that turns into a conversation about rainbows to the many excerpts of poems and names that celebrate Black excellence throughout the collection — Toni Morrison, Alice Walker, Audre Lorde, Gwendolyn Brooks, Nikki Giovanni, Maya Angelou — this collection shows exactly where Danticat fits, and just how much her work is in conversation with that of other giants.\u003c/p>\n\u003cp>\u003cem>We’re Alone \u003c/em>accomplishes a lot, but perhaps the most important thing it does is that it manages to feel like an invitation from the opening pages. Yes, this is Danticat talking about racism and injustice while digging deep and showing us just how ugly humanity can be, but it’s also a collection full of hope and a celebration of writing. Ultimately, this is more than a collection of essays; this is an invitation. “You’re alone and I’m alone,” says Danticat in one way or another in every essay, “but if you join me, we can be alone together.” This beautiful invitation is one I encourage you to accept.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We’re Alone’ by Edwidge Danticat is out now, via Graywolf Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13963868\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg\" alt=\"A book cover featuring a photo of a Black woman standing in a body of water looking at artwork hanging from a clothes rack.\" width=\"1000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-768x1152.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re Alone’ by Edwidge Danticat. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading Edwidge Danticat’s \u003cem>We’re Alone \u003c/em>is like sitting down to listen to an old friend. Personal, touching, rich in observations, smart, resonant, vibrant and complex, the eight essays that make up this collection open a door into Danticat’s past and present, her history and the history of Haiti, her relationship to worldly things and to the work of timeless writers. With clear, concise prose that delves into harsh topics without losing its sense of humor, Danticat once again proves that she is one of contemporary literature’s strongest, most graceful voices.\u003c/p>\n\u003cp>\u003cem>We’re Alone\u003c/em> opens with a preface in which Danticat explains that, for her, writing essays is a quest for a very specific “kind of aloneness/togetherness, as well as something akin to what the Haitian American anthropologist and artist Gina Athena Ulysse has labeled \u003cem>rasanblaj\u003c/em>, which she defines as “assembly, compilation, enlisting, regrouping (of people, spirits, things, ideas).” That aloneness/togetherness is present in every essay. We all experience things differently, but the way Danticat talks about love, loss, migration, grief and injustice, to name a few, makes them feel patently universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “This Is My Body,” we’re right there with the author two days before Christmas of 2017 as she ditches her car, runs away from a shooter at a mall and hides behind a bush. The shooting turned out to be one of many hoaxes perpetrated that year so people could steal from stores during the ensuing chaos, but for Danticat, recounting the experience is an excuse to get the conversation started. From there, the piece morphs into an essay about parenting, her own mother’s death from cancer, and how she tried to parent even from beyond the grave by leaving Danticat and her brothers a tape with instructions for life, including what she wanted the author to wear at her funeral. From there, the essay moves — smoothly, always — into a discussion of hunger and, among other things, the ethics of force-feeding at Guantanamo and a recognition of how the “grace of the young Parkland survivors, their eloquence, their efforts to include less privileged youth — among them young people of color whose communities are chronically and disproportionately affected by gun violence — has been especially eye opening.”\u003c/p>\n\u003cp>“By the Time You Read This” is another marvel that seamlessly weaves together past and present while exploring the death of George Floyd, recounting the racism Danticat observed while riding New York City Transit buses, and then touches on the massive migration of African Americans from rural areas in the South to cities in the North of the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The rest of the essays share the same shapeshifting nature. However, they do so while also containing at least one of the cohesive elements that make the book feel like a whole; history, family, racism, Haiti, migration, literature, etc. Danticat masterfully moves from one topic or idea to the next with the powerful fluidity of a raging river. From every Haitian being suspected of having AIDS to memories of the “ruthless Duvalier dictatorship,” every essay here contains at least a slice of history. From a discussion of temporary protected status for Haitians that turns into a conversation about rainbows to the many excerpts of poems and names that celebrate Black excellence throughout the collection — Toni Morrison, Alice Walker, Audre Lorde, Gwendolyn Brooks, Nikki Giovanni, Maya Angelou — this collection shows exactly where Danticat fits, and just how much her work is in conversation with that of other giants.\u003c/p>\n\u003cp>\u003cem>We’re Alone \u003c/em>accomplishes a lot, but perhaps the most important thing it does is that it manages to feel like an invitation from the opening pages. Yes, this is Danticat talking about racism and injustice while digging deep and showing us just how ugly humanity can be, but it’s also a collection full of hope and a celebration of writing. Ultimately, this is more than a collection of essays; this is an invitation. “You’re alone and I’m alone,” says Danticat in one way or another in every essay, “but if you join me, we can be alone together.” This beautiful invitation is one I encourage you to accept.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We’re Alone’ by Edwidge Danticat is out now, via Graywolf Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jasmine-rashid-financial-activist-generational-wealth",
"title": "The ‘Financial Activist’ and the Trillion-Dollar Discussion",
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"content": "\u003cfigure id=\"attachment_13963858\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid.jpg\" alt=\"\" width=\"1920\" height=\"1461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-1536x1169.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Rashid wants to instill “financial activism” in those benefitting from generational wealth transfers. \u003ccite>(Techboogie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a major shift of power happening right now, but it’s as subtle as grains of sand slipping from one half of an hourglass to the other. Individually, a single grain doesn’t matter much, but collectively, that mass of sand moving from one side to the other is a significant change.\u003c/p>\n\u003cp>The sand, in this example, is wealth subtly shifting from one generation to the next. Right now, baby boomers are either retiring or meeting their mortality. As they do, it’s predicted that upwards of \u003ca href=\"https://www.knightfrank.com/research/article/2024-02-28-how-will-millennials-spend-us90-trillion\" target=\"_blank\" rel=\"noopener\">$90 trillion\u003c/a> will be transferred to millennials and Gen Z.\u003c/p>\n\u003cp>Staggering as that number may be, the amount of money changing hands might not be the biggest part of the story. Whose hands that wealth lands in — \u003cem>that’s\u003c/em> the real story.\u003c/p>\n\u003cp>In the coming years, \u003ca href=\"https://www.forbes.com/sites/hollycorbett/2024/02/29/the-great-wealth-transfer-what-it-means-for-women-and-for-the-world/\" target=\"_blank\" rel=\"noopener\">women are poised to gain more money\u003c/a>, resources and ownership than ever before. With that shift, this economy will become more inclusive, less extractive and all-around better for the well-being of workers, as well as the planet.\u003c/p>\n\u003cfigure id=\"attachment_13963703\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963703\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Rashid. \u003ccite>(Maya Minhas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This changing of the tide is what inspires Jasmine Rashid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The author of \u003ca href=\"https://bookshop.org/p/books/the-financial-activist-playbook-8-strategies-for-everyday-people-to-reclaim-wealth-and-collective-well-being-jasmine-rashid/20990999?ean=9781523006366\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https://www.google.com/url?q=http://jasminerashid.com/&source=gmail&ust=1725565371436000&usg=AOvVaw0wTozpJXIRYGjzK1Q6WE-v\">\u003ci>The Financial Activist Playbook: 8 Strategies for Everyday People to Reclaim Wealth and Collective Well-Being\u003c/i>\u003c/a> (Berrett-Koehler Publishers), Rashid says she was intentional about using the term “financial activist” in her book title.\u003c/p>\n\u003cp>She knows the term has a certain connotation, especially here in the Bay. But that’s the goal: to show folks that they, too, are activists.\u003c/p>\n\u003cp>Rashid believes that benevolent changes can be made by everyday people being mindful about their finances, particularly women, in the midst of this great wealth transfer.\u003c/p>\n\u003cp>Mentioned alone, the word “financial” brings to mind business suits, stocks, bonds, equity and insurance. The term “activist” is tied to notions of freedom fighters, organizers and those who sacrifice themselves for the greater good.\u003c/p>\n\u003cp>But when combined, Rashid writes, the term “financial activist” refers to “anyone intentionally taking action in ways big and small to shift the flow of capital and power, resisting systems that cause harm to people and the planet for the sake of profit, and redesigning our relationships to money and one another.”\u003c/p>\n\u003cp>This can take the form of a retail clerk who opens a bank account at a credit union, a content creator who’s critical of housing prices or even an artist who speaks about the billions of taxpayer dollars going towards government-sanctioned violence overseas.\u003c/p>\n\u003cp>Ultimately, a financial activist is anyone that’s aware of their spending habits, mindful of where their resources are going and an “expert in their own unique lived experience,” writes Rashid.\u003c/p>\n\u003cp>Built as a resource for those who may not be wealthy but yearn for economic empowerment, the book is full of real-world examples to bring lofty financial concepts down to earth. At one point, Rashid references a diagram depicting a participatory budget drawn in chalk on the ground near Lake Merritt — literally bringing a massive idea down to ground-level.\u003c/p>\n\u003cp>“Finance,” Rashid tells me during a recent phone call, “has been designed to be inextricably inaccessible.” To combat that, Rashid — who works full-time in impact investing, has written for \u003cem>Forbes\u003c/em> and has a background in social change theory — explains it’s not about becoming financial experts, but simply rerouting our relationship with money.\u003c/p>\n\u003cfigure id=\"attachment_13963709\" class=\"wp-caption aligncenter\" style=\"max-width: 1646px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed.png\" alt=\"\" width=\"1646\" height=\"1398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed.png 1646w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-800x679.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1020x866.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-768x652.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1536x1305.png 1536w\" sizes=\"(max-width: 1646px) 100vw, 1646px\">\u003cfigcaption class=\"wp-caption-text\">‘The Financial Activist Playbook’ release is augmented with a playlist, sticker sheet, zine and more. \u003ccite>(Berrett-Koehler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really about how we reclaim our agency and our nervous systems,” Rashid says, “in ways that make our relationship to money on an everyday basis more abundant, more relaxed and really reducing shame around conversations about money.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In doing so, she imagines a world where people don’t worry about tremendous amounts of debt; a world where, as a community, we aren’t burdened with a lack of affordable housing. “Both things have to happen at the same time,” says Rashid. \u003c/span>\u003c/p>\n\u003cp>Rashid’s book is centered around eight strategies: talking about money, banking on ourselves, flexing some buying power, giving (and receiving), showing up for one another beyond money, shifting budgets, leveraging the magic of investment and handling our business.\u003c/p>\n\u003cp>The strategies are supported by anecdotal stories, interviews and research. Rashid, a Bangladeshi-American woman originally from New York and now based in Oakland, also relies on insight from her friend circle, as well as her own experiences in fiscal management.\u003c/p>\n\u003cp>Knowing that big change beings with the small grains of local movements, Rashid turns to Bay Area-based organizations, like \u003ca href=\"https://www.hellaheartoakland.com/\" target=\"_blank\" rel=\"noopener\">The Hella Heart Oakland Giving Circle\u003c/a> and \u003ca href=\"https://sogoreate-landtrust.org/\" target=\"_blank\" rel=\"noopener\">The Sogorea Te’ Land Trust\u003c/a>, as examples of groups thinking outside of the common flow of money to bring resources to the broader community.\u003c/p>\n\u003cp>Rashid’s book, released on Sept. 12, includes a set of thought-provoking questions for people to workshop for themselves, as well as a glossary for the litany of financial terms Rashid introduces to the reader throughout the book’s 230-plus pages.\u003c/p>\n\u003cfigure id=\"attachment_13963710\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Rashid. \u003ccite>(Maya Minhas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, \u003ca href=\"https://static1.squarespace.com/static/652f60aa85bfd5678c240944/t/66a66edca2e4320b6f3d67ae/1722183446930/Discussion+Guide+Zine.pdf\" target=\"_blank\" rel=\"noopener\">Rashid is offering a free zine\u003c/a> for those interested in the topic who might see the book’s price tag as a barrier.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/book-launch-party-for-the-financial-activist-playbook-tickets-933081551037?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">On Sept. 12, Rashid celebrates her book launch at Kinfolx Cafe in Oakland\u003c/a>, where she’ll discuss the book and host an “offers and needs market” demonstration, where participants can gain an understanding of a different economic system. The event will also have \u003ca href=\"https://www.kqed.org/arts/13871703/photographing-oakland-one-portrait-at-a-time\" target=\"_blank\" rel=\"noopener\">a photo booth anchored by acclaimed photographer Lara Kaur\u003c/a> and a Just Economy Market, where participants can support small local businesses.\u003c/p>\n\u003cp>Rashid emphasizes that the tangible examples of thinking differently are a key component.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The reality is,” says Rashid, “that in order to move into a more equitable economy, we need to decentralize profit for the few and re-center well-being for the many.” It’s not about creating a utopia, she adds, but being grounded in reality. \u003c/span>\u003c/p>\n\u003cp>When asked if this is about moving away from capitalism, she says, in short: yes. But it’s more nuanced than that. Ultimately, Rashid says, “I’m focused less on what we call it — capitalism, socialism or any other ism — I’m here to make sure everyone eats.”\u003c/p>\n\u003cp>For Rashid, it’s about finding a system that’s sustainable for the people and the planet. It’s about this massive wealth transfer, and having “a just transition” that brings about benevolent, long-term change. It’s about reminding people that as we work, pay bills and run this ratrace, we may feel as insignificant as a grain of sand trapped in an hourglass.\u003c/p>\n\u003cp>But “because we interact with money on a daily basis,” Rashid says, “we can be activists.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jasmine Rashid’s book \u003ca href=\"https://www.jasminerashid.com/\">‘The Financial Activist Playbook: 8 Strategies for Everyday People to Reclaim Wealth and Collective Well-Being’\u003c/a> is released on Sept. 12. Rashid’s book launch will be held at Kinfolx Cafe in Oakland that evening, from 6 p.m.–9 p.m. \u003ca href=\"https://www.eventbrite.com/e/book-launch-party-for-the-financial-activist-playbook-tickets-933081551037?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963858\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid.jpg\" alt=\"\" width=\"1920\" height=\"1461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JasmineRashid-1536x1169.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Rashid wants to instill “financial activism” in those benefitting from generational wealth transfers. \u003ccite>(Techboogie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a major shift of power happening right now, but it’s as subtle as grains of sand slipping from one half of an hourglass to the other. Individually, a single grain doesn’t matter much, but collectively, that mass of sand moving from one side to the other is a significant change.\u003c/p>\n\u003cp>The sand, in this example, is wealth subtly shifting from one generation to the next. Right now, baby boomers are either retiring or meeting their mortality. As they do, it’s predicted that upwards of \u003ca href=\"https://www.knightfrank.com/research/article/2024-02-28-how-will-millennials-spend-us90-trillion\" target=\"_blank\" rel=\"noopener\">$90 trillion\u003c/a> will be transferred to millennials and Gen Z.\u003c/p>\n\u003cp>Staggering as that number may be, the amount of money changing hands might not be the biggest part of the story. Whose hands that wealth lands in — \u003cem>that’s\u003c/em> the real story.\u003c/p>\n\u003cp>In the coming years, \u003ca href=\"https://www.forbes.com/sites/hollycorbett/2024/02/29/the-great-wealth-transfer-what-it-means-for-women-and-for-the-world/\" target=\"_blank\" rel=\"noopener\">women are poised to gain more money\u003c/a>, resources and ownership than ever before. With that shift, this economy will become more inclusive, less extractive and all-around better for the well-being of workers, as well as the planet.\u003c/p>\n\u003cfigure id=\"attachment_13963703\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963703\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Rashid. \u003ccite>(Maya Minhas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This changing of the tide is what inspires Jasmine Rashid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The author of \u003ca href=\"https://bookshop.org/p/books/the-financial-activist-playbook-8-strategies-for-everyday-people-to-reclaim-wealth-and-collective-well-being-jasmine-rashid/20990999?ean=9781523006366\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https://www.google.com/url?q=http://jasminerashid.com/&source=gmail&ust=1725565371436000&usg=AOvVaw0wTozpJXIRYGjzK1Q6WE-v\">\u003ci>The Financial Activist Playbook: 8 Strategies for Everyday People to Reclaim Wealth and Collective Well-Being\u003c/i>\u003c/a> (Berrett-Koehler Publishers), Rashid says she was intentional about using the term “financial activist” in her book title.\u003c/p>\n\u003cp>She knows the term has a certain connotation, especially here in the Bay. But that’s the goal: to show folks that they, too, are activists.\u003c/p>\n\u003cp>Rashid believes that benevolent changes can be made by everyday people being mindful about their finances, particularly women, in the midst of this great wealth transfer.\u003c/p>\n\u003cp>Mentioned alone, the word “financial” brings to mind business suits, stocks, bonds, equity and insurance. The term “activist” is tied to notions of freedom fighters, organizers and those who sacrifice themselves for the greater good.\u003c/p>\n\u003cp>But when combined, Rashid writes, the term “financial activist” refers to “anyone intentionally taking action in ways big and small to shift the flow of capital and power, resisting systems that cause harm to people and the planet for the sake of profit, and redesigning our relationships to money and one another.”\u003c/p>\n\u003cp>This can take the form of a retail clerk who opens a bank account at a credit union, a content creator who’s critical of housing prices or even an artist who speaks about the billions of taxpayer dollars going towards government-sanctioned violence overseas.\u003c/p>\n\u003cp>Ultimately, a financial activist is anyone that’s aware of their spending habits, mindful of where their resources are going and an “expert in their own unique lived experience,” writes Rashid.\u003c/p>\n\u003cp>Built as a resource for those who may not be wealthy but yearn for economic empowerment, the book is full of real-world examples to bring lofty financial concepts down to earth. At one point, Rashid references a diagram depicting a participatory budget drawn in chalk on the ground near Lake Merritt — literally bringing a massive idea down to ground-level.\u003c/p>\n\u003cp>“Finance,” Rashid tells me during a recent phone call, “has been designed to be inextricably inaccessible.” To combat that, Rashid — who works full-time in impact investing, has written for \u003cem>Forbes\u003c/em> and has a background in social change theory — explains it’s not about becoming financial experts, but simply rerouting our relationship with money.\u003c/p>\n\u003cfigure id=\"attachment_13963709\" class=\"wp-caption aligncenter\" style=\"max-width: 1646px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed.png\" alt=\"\" width=\"1646\" height=\"1398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed.png 1646w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-800x679.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1020x866.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-768x652.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1536x1305.png 1536w\" sizes=\"(max-width: 1646px) 100vw, 1646px\">\u003cfigcaption class=\"wp-caption-text\">‘The Financial Activist Playbook’ release is augmented with a playlist, sticker sheet, zine and more. \u003ccite>(Berrett-Koehler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really about how we reclaim our agency and our nervous systems,” Rashid says, “in ways that make our relationship to money on an everyday basis more abundant, more relaxed and really reducing shame around conversations about money.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In doing so, she imagines a world where people don’t worry about tremendous amounts of debt; a world where, as a community, we aren’t burdened with a lack of affordable housing. “Both things have to happen at the same time,” says Rashid. \u003c/span>\u003c/p>\n\u003cp>Rashid’s book is centered around eight strategies: talking about money, banking on ourselves, flexing some buying power, giving (and receiving), showing up for one another beyond money, shifting budgets, leveraging the magic of investment and handling our business.\u003c/p>\n\u003cp>The strategies are supported by anecdotal stories, interviews and research. Rashid, a Bangladeshi-American woman originally from New York and now based in Oakland, also relies on insight from her friend circle, as well as her own experiences in fiscal management.\u003c/p>\n\u003cp>Knowing that big change beings with the small grains of local movements, Rashid turns to Bay Area-based organizations, like \u003ca href=\"https://www.hellaheartoakland.com/\" target=\"_blank\" rel=\"noopener\">The Hella Heart Oakland Giving Circle\u003c/a> and \u003ca href=\"https://sogoreate-landtrust.org/\" target=\"_blank\" rel=\"noopener\">The Sogorea Te’ Land Trust\u003c/a>, as examples of groups thinking outside of the common flow of money to bring resources to the broader community.\u003c/p>\n\u003cp>Rashid’s book, released on Sept. 12, includes a set of thought-provoking questions for people to workshop for themselves, as well as a glossary for the litany of financial terms Rashid introduces to the reader throughout the book’s 230-plus pages.\u003c/p>\n\u003cfigure id=\"attachment_13963710\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Rashid. \u003ccite>(Maya Minhas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, \u003ca href=\"https://static1.squarespace.com/static/652f60aa85bfd5678c240944/t/66a66edca2e4320b6f3d67ae/1722183446930/Discussion+Guide+Zine.pdf\" target=\"_blank\" rel=\"noopener\">Rashid is offering a free zine\u003c/a> for those interested in the topic who might see the book’s price tag as a barrier.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/book-launch-party-for-the-financial-activist-playbook-tickets-933081551037?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">On Sept. 12, Rashid celebrates her book launch at Kinfolx Cafe in Oakland\u003c/a>, where she’ll discuss the book and host an “offers and needs market” demonstration, where participants can gain an understanding of a different economic system. The event will also have \u003ca href=\"https://www.kqed.org/arts/13871703/photographing-oakland-one-portrait-at-a-time\" target=\"_blank\" rel=\"noopener\">a photo booth anchored by acclaimed photographer Lara Kaur\u003c/a> and a Just Economy Market, where participants can support small local businesses.\u003c/p>\n\u003cp>Rashid emphasizes that the tangible examples of thinking differently are a key component.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The reality is,” says Rashid, “that in order to move into a more equitable economy, we need to decentralize profit for the few and re-center well-being for the many.” It’s not about creating a utopia, she adds, but being grounded in reality. \u003c/span>\u003c/p>\n\u003cp>When asked if this is about moving away from capitalism, she says, in short: yes. But it’s more nuanced than that. Ultimately, Rashid says, “I’m focused less on what we call it — capitalism, socialism or any other ism — I’m here to make sure everyone eats.”\u003c/p>\n\u003cp>For Rashid, it’s about finding a system that’s sustainable for the people and the planet. It’s about this massive wealth transfer, and having “a just transition” that brings about benevolent, long-term change. It’s about reminding people that as we work, pay bills and run this ratrace, we may feel as insignificant as a grain of sand trapped in an hourglass.\u003c/p>\n\u003cp>But “because we interact with money on a daily basis,” Rashid says, “we can be activists.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jasmine Rashid’s book \u003ca href=\"https://www.jasminerashid.com/\">‘The Financial Activist Playbook: 8 Strategies for Everyday People to Reclaim Wealth and Collective Well-Being’\u003c/a> is released on Sept. 12. Rashid’s book launch will be held at Kinfolx Cafe in Oakland that evening, from 6 p.m.–9 p.m. \u003ca href=\"https://www.eventbrite.com/e/book-launch-party-for-the-financial-activist-playbook-tickets-933081551037?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13963702\" class=\"wp-caption aligncenter\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking.png\" alt=\"A book cover featuring an abstract illustration of a face.\" width=\"1359\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-800x1177.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-1020x1501.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-768x1130.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/keep-talking-1044x1536.png 1044w\" sizes=\"auto, (max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">‘I Just Keep Talking’ by Nell Irvin Painter. \u003ccite>(Doubleday )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nell Irvin Painter — author, scholar, historian, artist, raconteur — rocked my world with her \u003ca href=\"https://wwnorton.com/books/9780393339741\">\u003cem>The History of\u003c/em> \u003cem>White People\u003c/em>\u003c/a> and endeared me with her memoir \u003ca href=\"https://www.counterpointpress.com/books/old-in-art-school/\">\u003cem>Old in Art School\u003c/em>.\u003c/a> Painter’s latest book, \u003cem>I Just Keep Talking\u003c/em> is an insightful addition to her canon.\u003c/p>\n\u003cp>[aside postid='arts_13963567']Painter’s professional accomplishments are stratospheric: a chair in the American History Department at Princeton, bestselling author of eight books along with others she’s edited, too many other publications to count, and an entirely separate career as a visual artist. She calls her latest book \u003cem>A Life in Essays\u003c/em>, which I found reductive. Although the first group of essays is entitled \u003cem>Autobiography\u003c/em>, this volume reaches far beyond Nell Painter’s own story in the best possible way.\u003c/p>\n\u003cp>Painter’s \u003cem>The History of White People\u003c/em> combines scholarship with readability to prove that “whiteness” is a relatively newly created sociological construct. Slavery has been around for millennia, as has war and conquering peoples, but whiteness, with its bizarre, insidious, and pervasive myths about racial superiority, dates from around the 15th century forward. The concept of whiteness is entangled with America’s mendacious justifications for its capture and trade in human beings, and the terrible, lasting consequences of chattel slavery.\u003c/p>\n\u003cp>Painter has been clear that she stands on the shoulders of others in naming whiteness as a construct. What makes \u003cem>The History of White People\u003c/em> indispensable is that it collects the historical antecedents of whiteness in a compelling narrative, and calls out to readers, including myself, the need to unlearn whiteness as a norm, even — and especially — if it is an unconscious norm.\u003c/p>\n\u003cp>As Painter wound down from a full academic load at Princeton, she obtained undergraduate and graduate degrees in fine art. In \u003cem>Old in Art School,\u003c/em> as well as this current volume, she recounts the putdowns and hazing she suffered from fellow art students and her art professors, just as \u003cem>The History of White People\u003c/em> was hitting the bestseller lists. Painter acknowledges that book’s commercial success but does not hide her bitterness that it did not win any major prizes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Painter’s tour through her life and interests makes for a fascinating journey. To introduce her essay collection, Painter writes, “My Blackness isn’t broken… Mine is a Blackness of solidarity, a community, a connectedness….” She grew up in an intellectual family in the Bay Area amidst the burgeoning Black power movement. Her studies took her to Ghana and Paris, before completing her Ph.D. in U.S. history at Harvard.\u003c/p>\n\u003cp>Painter started making art at an early age. She threads that interest through the essays, wondering what would have happened if her professional life had started with art, instead of as a scholar.\u003c/p>\n\u003cp>[aside postid='arts_13963277']Painter’s captivating mixed media illustrations in \u003cem>I Just Keep Talking\u003c/em> speak to injustice. She combines words that blister — “same frustrations for 25 years” (a work from 2022), with blocks of color and figurative representations. I felt drawn in by these visual pieces with their trenchant messages. “This text + art is the way I work, the way I think,” she writes. In Painter’s hands, a picture\u003cem> can \u003c/em>be worth a thousand words.\u003c/p>\n\u003cp>Painter’s essays pose critical questions. She will not accept received wisdom at face value, refuses the status quo, and freely offers her expert opinions. The pieces in this book address such wide topics as the meaning of history and historiography; America’s false, rose-colored-glasses-interpretation of slavery; the appalling absence of Black people from America’s story about itself; how and where feminism fits in; southern American history; the white gaze; and visual culture.\u003c/p>\n\u003cp>She takes a hard look at Thomas Jefferson’s hypocrisy concerning Black people and slavery, and compares his viewpoint to that of Charles Dickens, who toured the U.S. 15 years after Jefferson died. Audiences cooled to Dickens after he “excoriate[d] Americans for…tolerating the continued existence of enslavement by shrugging their shoulders, saying nothing can be done on account of ‘public opinion.’”\u003c/p>\n\u003cp>Painter was onto Supreme Court Justice Clarence Thomas well before Professor Hill delivered her explosive testimony at his confirmation hearing. In a chapter called “Hill, Thomas, and the Use of Racial Stereotype,” Painter delivers a withering takedown of Thomas’ manipulation of gender stereotypes to advantage himself.\u003c/p>\n\u003cp>[aside postid='arts_13963659']Painter dates her essays and provides extensive endnotes, but I wanted more information about which essays had been previously published and which, if any, derived from unpublished journal entries. I wondered particularly about the shorter, less annotated pieces, which I could imagine her writing to develop analyses for longer efforts (though only speculation on my part).\u003c/p>\n\u003cp>The variety in length and scholarly sophistication is refreshing in this collection. Each entry deals with topics that are sadly as relevant today as they have been throughout America’s history.\u003c/p>\n\u003cp>Please keep talking Nell Painter, and we’ll keep listening.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Martha Anne Toll is a D.C.-based writer and reviewer. Her debut novel ‘\u003ca href=\"https://www.regalhousepublishing.com/product/three-muses/\">Three Muses\u003c/a>’ won the Petrichor Prize for Finely Crafted Fiction and was shortlisted for the Gotham Book Prize. Her second novel ‘Duet for One’ is due out May 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Painter’s professional accomplishments are stratospheric: a chair in the American History Department at Princeton, bestselling author of eight books along with others she’s edited, too many other publications to count, and an entirely separate career as a visual artist. She calls her latest book \u003cem>A Life in Essays\u003c/em>, which I found reductive. Although the first group of essays is entitled \u003cem>Autobiography\u003c/em>, this volume reaches far beyond Nell Painter’s own story in the best possible way.\u003c/p>\n\u003cp>Painter’s \u003cem>The History of White People\u003c/em> combines scholarship with readability to prove that “whiteness” is a relatively newly created sociological construct. Slavery has been around for millennia, as has war and conquering peoples, but whiteness, with its bizarre, insidious, and pervasive myths about racial superiority, dates from around the 15th century forward. The concept of whiteness is entangled with America’s mendacious justifications for its capture and trade in human beings, and the terrible, lasting consequences of chattel slavery.\u003c/p>\n\u003cp>Painter has been clear that she stands on the shoulders of others in naming whiteness as a construct. What makes \u003cem>The History of White People\u003c/em> indispensable is that it collects the historical antecedents of whiteness in a compelling narrative, and calls out to readers, including myself, the need to unlearn whiteness as a norm, even — and especially — if it is an unconscious norm.\u003c/p>\n\u003cp>As Painter wound down from a full academic load at Princeton, she obtained undergraduate and graduate degrees in fine art. In \u003cem>Old in Art School,\u003c/em> as well as this current volume, she recounts the putdowns and hazing she suffered from fellow art students and her art professors, just as \u003cem>The History of White People\u003c/em> was hitting the bestseller lists. Painter acknowledges that book’s commercial success but does not hide her bitterness that it did not win any major prizes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Painter’s tour through her life and interests makes for a fascinating journey. To introduce her essay collection, Painter writes, “My Blackness isn’t broken… Mine is a Blackness of solidarity, a community, a connectedness….” She grew up in an intellectual family in the Bay Area amidst the burgeoning Black power movement. Her studies took her to Ghana and Paris, before completing her Ph.D. in U.S. history at Harvard.\u003c/p>\n\u003cp>Painter started making art at an early age. She threads that interest through the essays, wondering what would have happened if her professional life had started with art, instead of as a scholar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Painter’s captivating mixed media illustrations in \u003cem>I Just Keep Talking\u003c/em> speak to injustice. She combines words that blister — “same frustrations for 25 years” (a work from 2022), with blocks of color and figurative representations. I felt drawn in by these visual pieces with their trenchant messages. “This text + art is the way I work, the way I think,” she writes. In Painter’s hands, a picture\u003cem> can \u003c/em>be worth a thousand words.\u003c/p>\n\u003cp>Painter’s essays pose critical questions. She will not accept received wisdom at face value, refuses the status quo, and freely offers her expert opinions. The pieces in this book address such wide topics as the meaning of history and historiography; America’s false, rose-colored-glasses-interpretation of slavery; the appalling absence of Black people from America’s story about itself; how and where feminism fits in; southern American history; the white gaze; and visual culture.\u003c/p>\n\u003cp>She takes a hard look at Thomas Jefferson’s hypocrisy concerning Black people and slavery, and compares his viewpoint to that of Charles Dickens, who toured the U.S. 15 years after Jefferson died. Audiences cooled to Dickens after he “excoriate[d] Americans for…tolerating the continued existence of enslavement by shrugging their shoulders, saying nothing can be done on account of ‘public opinion.’”\u003c/p>\n\u003cp>Painter was onto Supreme Court Justice Clarence Thomas well before Professor Hill delivered her explosive testimony at his confirmation hearing. In a chapter called “Hill, Thomas, and the Use of Racial Stereotype,” Painter delivers a withering takedown of Thomas’ manipulation of gender stereotypes to advantage himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Painter dates her essays and provides extensive endnotes, but I wanted more information about which essays had been previously published and which, if any, derived from unpublished journal entries. I wondered particularly about the shorter, less annotated pieces, which I could imagine her writing to develop analyses for longer efforts (though only speculation on my part).\u003c/p>\n\u003cp>The variety in length and scholarly sophistication is refreshing in this collection. Each entry deals with topics that are sadly as relevant today as they have been throughout America’s history.\u003c/p>\n\u003cp>Please keep talking Nell Painter, and we’ll keep listening.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Martha Anne Toll is a D.C.-based writer and reviewer. Her debut novel ‘\u003ca href=\"https://www.regalhousepublishing.com/product/three-muses/\">Three Muses\u003c/a>’ won the Petrichor Prize for Finely Crafted Fiction and was shortlisted for the Gotham Book Prize. Her second novel ‘Duet for One’ is due out May 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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