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"title": "5 Unnerving Shirley Jackson Short Stories to Read Before Halloween",
"headTitle": "5 Unnerving Shirley Jackson Short Stories to Read Before Halloween | KQED",
"content": "\u003cp>October is upon us once more. Pumpkins are springing up on doorsteps, costumes are being prepped and candy is appearing in bulk on store shelves. If you’re planning to pre-game Halloween for the entire month, there’s no better author to get you in the mood than San Francisco’s own Shirley Jackson.\u003c/p>\n\u003cp>[aside postid='arts_13919589']When thinking of Jackson’s scariest tales, horror fans are usually inclined to pick up \u003cem>The Haunting of Hill House, \u003c/em>the deliciously claustrophobic \u003cem>We Have Always Lived in the Castle\u003c/em> or the macabre short story that put Jackson on the map, \u003cem>The Lottery\u003c/em>. But Jackson has a wealth of other disturbing short stories that are just as likely to give you chills on a dark October night.\u003c/p>\n\u003cp>Here are five of the creepiest.\u003c/p>\n\u003cfigure id=\"attachment_13935464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952.jpg\" alt=\"A small child stands behind a pane of frosted glass, with their mouth pressed up against the glass in a scream.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles, the subject of a six-page story by Jackson, is a mean little so-and-so. \u003ccite>(Ugurhan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Charles’\u003c/h2>\n\u003cp>Let’s be honest. There is nothing more terrifying than small, uncontrollable children. Children who won’t stop injuring their classmates. Children who physically attack their teacher without a care in the world. Children who remorselessly disrupt the world around them for attention and their own sadistic pleasure.\u003c/p>\n\u003cp>For those of you unwilling to commit to reading Lionel Shriver’s disturbing masterpiece \u003ca href=\"https://www.goodreads.com/en/book/show/80660\">\u003cem>We Need to Talk About Kevin\u003c/em>\u003c/a>, there’s Jackson’s \u003cem>Charles\u003c/em>, just six pages long and seeped in the same themes. Ultimately, this 1948 short story is about the blind faith we put in our children, the idea that sometimes nature wins out over nurture and, most of all, the unflinching judgement parents receive from other parents.\u003c/p>\n\u003cfigure id=\"attachment_13935465\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580.jpg\" alt=\"A close up shot of a dental X-ray, showing upper and lower molars. \" width=\"1920\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-1536x1029.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Teeth: All fine and dandy until one of them rebels and takes over your life. \u003ccite>(Glow Images/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Tooth’\u003c/h2>\n\u003cp>The only thing worse than a rotten child like Charles is a rotten tooth — and an overnight, out-of-town trip to the dentist, all while tripping on codeine, whiskey and sleep aids. In the course of \u003cem>The Tooth\u003c/em>, the story’s heroine, Clara, feels herself slowly but surely slipping away, as unbearable pain — and the almost omnipotent cause of it — takes over. Her ordeal doesn’t end with the anticipated sanctuary of her dentist’s office, either. Instead, she falls even further into a sunken place forced on her by a rebelling part of her own body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Her tooth,” Jackson writes, “seemed now the only part of her to have any identity. It seemed to have had its picture taken without her; it was the important creature which must be recorded and examined and gratified; she was only its unwilling vehicle, and only as such was she of interest to the dentist and the nurse.”\u003c/p>\n\u003cp>In granting so much control, so viscerally, to Clara’s molar, Jackson somehow conjures David Cronenberg-levels of body horror.\u003c/p>\n\u003cfigure id=\"attachment_13935531\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-82144318-scaled.jpg\" alt=\"A 1950s-era photo of a white couple sitting at a square dining table covered in a white cloth. He is sipping from a coffee cup as she smiles at him, holding a tea cup aloft. There is a half-eaten cake on the table in front of them.\" width=\"2560\" height=\"1973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-1536x1184.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-2048x1578.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-1920x1480.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">What if you never really know what your spouse is thinking? \u003ccite>(George Marks/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘What a Thought’\u003c/h2>\n\u003cp>The scariest thing about \u003cem>What a Thought\u003c/em> is the way it so completely upends an average scene of domesticity. The story, about a typical wife and her perfectly pleasant husband, sees the woman of the house, for no apparent reason, fantasizing about killing her spouse. The casual nature of her invasive thoughts make murder seem positively normal — as easy as making a cup of coffee.\u003c/p>\n\u003cp>That Jackson’s protagonist is making life and death decisions with all the passion and intensity one might put into making a roast dinner is what ultimately makes \u003cem>What a Thought\u003c/em> so disturbing. Do you ever really know what your partner is thinking?\u003c/p>\n\u003cfigure id=\"attachment_13935440\" class=\"wp-caption aligncenter\" style=\"max-width: 1812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM.png\" alt=\"A man in a suit, viewed from behind, walks down a cold, concrete and mysterious corridor in the half light.\" width=\"1812\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM.png 1812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-1020x699.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-1536x1053.png 1536w\" sizes=\"(max-width: 1812px) 100vw, 1812px\">\u003cfigcaption class=\"wp-caption-text\">Is that you, James Harris? \u003ccite>(Gremlin/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Daemon Lover’\u003c/h2>\n\u003cp>This 1949 short story shares a name with a \u003ca href=\"https://www.youtube.com/watch?v=2HbUHw_EYmI\">traditional Scottish folk song\u003c/a> and makes nods to Elizabeth Bowen’s 1945 story, \u003ca href=\"https://www.goodreads.com/book/show/3302893-the-demon-lover\">\u003cem>The Demon Lover\u003c/em>\u003c/a>, both of which convey the eerie consequences of a broken promise of marriage. Jackson’s rendition takes the form of a nightmare that spirals and slowly accelerates, despite staying firmly rooted in everyday environs. (If there was a movie to compare it to, it would be \u003cem>Rosemary’s Baby\u003c/em>, albeit with less Satanists.)\u003c/p>\n\u003cp>\u003cem>The Daemon Lover\u003c/em> finds Jackson’s unnamed protagonist groomless on her wedding day and searching the streets to find him. Like a bad dream where you can never quite reach your destination, she encounters multiple hurdles and humans that are unsympathetic to her anxiety-ridden plight. By the end, it’s unclear if this bride is indeed jilted or just wrapped up in her own delusions — the product of being 34, unmarried and shunned by society because of it. One for the single ladies!\u003c/p>\n\u003cfigure id=\"attachment_13935468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256.jpg\" alt=\"A black and white image looking out over a peaceful lake with trees in the foreground on the shoreline and mountains in the distance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oh, it all looks picturesque now, but what happens when your car and phone stop working and no one will bring you food and fuel? \u003ccite>(Around the World Photography/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Summer People’\u003c/h2>\n\u003cp>Imagine what would happen if everyone in \u003cem>Succession\u003c/em> lost their lackeys and had to fend for themselves for once. Then imagine what would happen if those lackeys actively turned on the Roys while the family was out in the middle of nowhere. That’s the scenario Robert and Janet Allison are faced with in \u003cem>The Summer People\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13883118']Obliviously elite, and disdainful of those they perceive to be beneath their stature, the Allisons find themselves the victims of their own self-entitlement in this 1950 allegory. When the couple decides to extend their vacation in their remote holiday cabin, the townspeople around them don’t take too kindly to it. As the locals cease to tend to the Allisons, the couple soon finds themselves without kerosene, groceries or a working vehicle. Their phone line goes dead, the local mechanic can’t be reached and the Allisons wind up isolated and helpless, having grossly overestimated their ability to get whatever they want, whenever they want, from the people around them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jackson eerily weaves a sense of creeping peril into the story, creating an ominous atmosphere that slowly envelops the Allisons’ home. After reading this one, you’ll never outstay your welcome anywhere, ever again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When thinking of Jackson’s scariest tales, horror fans are usually inclined to pick up \u003cem>The Haunting of Hill House, \u003c/em>the deliciously claustrophobic \u003cem>We Have Always Lived in the Castle\u003c/em> or the macabre short story that put Jackson on the map, \u003cem>The Lottery\u003c/em>. But Jackson has a wealth of other disturbing short stories that are just as likely to give you chills on a dark October night.\u003c/p>\n\u003cp>Here are five of the creepiest.\u003c/p>\n\u003cfigure id=\"attachment_13935464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952.jpg\" alt=\"A small child stands behind a pane of frosted glass, with their mouth pressed up against the glass in a scream.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1305855030-scaled-e1695847008952-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles, the subject of a six-page story by Jackson, is a mean little so-and-so. \u003ccite>(Ugurhan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Charles’\u003c/h2>\n\u003cp>Let’s be honest. There is nothing more terrifying than small, uncontrollable children. Children who won’t stop injuring their classmates. Children who physically attack their teacher without a care in the world. Children who remorselessly disrupt the world around them for attention and their own sadistic pleasure.\u003c/p>\n\u003cp>For those of you unwilling to commit to reading Lionel Shriver’s disturbing masterpiece \u003ca href=\"https://www.goodreads.com/en/book/show/80660\">\u003cem>We Need to Talk About Kevin\u003c/em>\u003c/a>, there’s Jackson’s \u003cem>Charles\u003c/em>, just six pages long and seeped in the same themes. Ultimately, this 1948 short story is about the blind faith we put in our children, the idea that sometimes nature wins out over nurture and, most of all, the unflinching judgement parents receive from other parents.\u003c/p>\n\u003cfigure id=\"attachment_13935465\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580.jpg\" alt=\"A close up shot of a dental X-ray, showing upper and lower molars. \" width=\"1920\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82959666-scaled-e1695851692580-1536x1029.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Teeth: All fine and dandy until one of them rebels and takes over your life. \u003ccite>(Glow Images/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Tooth’\u003c/h2>\n\u003cp>The only thing worse than a rotten child like Charles is a rotten tooth — and an overnight, out-of-town trip to the dentist, all while tripping on codeine, whiskey and sleep aids. In the course of \u003cem>The Tooth\u003c/em>, the story’s heroine, Clara, feels herself slowly but surely slipping away, as unbearable pain — and the almost omnipotent cause of it — takes over. Her ordeal doesn’t end with the anticipated sanctuary of her dentist’s office, either. Instead, she falls even further into a sunken place forced on her by a rebelling part of her own body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Her tooth,” Jackson writes, “seemed now the only part of her to have any identity. It seemed to have had its picture taken without her; it was the important creature which must be recorded and examined and gratified; she was only its unwilling vehicle, and only as such was she of interest to the dentist and the nurse.”\u003c/p>\n\u003cp>In granting so much control, so viscerally, to Clara’s molar, Jackson somehow conjures David Cronenberg-levels of body horror.\u003c/p>\n\u003cfigure id=\"attachment_13935531\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-82144318-scaled.jpg\" alt=\"A 1950s-era photo of a white couple sitting at a square dining table covered in a white cloth. He is sipping from a coffee cup as she smiles at him, holding a tea cup aloft. There is a half-eaten cake on the table in front of them.\" width=\"2560\" height=\"1973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-1536x1184.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-2048x1578.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-82144318-1920x1480.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">What if you never really know what your spouse is thinking? \u003ccite>(George Marks/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘What a Thought’\u003c/h2>\n\u003cp>The scariest thing about \u003cem>What a Thought\u003c/em> is the way it so completely upends an average scene of domesticity. The story, about a typical wife and her perfectly pleasant husband, sees the woman of the house, for no apparent reason, fantasizing about killing her spouse. The casual nature of her invasive thoughts make murder seem positively normal — as easy as making a cup of coffee.\u003c/p>\n\u003cp>That Jackson’s protagonist is making life and death decisions with all the passion and intensity one might put into making a roast dinner is what ultimately makes \u003cem>What a Thought\u003c/em> so disturbing. Do you ever really know what your partner is thinking?\u003c/p>\n\u003cfigure id=\"attachment_13935440\" class=\"wp-caption aligncenter\" style=\"max-width: 1812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM.png\" alt=\"A man in a suit, viewed from behind, walks down a cold, concrete and mysterious corridor in the half light.\" width=\"1812\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM.png 1812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-1020x699.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-27-at-1.05.23-AM-1536x1053.png 1536w\" sizes=\"(max-width: 1812px) 100vw, 1812px\">\u003cfigcaption class=\"wp-caption-text\">Is that you, James Harris? \u003ccite>(Gremlin/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Daemon Lover’\u003c/h2>\n\u003cp>This 1949 short story shares a name with a \u003ca href=\"https://www.youtube.com/watch?v=2HbUHw_EYmI\">traditional Scottish folk song\u003c/a> and makes nods to Elizabeth Bowen’s 1945 story, \u003ca href=\"https://www.goodreads.com/book/show/3302893-the-demon-lover\">\u003cem>The Demon Lover\u003c/em>\u003c/a>, both of which convey the eerie consequences of a broken promise of marriage. Jackson’s rendition takes the form of a nightmare that spirals and slowly accelerates, despite staying firmly rooted in everyday environs. (If there was a movie to compare it to, it would be \u003cem>Rosemary’s Baby\u003c/em>, albeit with less Satanists.)\u003c/p>\n\u003cp>\u003cem>The Daemon Lover\u003c/em> finds Jackson’s unnamed protagonist groomless on her wedding day and searching the streets to find him. Like a bad dream where you can never quite reach your destination, she encounters multiple hurdles and humans that are unsympathetic to her anxiety-ridden plight. By the end, it’s unclear if this bride is indeed jilted or just wrapped up in her own delusions — the product of being 34, unmarried and shunned by society because of it. One for the single ladies!\u003c/p>\n\u003cfigure id=\"attachment_13935468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256.jpg\" alt=\"A black and white image looking out over a peaceful lake with trees in the foreground on the shoreline and mountains in the distance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1144570392-scaled-e1695854121256-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oh, it all looks picturesque now, but what happens when your car and phone stop working and no one will bring you food and fuel? \u003ccite>(Around the World Photography/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Summer People’\u003c/h2>\n\u003cp>Imagine what would happen if everyone in \u003cem>Succession\u003c/em> lost their lackeys and had to fend for themselves for once. Then imagine what would happen if those lackeys actively turned on the Roys while the family was out in the middle of nowhere. That’s the scenario Robert and Janet Allison are faced with in \u003cem>The Summer People\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Obliviously elite, and disdainful of those they perceive to be beneath their stature, the Allisons find themselves the victims of their own self-entitlement in this 1950 allegory. When the couple decides to extend their vacation in their remote holiday cabin, the townspeople around them don’t take too kindly to it. As the locals cease to tend to the Allisons, the couple soon finds themselves without kerosene, groceries or a working vehicle. Their phone line goes dead, the local mechanic can’t be reached and the Allisons wind up isolated and helpless, having grossly overestimated their ability to get whatever they want, whenever they want, from the people around them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jackson eerily weaves a sense of creeping peril into the story, creating an ominous atmosphere that slowly envelops the Allisons’ home. After reading this one, you’ll never outstay your welcome anywhere, ever again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dystopian Suspense ‘Land of Milk and Honey’ Satisfies All Manner of Appetites",
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"content": "\u003cfigure id=\"attachment_13935370\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/101673225.jpg\" alt=\"A book cover featuring swirling yellow, red and grey patterns that resemble sand, and swirling blues that resemble the sea and sky.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1357x2048.jpg 1357w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Land of Milk and Honey’ by C Pam Zhang. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unhinged autocrat is a familiar figure in literature — think King Lear — but the fat cat in C Pam Zhang’s dystopian novel,\u003cem> Land of Milk and Honey\u003c/em>, has an updated \u003ca href=\"https://www.kqed.org/arts/13913720/elon-musks-crash-course-shows-the-tragic-cost-of-his-leadership\">Elon Musk\u003c/a> vibe. In a not-too-distant world, where most plant and animal species have been smothered by a smog that blankets the planet, human beings largely subsist on bags of “mung-protein-soy-algal flour distributed by the government.”\u003c/p>\n\u003cp>[aside postid='arts_13934631']But not Zhang’s unnamed entrepreneur, who’s bought himself a mountaintop in Italy where the sun still shines. He’s leased shares of this land to wealthy investors and lured top scientists to work on “de-extinction” teams, where they cultivate animals and precious seeds in underground farms and orchards. Like Musk with his SpaceX, this guy also has the ultimate Plan B in the works, should Planet Earth be irredeemably lost.\u003c/p>\n\u003cp>The narrator of \u003cem>Land of Milk and Honey\u003c/em> is also unnamed. She’s a young Asian American chef who finds herself stuck in England when America’s borders close, and also stuck in a profession without a future. The menus of the few restaurants that remain cater to a growing demand for nativist recipes. The chef tells us that:\u003c/p>\n\u003cblockquote>\u003cp>As they shut borders to refugees, so countries shut their palates to all but those cuisines deemed essential. In England, the shrinking supplies of frozen fish were reserved for kippers, or gray renditions of cod and chips — and, of course, a few atrociously expensive French preparations …\u003c/p>\u003c/blockquote>\n\u003cp>In desperation, the chef applies for a job at the so-called “elite research community\u003cem>” \u003c/em>presided over by the mogul, or, as she will refer to him, “my employer.” Her stated job is to whip up extravagant meals to delight the tastebuds of the rich residents and prospective investors, as well as the mogul’s charismatic daughter, Aida.\u003c/p>\n\u003cp>[aside postid='arts_13934945']But the longer the chef toils away in the isolated compound, the more she realizes that she’s been hired less for her cooking skills, than for her appearance: specifically, for the fact that she, like Aida’s mother who’s vanished, is Asian. Never mind that their ethnicities are not exactly the same. As the chef tells us: “It has always been easy to disappear as an Asian woman. …[To be] mistaken for Japanese or Korean or Lao women decades older or younger, several shades darker or lighter, for my own mother once I hit puberty.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that it’s a novel about the struggle to fend off deprivation and extinction, \u003cem>Land of Milk and Honey\u003c/em> is gloriously lush. Zhang’s sensuous style makes us see, smell and, above all, taste the lure of that sun-dappled mountain enclave.\u003c/p>\n\u003cp>Here, for instance, is the moment where our narrator descends into one of the mogul’s vast storerooms for the first time:\u003c/p>\n\u003cblockquote>\u003cp>Others have estimated the value in those rooms of grains, of nuts, of beans; … I can only say what happened when I pressed my face to a wheel of ten-year Parmigiano, how in a burst of grass and ripe pineapple I stood in some green meadow. … And I can tell you of the ferocious crack in my heart when I walked into the deep freezer to see chickens, pigs, rabbits, cows, pheasants, tunas, sturgeon, boars hung two by two. No more boars roamed the world above. … I knew, then, why the storerooms were guarded as if they held gold, or nuclear armaments. They hid something rarer still: a passage back through time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she did in her debut novel, \u003ca href=\"https://www.npr.org/2020/04/10/830569652/in-how-much-of-these-hills-is-gold-this-land-is-not-your-land\">\u003cem>How Much of These Hills Is Gold\u003c/em>\u003c/a>, which toyed with the expectations of the classic Western, Zhang here helps herself to generous portions of another type of genre: the vintage sci-fi disaster movie. I’m thinking especially of the 1951 classic, \u003cem>When Worlds Collide. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13935317']Zhang invests this pop plotline with emotional gravitas and up-to-date relevancy through the character of the chef, a young woman who belongs to what’s dubbed “Generation Mayfly,” because her cohort’s life expectancy is shorter than that of their parents. Our chef tells us that: “So much of what my generation has been promised disintegrated at our touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Land of Milk and Honey \u003c/em>is an atmospheric and poetically suspenseful novel about all manner of appetites: for power, food, love, life. At its center is one of the most baroque banquet scenes you’ll ever be invited to — one that wickedly tests the pluck of even the most ravenous eaters and readers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+dystopian+suspense+%27Land+of+Milk+and+Honey%27+satisfies+all+manner+of+appetites&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935370\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/101673225.jpg\" alt=\"A book cover featuring swirling yellow, red and grey patterns that resemble sand, and swirling blues that resemble the sea and sky.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1357x2048.jpg 1357w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Land of Milk and Honey’ by C Pam Zhang. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unhinged autocrat is a familiar figure in literature — think King Lear — but the fat cat in C Pam Zhang’s dystopian novel,\u003cem> Land of Milk and Honey\u003c/em>, has an updated \u003ca href=\"https://www.kqed.org/arts/13913720/elon-musks-crash-course-shows-the-tragic-cost-of-his-leadership\">Elon Musk\u003c/a> vibe. In a not-too-distant world, where most plant and animal species have been smothered by a smog that blankets the planet, human beings largely subsist on bags of “mung-protein-soy-algal flour distributed by the government.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But not Zhang’s unnamed entrepreneur, who’s bought himself a mountaintop in Italy where the sun still shines. He’s leased shares of this land to wealthy investors and lured top scientists to work on “de-extinction” teams, where they cultivate animals and precious seeds in underground farms and orchards. Like Musk with his SpaceX, this guy also has the ultimate Plan B in the works, should Planet Earth be irredeemably lost.\u003c/p>\n\u003cp>The narrator of \u003cem>Land of Milk and Honey\u003c/em> is also unnamed. She’s a young Asian American chef who finds herself stuck in England when America’s borders close, and also stuck in a profession without a future. The menus of the few restaurants that remain cater to a growing demand for nativist recipes. The chef tells us that:\u003c/p>\n\u003cblockquote>\u003cp>As they shut borders to refugees, so countries shut their palates to all but those cuisines deemed essential. In England, the shrinking supplies of frozen fish were reserved for kippers, or gray renditions of cod and chips — and, of course, a few atrociously expensive French preparations …\u003c/p>\u003c/blockquote>\n\u003cp>In desperation, the chef applies for a job at the so-called “elite research community\u003cem>” \u003c/em>presided over by the mogul, or, as she will refer to him, “my employer.” Her stated job is to whip up extravagant meals to delight the tastebuds of the rich residents and prospective investors, as well as the mogul’s charismatic daughter, Aida.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the longer the chef toils away in the isolated compound, the more she realizes that she’s been hired less for her cooking skills, than for her appearance: specifically, for the fact that she, like Aida’s mother who’s vanished, is Asian. Never mind that their ethnicities are not exactly the same. As the chef tells us: “It has always been easy to disappear as an Asian woman. …[To be] mistaken for Japanese or Korean or Lao women decades older or younger, several shades darker or lighter, for my own mother once I hit puberty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that it’s a novel about the struggle to fend off deprivation and extinction, \u003cem>Land of Milk and Honey\u003c/em> is gloriously lush. Zhang’s sensuous style makes us see, smell and, above all, taste the lure of that sun-dappled mountain enclave.\u003c/p>\n\u003cp>Here, for instance, is the moment where our narrator descends into one of the mogul’s vast storerooms for the first time:\u003c/p>\n\u003cblockquote>\u003cp>Others have estimated the value in those rooms of grains, of nuts, of beans; … I can only say what happened when I pressed my face to a wheel of ten-year Parmigiano, how in a burst of grass and ripe pineapple I stood in some green meadow. … And I can tell you of the ferocious crack in my heart when I walked into the deep freezer to see chickens, pigs, rabbits, cows, pheasants, tunas, sturgeon, boars hung two by two. No more boars roamed the world above. … I knew, then, why the storerooms were guarded as if they held gold, or nuclear armaments. They hid something rarer still: a passage back through time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she did in her debut novel, \u003ca href=\"https://www.npr.org/2020/04/10/830569652/in-how-much-of-these-hills-is-gold-this-land-is-not-your-land\">\u003cem>How Much of These Hills Is Gold\u003c/em>\u003c/a>, which toyed with the expectations of the classic Western, Zhang here helps herself to generous portions of another type of genre: the vintage sci-fi disaster movie. I’m thinking especially of the 1951 classic, \u003cem>When Worlds Collide. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zhang invests this pop plotline with emotional gravitas and up-to-date relevancy through the character of the chef, a young woman who belongs to what’s dubbed “Generation Mayfly,” because her cohort’s life expectancy is shorter than that of their parents. Our chef tells us that: “So much of what my generation has been promised disintegrated at our touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Land of Milk and Honey \u003c/em>is an atmospheric and poetically suspenseful novel about all manner of appetites: for power, food, love, life. At its center is one of the most baroque banquet scenes you’ll ever be invited to — one that wickedly tests the pluck of even the most ravenous eaters and readers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+dystopian+suspense+%27Land+of+Milk+and+Honey%27+satisfies+all+manner+of+appetites&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Along with such classics as \u003cem>In Cold Blood\u003c/em> and \u003cem>Breakfast at Tiffany’s\u003c/em>, Truman Capote had a history of work left uncompleted and unpublished.\u003c/p>\n\u003cp>Capote, who died in 1984 shortly before his 60th birthday, spent much of his latter years struggling to write his planned Proustian masterpiece \u003cem>Answered Prayers\u003c/em>, of which only excerpts were released. As a young man, he wrote a novel about a love affair between a socialite and a parking lot attendant that was published posthumously under the title \u003cem>Summer Crossing\u003c/em>.\u003c/p>\n\u003cp>Shorter work, too, was sometimes set aside, including a piece released last week for the first time.\u003c/p>\n\u003cp>[aside postid='pop_6592']Capote was in his mid-20s and a rising star when he moved from New York City to Taormina, Sicily, in 1950 and settled in a scenic villa named Fontana Vecchia, once occupied by D.H. Lawrence. Acclaimed for his debut novel, \u003cem>Other Voices, Other Rooms\u003c/em>, and for his eerie short story \u003cem>Miriam\u003c/em>, Capote would describe the move to Europe as a needed escape from the American literary scene, which he likened to living inside a light bulb, and an ideal setting to get work done: He wrote the novel \u003cem>The Grass Harp\u003c/em> in Sicily and worked on numerous short stories.\u003c/p>\n\u003cp>“I am so happy to be writing stories again — they are my great love,” he wrote to a friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One story from Sicily, \u003cem>Another Day In Paradise\u003c/em>, is a vignette that appears in the new issue of \u003ca href=\"https://strandmag.com/\">\u003cem>The Strand\u003c/em> \u003cem>Magazine\u003c/em>\u003c/a>. Written at a time of relative contentment for Capote, \u003cem>Another Day\u003c/em> is a narrative of disillusion and entrapment: The middle-aged American heiress Iris Greentree has used her inheritance — a small one because her mother didn’t trust her with money — to buy a villa in Sicily. She will end up betrayed by the local man who persuaded her to invest her money, Signor Carlo Petruzzi, and too broke to sell the home and return to the U.S.\u003c/p>\n\u003cp>“The past had trained her to envision an affair from a futureless angle; at the most, she hoped such episodes would end in friendship. It was so humiliating that Carlo should have turned out not to be a friend. She’d trusted him to the extent of her capital: let him sell her the land, allowed him to build the villa, supply, at pirate prices, the native paraphernalia that furnished it,” Capote wrote.\u003c/p>\n\u003cp>“He was an emotional crook and, beyond that, a common gangster who’d pocketed at least half the money supposedly spent on Belle Vista. All this she could forgive him — could, but didn’t. The unforgivable aspect of the ghastly man’s behavior was that it had destroyed the meaning of these lines in her journal: `I belong. At last, somewhere.’”\u003c/p>\n\u003cfigure id=\"attachment_13935319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg\" alt=\"A middle-aged man sits on a pillow-strewn sofa, before a red wall. He is wearing a shirt and slacks and sits with his legs crossed.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Truman Capote sits in his New York apartment during interview about his book, ‘Music for Chameleons.’ \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Capote’s fiction was set in New York or in the American South, but \u003cem>Another Day in Paradise\u003c/em> has the easy pace, decorative language and cutting — sometimes cruel — humor of his best known work, and the themes of loneliness, fear and regret. Thomas Fahy, author of \u003cem>Understanding Truman Capote\u003c/em>, says that the author likely related to Iris Greentree’s sense of displacement and alienation.\u003c/p>\n\u003cp>“He was constantly moving around as a child, from New Orleans to Alabama to New York to Connecticut,” Fahy says. “You could see how his life became very lonely and isolated.”\u003c/p>\n\u003cp>[aside postid='arts_13934945']\u003cem>The Strand\u003c/em> has published rare works by Ernest Hemingway, John Steinbeck and many others. Managing editor Andrew Gulli found the Capote story in the Library of Congress, inside an “old red- and gold-scrolled Florentine notebook,” he writes on the \u003cem>Strand\u003c/em> editorial page. The handwritten manuscript, worked in pencil, was at times so hard to make out that Gulli needed a transcriber to help prepare it for publication.\u003c/p>\n\u003cp>Fahy says that Capote’s time in Sicily, where he remained for just over a year, left him with the kind of feelings many authors have when away from their native countries — a heightened sense of distance from home that likely helped inspire \u003cem>Another Day in Paradise\u003c/em>, and a heightened clarity, which he drew upon for \u003cem>The Grass Harp\u003c/em> and its memories of his years in Monroeville, Alabama.\u003c/p>\n\u003cp>Capote biographer Gerard Clarke says that the author moved to Sicily in part because his partner, Jack Dunphy, wanted to live overseas, and because the strong American dollar made Italy more affordable than New York. Neither Clarke nor Fahy could cite a specific real-life model for Iris Greentree, but Capote does refer to a possible inspiration — the aunt of a boy who delivers ice — in his essay “Fontana Vecchia,” written in the early 1950s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Blond, witty, the ice boy is a scholarly-looking child of eleven. He has a beautiful young aunt, one of the most attractive girls I have ever known, and I often talk to him about her,” Capote writes. “Why, I wanted to know, does A., the aunt, have no beau? Why is she all alone, never at the dances or the Sunday promenades? The ice boy says it is because his aunt has no use for the local men, that she is very unhappy and longs only to go to America.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One story from Sicily, \u003cem>Another Day In Paradise\u003c/em>, is a vignette that appears in the new issue of \u003ca href=\"https://strandmag.com/\">\u003cem>The Strand\u003c/em> \u003cem>Magazine\u003c/em>\u003c/a>. Written at a time of relative contentment for Capote, \u003cem>Another Day\u003c/em> is a narrative of disillusion and entrapment: The middle-aged American heiress Iris Greentree has used her inheritance — a small one because her mother didn’t trust her with money — to buy a villa in Sicily. She will end up betrayed by the local man who persuaded her to invest her money, Signor Carlo Petruzzi, and too broke to sell the home and return to the U.S.\u003c/p>\n\u003cp>“The past had trained her to envision an affair from a futureless angle; at the most, she hoped such episodes would end in friendship. It was so humiliating that Carlo should have turned out not to be a friend. She’d trusted him to the extent of her capital: let him sell her the land, allowed him to build the villa, supply, at pirate prices, the native paraphernalia that furnished it,” Capote wrote.\u003c/p>\n\u003cp>“He was an emotional crook and, beyond that, a common gangster who’d pocketed at least half the money supposedly spent on Belle Vista. All this she could forgive him — could, but didn’t. The unforgivable aspect of the ghastly man’s behavior was that it had destroyed the meaning of these lines in her journal: `I belong. At last, somewhere.’”\u003c/p>\n\u003cfigure id=\"attachment_13935319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg\" alt=\"A middle-aged man sits on a pillow-strewn sofa, before a red wall. He is wearing a shirt and slacks and sits with his legs crossed.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Truman Capote sits in his New York apartment during interview about his book, ‘Music for Chameleons.’ \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Capote’s fiction was set in New York or in the American South, but \u003cem>Another Day in Paradise\u003c/em> has the easy pace, decorative language and cutting — sometimes cruel — humor of his best known work, and the themes of loneliness, fear and regret. Thomas Fahy, author of \u003cem>Understanding Truman Capote\u003c/em>, says that the author likely related to Iris Greentree’s sense of displacement and alienation.\u003c/p>\n\u003cp>“He was constantly moving around as a child, from New Orleans to Alabama to New York to Connecticut,” Fahy says. “You could see how his life became very lonely and isolated.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Strand\u003c/em> has published rare works by Ernest Hemingway, John Steinbeck and many others. Managing editor Andrew Gulli found the Capote story in the Library of Congress, inside an “old red- and gold-scrolled Florentine notebook,” he writes on the \u003cem>Strand\u003c/em> editorial page. The handwritten manuscript, worked in pencil, was at times so hard to make out that Gulli needed a transcriber to help prepare it for publication.\u003c/p>\n\u003cp>Fahy says that Capote’s time in Sicily, where he remained for just over a year, left him with the kind of feelings many authors have when away from their native countries — a heightened sense of distance from home that likely helped inspire \u003cem>Another Day in Paradise\u003c/em>, and a heightened clarity, which he drew upon for \u003cem>The Grass Harp\u003c/em> and its memories of his years in Monroeville, Alabama.\u003c/p>\n\u003cp>Capote biographer Gerard Clarke says that the author moved to Sicily in part because his partner, Jack Dunphy, wanted to live overseas, and because the strong American dollar made Italy more affordable than New York. Neither Clarke nor Fahy could cite a specific real-life model for Iris Greentree, but Capote does refer to a possible inspiration — the aunt of a boy who delivers ice — in his essay “Fontana Vecchia,” written in the early 1950s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Blond, witty, the ice boy is a scholarly-looking child of eleven. He has a beautiful young aunt, one of the most attractive girls I have ever known, and I often talk to him about her,” Capote writes. “Why, I wanted to know, does A., the aunt, have no beau? Why is she all alone, never at the dances or the Sunday promenades? The ice boy says it is because his aunt has no use for the local men, that she is very unhappy and longs only to go to America.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jessica Knoll’s ‘Bright Young Women’ is an Ode to Victims and Survivors of Ted Bundy",
"headTitle": "Jessica Knoll’s ‘Bright Young Women’ is an Ode to Victims and Survivors of Ted Bundy | KQED",
"content": "\u003cfigure id=\"attachment_13934951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/101124639-800x1200.jpg\" alt=\"A yellow book cover featuring a close-up panel of a woman's eyes and eyebrows. The font of the title looks distinctly ’70s.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101124639-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101124639-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101124639-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101124639-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101124639-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101124639-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101124639.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bright Young Women’ by Jessica Knoll. \u003ccite>(S&S/ Marysue Rucci Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Luckiest Girl Alive\u003c/em> author Jessica Knoll’s latest novel was inspired by Ted Bundy’s murders of two sorority sisters at Florida State University in 1978.\u003c/p>\n\u003cp>Media coverage often mentions Bundy’s so-called charm and good looks as an oxymoron to his crimes. Instead of romanticizing the killer, Knoll’s \u003cem>Bright Young Women\u003c/em> is a tribute to victims and survivors.\u003c/p>\n\u003cp>[aside postid='arts_13904265']A docu-series about Bundy on Netflix called \u003cem>Conversations with a Killer: The Ted Bundy Tapes\u003c/em>, was the impetus for the novel. Knoll was floored by an episode that included the judge’s description of Bundy at his sentencing, where he was complimentary of the convicted killer. Knoll looked up the court transcripts and was disturbed by the full picture.\u003c/p>\n\u003cp>“He called Bundy ‘a bright young man,’” recalled Knoll. “(Bundy) rambled on for like 30 or 45 minutes before the judge said, ‘You’re a bright young man. You could have done all these things with your life, but you went another way.’ And when you read what Ted Bundy said, what he rambled on about, I was like, ‘This was your bright young man, judge?’”\u003c/p>\n\u003cp>\u003cem>Bright Young Women\u003c/em> follows fictional FSU student Pamela, who sees a man fleeing her sorority house in the middle of the night. It’s discovered that two of her sorority sisters were murdered, and two others were brutally attacked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The dates of the attacks, the dates of the trial, the locations, things like that are all based on real events,” explained Knoll, who also modeled a chilling scene in her book off of real-life, when her fictional defendant, acting as one of his own attorneys, deposes Pamela. Bundy also deposed witnesses in his trial.\u003c/p>\n\u003cp>“He brought those sorority sisters down to a jail cell and was able to depose them because he was representing himself,” said Knoll. “That’s actually illegal now. It’s a violation of the victims’ rights. But at the time, it would have been a violation of his rights for the women to refuse to be deposed by him.”\u003c/p>\n\u003cp>Knoll is also quick to clarify that Bundy was not the only attorney on his defense team believing history sometimes overlooks that fact, giving him too much credit. “He had a whole counsel. He would have drowned trying to defend himself on his own,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-800x553.jpg\" alt=\"A man in a suit sits behind a desk that is strewn with papers, in the center of three men and one woman. They are all concentrating on what he is saying.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ted Bundy conferring with his defense attorneys on the opening day of his trial for the murder of two FSU students. \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bundy, who is believed to have killed at least 30 women, was executed in 1989.\u003c/p>\n\u003cp>Knoll’s research included meeting with Kathy Kleiner, one of the women attacked by Bundy in the Chi Omega sorority house, while she was sleeping. She later testified at his trial. Kleiner is the first person thanked by Knoll in the acknowledgements for \u003cem>Bright Young Women.\u003c/em>\u003c/p>\n\u003cp>“I was blown away by, first of all, how generous she was to give me her time and to speak to me,” said Knoll. “She was very candid and vulnerable, but at the same time, she’s a very happy-go-lucky person, and she married her soul mate and has a beautiful life. She was really adamant from a very young age that this was not going to define her, and she was not going to be afraid for the rest of her life.”\u003c/p>\n\u003cp>[aside postid='pop_109009']Knoll has also demonstrated resilience to the unthinkable. Her debut novel, \u003cem>Luckiest Girl Alive\u003c/em> is about a woman confronting the trauma of being sexually assaulted as a teen at a party. Knoll is also a rape survivor with a similar experience and says an objective of \u003cem>Bright Young Women\u003c/em> was to say something “about the grit of survivors, which is something that I have personal experience with too.”\u003c/p>\n\u003cp>\u003cem>Luckiest Girl Alive\u003c/em> was adapted into a film starring Mila Kunis that debuted last fall on Netflix. Knoll wrote the screenplay and was a co-executive producer. Her second novel, \u003cem>The Favorite Sister\u003c/em>, will also be made into a TV series, which Knoll helped to write.\u003c/p>\n\u003cp>Knoll, along with authors Zakiya Dalila Harris, Jenny Han and Laura Dave, are recent examples of authors who have written their own adaptations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s my opinion that when an author is involved in an adaptation, I think it is almost always a more successful final product.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The dates of the attacks, the dates of the trial, the locations, things like that are all based on real events,” explained Knoll, who also modeled a chilling scene in her book off of real-life, when her fictional defendant, acting as one of his own attorneys, deposes Pamela. Bundy also deposed witnesses in his trial.\u003c/p>\n\u003cp>“He brought those sorority sisters down to a jail cell and was able to depose them because he was representing himself,” said Knoll. “That’s actually illegal now. It’s a violation of the victims’ rights. But at the time, it would have been a violation of his rights for the women to refuse to be deposed by him.”\u003c/p>\n\u003cp>Knoll is also quick to clarify that Bundy was not the only attorney on his defense team believing history sometimes overlooks that fact, giving him too much credit. “He had a whole counsel. He would have drowned trying to defend himself on his own,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-800x553.jpg\" alt=\"A man in a suit sits behind a desk that is strewn with papers, in the center of three men and one woman. They are all concentrating on what he is saying.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515554520-scaled-e1695146012554.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ted Bundy conferring with his defense attorneys on the opening day of his trial for the murder of two FSU students. \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bundy, who is believed to have killed at least 30 women, was executed in 1989.\u003c/p>\n\u003cp>Knoll’s research included meeting with Kathy Kleiner, one of the women attacked by Bundy in the Chi Omega sorority house, while she was sleeping. She later testified at his trial. Kleiner is the first person thanked by Knoll in the acknowledgements for \u003cem>Bright Young Women.\u003c/em>\u003c/p>\n\u003cp>“I was blown away by, first of all, how generous she was to give me her time and to speak to me,” said Knoll. “She was very candid and vulnerable, but at the same time, she’s a very happy-go-lucky person, and she married her soul mate and has a beautiful life. She was really adamant from a very young age that this was not going to define her, and she was not going to be afraid for the rest of her life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Knoll has also demonstrated resilience to the unthinkable. Her debut novel, \u003cem>Luckiest Girl Alive\u003c/em> is about a woman confronting the trauma of being sexually assaulted as a teen at a party. Knoll is also a rape survivor with a similar experience and says an objective of \u003cem>Bright Young Women\u003c/em> was to say something “about the grit of survivors, which is something that I have personal experience with too.”\u003c/p>\n\u003cp>\u003cem>Luckiest Girl Alive\u003c/em> was adapted into a film starring Mila Kunis that debuted last fall on Netflix. Knoll wrote the screenplay and was a co-executive producer. Her second novel, \u003cem>The Favorite Sister\u003c/em>, will also be made into a TV series, which Knoll helped to write.\u003c/p>\n\u003cp>Knoll, along with authors Zakiya Dalila Harris, Jenny Han and Laura Dave, are recent examples of authors who have written their own adaptations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s my opinion that when an author is involved in an adaptation, I think it is almost always a more successful final product.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After a Lifetime of Music and Activism, Vangie Buell’s Not Done Inspiring Others",
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"content": "\u003cfigure id=\"attachment_13934754\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000.jpg\" alt='An older woman in a pink shirt looks at a music stand and holds a guitar. The text \"8 over 80\" and \"Vangie Buell\" is overlaid' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filipina American activist and musician Evangeline “Vangie” Canonizado Buell, 91, plays guitar and sings during a hootenanny she helped organize at Piedmont Gardens senior living community in Oakland on May 24, 2023, a folk music performance with residents and staff. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he hootenanny has just begun at \u003ca href=\"https://www.humangood.org/piedmont-gardens\">Piedmont Gardens\u003c/a> senior living facility. The staff is handing out programs, flutes of champagne and sparkling apple cider, and trays of freshly baked chocolate-chip cookies. This folk music sing-along, which started in 2014, is the facility’s most popular event, drawing 90 or so attendees every month.\u003c/p>\n\u003cp>[aside tag='8over80' label='More 8 Over 80']To the center right of stage, nearly hidden behind a music stand, is a Filipina American elder — a manang — with a guitar propped on her lap. It’s 91-year-old folk musician, author and longtime activist Evangeline “Vangie” Canonizado Buell, the maven responsible for bringing all these people together.\u003c/p>\n\u003cp>The hootenanny had its start as a private jam session for three guitar-playing residents, but when Buell joined the group, people started stopping by and hanging out. “Why are we playing for ourselves?” Buell asked the other musicians. “We need to share this music.”\u003c/p>\n\u003cp>Alongside her now are the six core hootenanny members, a mixture of residents and staff. One of them, Helen Rubardt, sang live with Buell on KPFA’s folk radio show “Midnight Special” in the ’60s and ’70s. They recently reconnected at Piedmont Gardens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Buell sings her solo, it reverberates clearly and deliberately through the garden, the result of decades of practice. The audience is hushed by the low timbre vibrato of her singing voice; her fingers strum the guitar strings.\u003c/p>\n\u003cfigure id=\"attachment_13930190\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930190\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"A room full of seniors sit in chairs arranged in rows and sing while reading lyrics from sheets of paper on their laps.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Residents sing and listen to folk music during a Piedmont Gardens hootenanny. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Vangie is such a role model for me, not just as a person and a woman, but I feel really grateful to have this special connection because we are also both Filipina,” says Jenevieve Francisco, the Piedmont Gardens’ lifestyle enrichment coordinator and co-conductor of the hootenanny.\u003c/p>\n\u003cp>In fact, if it weren’t for Buell, Francisco never would have met the members of her own three-part singing group, \u003ca href=\"https://www.instagram.com/thesampaguitas/\">The Sampaguitas\u003c/a>, named after the Philippines’ national flower. Buell invited the women to sing a Filipino song at a previous hootenanny; they formed an official group and continue to perform together today.\u003c/p>\n\u003cp>The lovely harmonies of The Sampaguitas are just one of the many examples her admirers point to when explaining Buell’s knack for bringing people together. Throughout her multifaceted career, Buell has encouraged Filipino Americans to share their stories as she does — through music, creative writing and the celebration of her own multicultural family.\u003c/p>\n\u003ch2>Activism shaped by life experience\u003c/h2>\n\u003cp>That family history starts long before Buell’s birth in 1932. Her grandfather, a Buffalo Soldier, fought in the Spanish-American war, then married and remained in the Philippines. During her childhood in West Oakland, music was a major part of Buell’s life; her father played in the U.S. Navy band and taught her and her sister to play the guitar and piano. Times were also hard: The incarceration of Japanese Americans during World War II prompted families like Buell’s to wear buttons that read “loyal Filipino American” — an attempt to lessen some of the racism and discrimination they experienced.\u003c/p>\n\u003cfigure id=\"attachment_13930193\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"A page in a family photo album shows images of a girl riding a horse and the same person as a young woman wearing a cap and gown and a formal dress. On the opposite page are photos of large groups of people.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Vangie Buell in her memoir ‘25 Chickens and a Pig for a Bride.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buell graduated from McClymonds High School and went to San José State University, where she met an economics professor (and her future husband) named Hank Vilas. On the way back from their New Mexico honeymoon in 1952, the dangers facing their interracial marriage (Vilas was white) became clear when Buell was racially profiled and thrown in jail for suspected prostitution. Luckily, their marriage certificate secured her release.\u003c/p>\n\u003cp>She says her marriage to Vilas helped shape her life purpose. “He opened up a whole new world to me in terms of politics, culture,” she remembers fondly. “I feel like where I am, that path I took, I would not be there if I had not married Hank.” Five years and three kids into their marriage, Vilas came out as gay. They divorced, but stayed great friends and co-parents until he died of AIDS in 1985.\u003c/p>\n\u003cp>Buell became an activist for peace, civil rights and equality, using folk music as a cultural bridge and raising money for various causes in the process. Her name appears regularly in Bay Area newspapers in the ’50s, ’60s and ’70s as a supporting act at progressive events, including a 1960 dramatic program dealing with the “Institution of McCarthysim.” \u003c/p>\n\u003cp>She remarried twice more. “I was very lucky I was married to three Irish Americans — not all at once!” she jokes about her husbands Bob Elkin and Bill Buell. Throughout, she juggled family and career, working at the \u003ca href=\"https://www.nytimes.com/1988/06/06/us/berkeley-journal-who-ll-sell-tofu-puffs-after-co-ops-are-gone.html\">Berkeley Co-Op\u003c/a> (at one time the largest and best-known food cooperative in the nation), UC Berkeley’s International House, teaching guitar and finishing up her undergraduate degree at the University of San Francisco. Her organizing work in Berkeley led to the proclamation of “Evangeline Canonizado Buell Day” in 2009, honoring her commitment to social justice and cultural understanding.\u003c/p>\n\u003cp>Even on a national stage, Buell stands out. In 2015, she and 175 other Filipino Americans were guests of President Obama for the White House’s first celebration of Filipino American History Month. It was a moment of recognition for her important work as a co-founder of the East Bay Chapter of the Filipino American National Historical Society (FAHNS), where she later served as president emeritus.\u003c/p>\n\u003cfigure id=\"attachment_13930192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"Three seniors sit behind a piano, laughing and smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vangie Buell and two fellow residents during a Piedmont Gardens hootenanny. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The bayanihan spirit\u003c/h2>\n\u003cp>It was only after I read \u003cem>\u003ca href=\"https://www.asiabookcenter.com/store/p223/Twenty-Five_Chickens_and_a_Pig_for_a_Bride%3A_Growing_up_in_a_Filipino_Immigrant_Family.html\">25 Chickens and a Pig for a Bride\u003c/a>\u003c/em>, her 2006 memoir, that I understood the full scope of Buell’s contributions to Filipino American culture (at least, what she got up to in her first 70 years). With photojournalist Minerva Amistoso, she’s currently writing a second memoir covering the next 20.\u003c/p>\n\u003cp>I’ve gotten to know Buell (or Manang Vangie, as I call her) during hootenanny performances and lunches in the Piedmont Gardens dining room. There, she shares delicious soups, sandwiches and chocolate sundaes prepared by the staff, who always treat Buell like their own lola, or grandmother. The facility has around 60 employees of Filipino descent, including two of the cooks (“That’s why the food is so good,” she says). Being around her feels like being with my own lola, who I lost earlier this year.\u003c/p>\n\u003cp>Maybe that’s why she’s so special — not just because she brings people together, but because she represents how valuable Filipina women are to the diaspora. They are the sharers of food, music, culture, language and, most importantly, a bridge back home to the motherland.\u003c/p>\n\u003cp>Women like Buell are not just kababayan (our countrymen), they are kababaihan, Women Who Get The Work Done, as defined in her title essay from the Filipino American anthology \u003cem>\u003ca href=\"https://www.asiabookcenter.com/store/p725/Seven_Card_Stud_and_Seven_Manangs_Wild%C2%A0%C2%A0%C2%A0_.html\">Seven Card Stud with Seven Manangs Wild\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13930191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"A senior citizen holding a guitar sits at in front of a microphone and speaks into it.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vangie Buell reads a poem during a Piedmont Gardens hootenanny. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buell’s essay is dedicated to her own kababaihan, the collective made up of her step-grandmother Roberta’s friends who passed down culture through their scheduled poker games. They were the Filipino wives of Buffalo Soldiers, who had only these poker games, and each other, to survive in the United States, where rampant discrimination and sexism was directed against them.\u003c/p>\n\u003cp>Along with poker strategy, Buell learned the concept of bayanihan through these games, when the manangs would purposely fold a winning hand to give their earnings to the one in most need that week.\u003c/p>\n\u003cp>“They had a lot of pride, so they would make sure that when they gave to each other, they had a way of doing it so that that person would accept the gift and not feel like they were indebted,” she says. She remembers how they cared for each other and the manong farmworkers, and how they protected each other in a Bay Area past that wasn’t always progressive and open-minded.\u003c/p>\n\u003ch2>‘It keeps inspiring’\u003c/h2>\n\u003cp>As a first-generation Filipina American, Buell has experienced the melancholy feeling of “coming back home to the Philippines” as an adult. It was a place she had no personal memories of, but instead learned of through the stories of her parents and grandparents.\u003c/p>\n\u003cp>During that trip, she remembers vast inequity: of seeing poor people on the streets while experiencing the privileges of being a U.S. citizen traveling abroad. It is a feeling that only people of our diaspora would know — and we both get emotional.\u003c/p>\n\u003cp>“I’m getting teary-eyed because my parents never went back. I had to go back for them. I sobbed when I landed,” she says, between sniffles. “I miss them, I miss that generation so much.” We hold hands and take a moment to comfort each other over the din of the dining room. “I’m now the matriarch in the family, and I used to be the little one, you know.”\u003c/p>\n\u003cfigure id=\"attachment_13934761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000.jpg\" alt=\"An older woman in a pink shirt looks down at a grand piano in a sun-filled room with windows behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vangie Buell plays the piano at Piedmont Gardens. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buell’s willingness to share her own past makes it easy for others to connect with her — it’s no wonder so many of us feel like she’s family. “There’s so much more to the elder community than meets the eye,” says Jenevieve Francisco of Piedmont Gardens. “Like any group of people that you don’t see a lot or interact with very much, it’s easy to generalize.” She cites a 93-year-old resident who just finished climbing Half Dome at Yosemite with his son and granddaughter, and Buell running the hootenannies.\u003c/p>\n\u003cp>It makes sense that music would be the cornerstone of Buell’s activism, one that she practices every day on the grand piano of the Piedmont Gardens sky room. I’m lucky because she doesn’t play for just anyone, and I’m getting a personal concert from the maven herself.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“What I like to do is to remember the work you do here, in trying to better your community here, it spreads out worldwide,” Buell says. “You inspire somebody else and it keeps inspiring. … I did it through my music.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13934754\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000.jpg\" alt='An older woman in a pink shirt looks at a music stand and holds a guitar. The text \"8 over 80\" and \"Vangie Buell\" is overlaid' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66065_017_KQEDArts_MusicianVangieBuell_05242023_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filipina American activist and musician Evangeline “Vangie” Canonizado Buell, 91, plays guitar and sings during a hootenanny she helped organize at Piedmont Gardens senior living community in Oakland on May 24, 2023, a folk music performance with residents and staff. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he hootenanny has just begun at \u003ca href=\"https://www.humangood.org/piedmont-gardens\">Piedmont Gardens\u003c/a> senior living facility. The staff is handing out programs, flutes of champagne and sparkling apple cider, and trays of freshly baked chocolate-chip cookies. This folk music sing-along, which started in 2014, is the facility’s most popular event, drawing 90 or so attendees every month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To the center right of stage, nearly hidden behind a music stand, is a Filipina American elder — a manang — with a guitar propped on her lap. It’s 91-year-old folk musician, author and longtime activist Evangeline “Vangie” Canonizado Buell, the maven responsible for bringing all these people together.\u003c/p>\n\u003cp>The hootenanny had its start as a private jam session for three guitar-playing residents, but when Buell joined the group, people started stopping by and hanging out. “Why are we playing for ourselves?” Buell asked the other musicians. “We need to share this music.”\u003c/p>\n\u003cp>Alongside her now are the six core hootenanny members, a mixture of residents and staff. One of them, Helen Rubardt, sang live with Buell on KPFA’s folk radio show “Midnight Special” in the ’60s and ’70s. They recently reconnected at Piedmont Gardens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Buell sings her solo, it reverberates clearly and deliberately through the garden, the result of decades of practice. The audience is hushed by the low timbre vibrato of her singing voice; her fingers strum the guitar strings.\u003c/p>\n\u003cfigure id=\"attachment_13930190\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930190\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"A room full of seniors sit in chairs arranged in rows and sing while reading lyrics from sheets of paper on their laps.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66052_005_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Residents sing and listen to folk music during a Piedmont Gardens hootenanny. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Vangie is such a role model for me, not just as a person and a woman, but I feel really grateful to have this special connection because we are also both Filipina,” says Jenevieve Francisco, the Piedmont Gardens’ lifestyle enrichment coordinator and co-conductor of the hootenanny.\u003c/p>\n\u003cp>In fact, if it weren’t for Buell, Francisco never would have met the members of her own three-part singing group, \u003ca href=\"https://www.instagram.com/thesampaguitas/\">The Sampaguitas\u003c/a>, named after the Philippines’ national flower. Buell invited the women to sing a Filipino song at a previous hootenanny; they formed an official group and continue to perform together today.\u003c/p>\n\u003cp>The lovely harmonies of The Sampaguitas are just one of the many examples her admirers point to when explaining Buell’s knack for bringing people together. Throughout her multifaceted career, Buell has encouraged Filipino Americans to share their stories as she does — through music, creative writing and the celebration of her own multicultural family.\u003c/p>\n\u003ch2>Activism shaped by life experience\u003c/h2>\n\u003cp>That family history starts long before Buell’s birth in 1932. Her grandfather, a Buffalo Soldier, fought in the Spanish-American war, then married and remained in the Philippines. During her childhood in West Oakland, music was a major part of Buell’s life; her father played in the U.S. Navy band and taught her and her sister to play the guitar and piano. Times were also hard: The incarceration of Japanese Americans during World War II prompted families like Buell’s to wear buttons that read “loyal Filipino American” — an attempt to lessen some of the racism and discrimination they experienced.\u003c/p>\n\u003cfigure id=\"attachment_13930193\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"A page in a family photo album shows images of a girl riding a horse and the same person as a young woman wearing a cap and gown and a formal dress. On the opposite page are photos of large groups of people.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66068_023_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Vangie Buell in her memoir ‘25 Chickens and a Pig for a Bride.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buell graduated from McClymonds High School and went to San José State University, where she met an economics professor (and her future husband) named Hank Vilas. On the way back from their New Mexico honeymoon in 1952, the dangers facing their interracial marriage (Vilas was white) became clear when Buell was racially profiled and thrown in jail for suspected prostitution. Luckily, their marriage certificate secured her release.\u003c/p>\n\u003cp>She says her marriage to Vilas helped shape her life purpose. “He opened up a whole new world to me in terms of politics, culture,” she remembers fondly. “I feel like where I am, that path I took, I would not be there if I had not married Hank.” Five years and three kids into their marriage, Vilas came out as gay. They divorced, but stayed great friends and co-parents until he died of AIDS in 1985.\u003c/p>\n\u003cp>Buell became an activist for peace, civil rights and equality, using folk music as a cultural bridge and raising money for various causes in the process. Her name appears regularly in Bay Area newspapers in the ’50s, ’60s and ’70s as a supporting act at progressive events, including a 1960 dramatic program dealing with the “Institution of McCarthysim.” \u003c/p>\n\u003cp>She remarried twice more. “I was very lucky I was married to three Irish Americans — not all at once!” she jokes about her husbands Bob Elkin and Bill Buell. Throughout, she juggled family and career, working at the \u003ca href=\"https://www.nytimes.com/1988/06/06/us/berkeley-journal-who-ll-sell-tofu-puffs-after-co-ops-are-gone.html\">Berkeley Co-Op\u003c/a> (at one time the largest and best-known food cooperative in the nation), UC Berkeley’s International House, teaching guitar and finishing up her undergraduate degree at the University of San Francisco. Her organizing work in Berkeley led to the proclamation of “Evangeline Canonizado Buell Day” in 2009, honoring her commitment to social justice and cultural understanding.\u003c/p>\n\u003cp>Even on a national stage, Buell stands out. In 2015, she and 175 other Filipino Americans were guests of President Obama for the White House’s first celebration of Filipino American History Month. It was a moment of recognition for her important work as a co-founder of the East Bay Chapter of the Filipino American National Historical Society (FAHNS), where she later served as president emeritus.\u003c/p>\n\u003cfigure id=\"attachment_13930192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"Three seniors sit behind a piano, laughing and smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66061_013_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vangie Buell and two fellow residents during a Piedmont Gardens hootenanny. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The bayanihan spirit\u003c/h2>\n\u003cp>It was only after I read \u003cem>\u003ca href=\"https://www.asiabookcenter.com/store/p223/Twenty-Five_Chickens_and_a_Pig_for_a_Bride%3A_Growing_up_in_a_Filipino_Immigrant_Family.html\">25 Chickens and a Pig for a Bride\u003c/a>\u003c/em>, her 2006 memoir, that I understood the full scope of Buell’s contributions to Filipino American culture (at least, what she got up to in her first 70 years). With photojournalist Minerva Amistoso, she’s currently writing a second memoir covering the next 20.\u003c/p>\n\u003cp>I’ve gotten to know Buell (or Manang Vangie, as I call her) during hootenanny performances and lunches in the Piedmont Gardens dining room. There, she shares delicious soups, sandwiches and chocolate sundaes prepared by the staff, who always treat Buell like their own lola, or grandmother. The facility has around 60 employees of Filipino descent, including two of the cooks (“That’s why the food is so good,” she says). Being around her feels like being with my own lola, who I lost earlier this year.\u003c/p>\n\u003cp>Maybe that’s why she’s so special — not just because she brings people together, but because she represents how valuable Filipina women are to the diaspora. They are the sharers of food, music, culture, language and, most importantly, a bridge back home to the motherland.\u003c/p>\n\u003cp>Women like Buell are not just kababayan (our countrymen), they are kababaihan, Women Who Get The Work Done, as defined in her title essay from the Filipino American anthology \u003cem>\u003ca href=\"https://www.asiabookcenter.com/store/p725/Seven_Card_Stud_and_Seven_Manangs_Wild%C2%A0%C2%A0%C2%A0_.html\">Seven Card Stud with Seven Manangs Wild\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13930191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg\" alt=\"A senior citizen holding a guitar sits at in front of a microphone and speaks into it.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS66054_003_KQEDArts_MusicianVangieBuell_05242023-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vangie Buell reads a poem during a Piedmont Gardens hootenanny. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buell’s essay is dedicated to her own kababaihan, the collective made up of her step-grandmother Roberta’s friends who passed down culture through their scheduled poker games. They were the Filipino wives of Buffalo Soldiers, who had only these poker games, and each other, to survive in the United States, where rampant discrimination and sexism was directed against them.\u003c/p>\n\u003cp>Along with poker strategy, Buell learned the concept of bayanihan through these games, when the manangs would purposely fold a winning hand to give their earnings to the one in most need that week.\u003c/p>\n\u003cp>“They had a lot of pride, so they would make sure that when they gave to each other, they had a way of doing it so that that person would accept the gift and not feel like they were indebted,” she says. She remembers how they cared for each other and the manong farmworkers, and how they protected each other in a Bay Area past that wasn’t always progressive and open-minded.\u003c/p>\n\u003ch2>‘It keeps inspiring’\u003c/h2>\n\u003cp>As a first-generation Filipina American, Buell has experienced the melancholy feeling of “coming back home to the Philippines” as an adult. It was a place she had no personal memories of, but instead learned of through the stories of her parents and grandparents.\u003c/p>\n\u003cp>During that trip, she remembers vast inequity: of seeing poor people on the streets while experiencing the privileges of being a U.S. citizen traveling abroad. It is a feeling that only people of our diaspora would know — and we both get emotional.\u003c/p>\n\u003cp>“I’m getting teary-eyed because my parents never went back. I had to go back for them. I sobbed when I landed,” she says, between sniffles. “I miss them, I miss that generation so much.” We hold hands and take a moment to comfort each other over the din of the dining room. “I’m now the matriarch in the family, and I used to be the little one, you know.”\u003c/p>\n\u003cfigure id=\"attachment_13934761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000.jpg\" alt=\"An older woman in a pink shirt looks down at a grand piano in a sun-filled room with windows behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS66067_021_KQEDArts_MusicianVangieBuell_05242023_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vangie Buell plays the piano at Piedmont Gardens. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buell’s willingness to share her own past makes it easy for others to connect with her — it’s no wonder so many of us feel like she’s family. “There’s so much more to the elder community than meets the eye,” says Jenevieve Francisco of Piedmont Gardens. “Like any group of people that you don’t see a lot or interact with very much, it’s easy to generalize.” She cites a 93-year-old resident who just finished climbing Half Dome at Yosemite with his son and granddaughter, and Buell running the hootenannies.\u003c/p>\n\u003cp>It makes sense that music would be the cornerstone of Buell’s activism, one that she practices every day on the grand piano of the Piedmont Gardens sky room. I’m lucky because she doesn’t play for just anyone, and I’m getting a personal concert from the maven herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I like to do is to remember the work you do here, in trying to better your community here, it spreads out worldwide,” Buell says. “You inspire somebody else and it keeps inspiring. … I did it through my music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Novelist and Blogger Cory Doctorow Pens a Manual for Destroying Big Tech",
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"content": "\u003cfigure id=\"attachment_13934633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/716NSkW987L._SL1500_-800x1223.jpg\" alt=\"A book cover featuring the title and author under a design that looks like a smashed screen.\" width=\"800\" height=\"1223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/716NSkW987L._SL1500_-800x1223.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/716NSkW987L._SL1500_-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/716NSkW987L._SL1500_-768x1174.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/716NSkW987L._SL1500_.jpg 981w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Internet Con: How to Seize the Means of Computation’ by Cory Doctorow. \u003ccite>(Verso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a leading blogger in the pre-Substack era, novelist and public-interest technologist Cory Doctorow often warned that Big Tech was rendering of cyberspace a polluted, dystopian, crassly commercial and often hostile world of limited options.\u003c/p>\n\u003cp>Now it’s happened. Facebook, Instagram and other walled fiefdoms of surveillance capitalism distract discourse with scrolls of targeted ads and trending video reels. More genteel competitors were long ago muscled out.\u003c/p>\n\u003cp>[aside postid='arts_13934320']Hateful trolls, violent speech and addictive algorithms thrive. And when a user account is mistakenly or unjustly shuttered, platform automation means the aggrieved will encounter callous indifference. It’s gotten to where anti-Big Tech initiatives enjoy bipartisan backing in an otherwise teetering U.S. democracy.\u003c/p>\n\u003cp>“There is no fixing Big Tech,” Doctorow, who blogged for years on the website “Boing Boing,” writes in his new book \u003cem>The Internet Con: How to Seize the Means of Computation\u003c/em>. The breezily written 173-page manifesto is for people who want to destroy it.\u003c/p>\n\u003cp>Doctorow is adamant that no one be allowed to wield as much power as Mark Zuckerberg, who he deems a “feudal warlord” of middling intellect. “We don’t need a better Zuck. We need to abolish Zuck.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He singles out Google, Facebook (“which bizarrely insists that it is called ‘Meta’”) and Apple in particular for robbing us of choice — of the ability to pick up and relocate from the online spaces where we commune with friends, relatives and colleagues.\u003c/p>\n\u003cp>How did these megacorporations do it? With behavior that would have been deemed illegal in other times, and with lawyers and lobbyists who got them laws like the 1998 Digital Millennium Copyright Act. It effectively criminalizes the invention of competing products.\u003c/p>\n\u003cp>[aside postid='arts_13934040']Doctorow shows how such laws have let HP and Epson make us purchase overpriced printer ink. They’re what let auto dealerships and John Deere elbow independent mechanics out of the car and tractor repair business.\u003c/p>\n\u003cp>And they’re what discourage the kind of reverse-engineering that allows competitors to create products that can seamlessly converse with, say, Facebook Messenger or Apple’s iMessage.\u003c/p>\n\u003cp>Imagine if you could chat online with all your friends, nevermind which messenger service, operating system or device they use. Such a world actually existed — this grizzled tech journalist can attest — before Generation Z landed in maternity wards.\u003c/p>\n\u003cp>A few apps such as Pidgin still cling to that model of open-platform engineering. It’s enabled by what’s called “interoperability,” something the European Union is demanding Big Tech revert to next year under its Digital Markets Act.\u003c/p>\n\u003cp>Back in the day “if you had an account on Yahoo Messenger, AIM and Skype, Pidgin could let you manage them all from one app.” And it had its own super-secure encryption to protect your digital interactions from prying eyes.\u003c/p>\n\u003cp>[aside postid='arts_13933261']A simple, well-crafted vision of a more civil, civic-minded online life — peppered with selected sad tales of the human cost of Big Tech greed — make for an illuminating read. Not least because Doctorow, an accomplished novelist and longtime former activist with the Electronic Frontier Foundation, lays out a plan of action.\u003c/p>\n\u003cp>Vanquishing Big Tech and restoring “adversarial interoperability” — what the EFF calls “competitive compatibility” — will take political will and, above all, technical competence.\u003c/p>\n\u003cp>There’s no taking back the internet without the kind of knowledge Doctorow imparts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Internet Con: How to Seize the Means of Computation’ is out now, via Verso.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A simple, well-crafted vision of a more civil, civic-minded online life — peppered with selected sad tales of the human cost of Big Tech greed — make for an illuminating read. Not least because Doctorow, an accomplished novelist and longtime former activist with the Electronic Frontier Foundation, lays out a plan of action.\u003c/p>\n\u003cp>Vanquishing Big Tech and restoring “adversarial interoperability” — what the EFF calls “competitive compatibility” — will take political will and, above all, technical competence.\u003c/p>\n\u003cp>There’s no taking back the internet without the kind of knowledge Doctorow imparts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Internet Con: How to Seize the Means of Computation’ is out now, via Verso.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stephen King Finds Terror in the Ordinary in New Pandemic-Set Novel ‘Holly’",
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"content": "\u003cfigure id=\"attachment_13934321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/holly-9781668016138_hr-800x1222.jpg\" alt=\"An illustrated book cover showing a large, detached Victorian house with a porch at sunset. Lights are on in the basement and one upstairs room. Silhouettes of trees flank the house on both sides.\" width=\"800\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1006x1536.jpg 1006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1341x2048.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Holly’ by Stephen King. \u003ccite>(Scribner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In half a century of writing horror novels, Stephen King has created some remarkable villains. Who can forget the sing-song voice of Pennywise the clown, the devil incarnate Randall Flagg, or the drooling jaws of Cujo? The big bads in King’s latest novel, \u003cem>Holly\u003c/em>, aren’t quite so memorable, but that’s part of what makes them terrifying.\u003c/p>\n\u003cp>Emily and Rodney Harris are retired professors of Bell College Arts and Sciences. Em, as her husband calls her, taught English and Em’s beloved “Roddy” taught life sciences and earned the nickname “Rowdy Roddy the Mad Nutritionist.” Bell is a generic “college on a hill” near a lake somewhere in Ohio. King doesn’t need to be more specific than that with his sense of place, because this is a story set during the COVID pandemic that uses common acts and things to create fear — abandoned bicycles, lost earrings, a twilight run through the park.\u003c/p>\n\u003cp>[aside postid='arts_13873021']The novel begins with quick flashbacks to a series of abductions starting in 2012 that were perpetrated by the Harris’, and immediately we as readers know more than our title character. King fans will remember Holly Gibney from the \u003cem>Mr. Mercedes\u003c/em> trilogy and a starring role in the title story of King’s collection \u003cem>If It Bleeds\u003c/em>. It’s now 2021, and Holly is the only person working at her private investigation company, “Finders Keepers,” as her partner Pete quarantines. He pops into the story now and again during telephone calls, offering advice between coughing fits, but this is Holly’s case to solve.\u003c/p>\n\u003cp>When readers first met Holly in \u003cem>Mr. Mercedes\u003c/em> she was awkward and reclusive, working behind the scenes to catch the killer. Now after getting a telephone call from Penny Dahl, whose daughter Bonnie has been missing for three weeks, she’s front and center, interviewing witnesses and suspects, while also dealing with the trauma of her past. Her mother, Charlotte, is a COVID statistic when the novel begins, dead after a “brutally short illness” precipitated by not masking and a refusal to get vaccinated. King goes fairly deep into Holly’s head, connecting her low self-esteem to her demeaning mother and the bullies who tortured her growing up. But it’s obvious he likes her — doggedness and common sense are traits to be admired. But will she exercise enough caution when it’s required?\u003c/p>\n\u003cp>Additional characters from King’s \u003cem>Mr. Mercedes\u003c/em> books play key roles as well. Siblings Jerome and Barbara Robinson each have their own story arcs and it’s not hard to imagine that Jerome at least may pop up again in the Kingverse. The man who encouraged Holly to become a P.I., Bill Hodges, is gone from cancer, but never forgotten. His advice, in fact, serves as the novel’s epigraph — “Sometimes the universe throws you a rope.” The novel plays out according to that metaphor as Holly follows the rope all the way to a climactic confrontation with Emily and Rodney Harris, and sees for herself just how depraved college professors can be in the world of Stephen King.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The novel begins with quick flashbacks to a series of abductions starting in 2012 that were perpetrated by the Harris’, and immediately we as readers know more than our title character. King fans will remember Holly Gibney from the \u003cem>Mr. Mercedes\u003c/em> trilogy and a starring role in the title story of King’s collection \u003cem>If It Bleeds\u003c/em>. It’s now 2021, and Holly is the only person working at her private investigation company, “Finders Keepers,” as her partner Pete quarantines. He pops into the story now and again during telephone calls, offering advice between coughing fits, but this is Holly’s case to solve.\u003c/p>\n\u003cp>When readers first met Holly in \u003cem>Mr. Mercedes\u003c/em> she was awkward and reclusive, working behind the scenes to catch the killer. Now after getting a telephone call from Penny Dahl, whose daughter Bonnie has been missing for three weeks, she’s front and center, interviewing witnesses and suspects, while also dealing with the trauma of her past. Her mother, Charlotte, is a COVID statistic when the novel begins, dead after a “brutally short illness” precipitated by not masking and a refusal to get vaccinated. King goes fairly deep into Holly’s head, connecting her low self-esteem to her demeaning mother and the bullies who tortured her growing up. But it’s obvious he likes her — doggedness and common sense are traits to be admired. But will she exercise enough caution when it’s required?\u003c/p>\n\u003cp>Additional characters from King’s \u003cem>Mr. Mercedes\u003c/em> books play key roles as well. Siblings Jerome and Barbara Robinson each have their own story arcs and it’s not hard to imagine that Jerome at least may pop up again in the Kingverse. The man who encouraged Holly to become a P.I., Bill Hodges, is gone from cancer, but never forgotten. His advice, in fact, serves as the novel’s epigraph — “Sometimes the universe throws you a rope.” The novel plays out according to that metaphor as Holly follows the rope all the way to a climactic confrontation with Emily and Rodney Harris, and sees for herself just how depraved college professors can be in the world of Stephen King.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Holler, Child’ Is a Profound Short Story Collection About Black Lives in America",
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"content": "\u003cfigure id=\"attachment_13934041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-30-at-10.16.10-AM-800x1209.png\" alt=\"A book cover featuring individual silhouettes of men, women and children's faces.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-30-at-10.16.10-AM-800x1209.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-30-at-10.16.10-AM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-30-at-10.16.10-AM-768x1161.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-30-at-10.16.10-AM.png 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Holler, Child’ by LaToya Watkins. \u003ccite>(Tiny Reparations Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaToya Watkins has surpassed the high bar set by her beautifully crushing debut novel, \u003cem>Perish\u003c/em>, with a collection of short stories titled \u003cem>Holler, Child\u003c/em>. Heavily rooted in west Texas where the author grew up, the 11 fictional pieces focus on Black lives — and the huge range of people and relationships within — to form a profound collection.\u003c/p>\n\u003cp>In the namesake short story, which includes some of the most brutal scenes in the book, the bloodied face of the narrator’s son reminds her of the day she was raped and beaten — “Holler, Child” being what she commanded her 17-year-old self to do way back then, but couldn’t. Now, confronted with the possibility that her son may have raped someone, she has a chance to handle things differently.\u003c/p>\n\u003cp>Its ending is completely unexpected — a battlefield of conflicting logic and emotion that’s hard to fathom, but also strangely sensical.\u003c/p>\n\u003cp>[aside postid='arts_13933527']While many of the pages are about mothers and wives, some are from a male perspective, like “Dog Person.” The narrator convinces his girlfriend to accept his dog as a part of himself in a story that turns out to be absolutely heart-wrenching. Layers of betrayal and hurt and blame and sadness have nowhere to go, so they fester. What does the dog have to do with it? It’s impossible to say, exactly, even though the dog is the keystone of the story.\u003c/p>\n\u003cp>Generations of trauma, sacrifice and striving make the characters complex and Watkins fits loads of information into just a handful of pages by skipping unnecessary context. Instead, she draws on societal truths and the reader’s empathy to form the solid foundation beneath each story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each voice brings something special, every narrative hard-hitting yet tender. Then, in the final short “Time After,” it all comes home.\u003c/p>\n\u003cp>And, really, all the stories are about coming home — wherever or whomever home may be, and regardless how the characters feel about it. In many cases, home is west Texas. In some, it’s a mother, or oneself.\u003c/p>\n\u003cp>[aside postid='arts_13933261']An article by Watkins for Juneteenth this year — the first year it was officially recognized as a federal holiday despite over a century of celebrations — helps to frame the motif of gender roles and divisions between men and women throughout \u003cem>Holler, Child\u003c/em>. It’s a messy, fluid thing that she explores in various forms: a wife completely fed up with her husband after decades of marriage; a husband who feels his wife has peeled away pieces of him over the years; two sisters in search of the brother who was disowned because of his identity.\u003c/p>\n\u003cp>Those male-female relationships go on to influence others, like the daughter who confronts her mother for her cold-heartedness; the mother who decides to love her kids out of spite for her husband; and the young woman who sees her parents in a new light after her baby’s father refuses to help.\u003c/p>\n\u003cp>The stories lay bare the death of a child, a partner, a sibling, a pet — topics that, in less careful hands, might be beyond ethical approach in a mere 20 pages. Watkins gives these momentous life changes the proper weight they deserve with the exact distance at which to feel them without being crushed.\u003c/p>\n\u003cp>In all of these stories, there’s tragedy at large and small scales. The fictional characters are in very real situations, each of them unique but carrying a feeling of familiarity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Holler, Child\u003c/em> is an excellent collection with true staying power. Every single story could stand on its own but works beautifully toward the whole.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>An article by Watkins for Juneteenth this year — the first year it was officially recognized as a federal holiday despite over a century of celebrations — helps to frame the motif of gender roles and divisions between men and women throughout \u003cem>Holler, Child\u003c/em>. It’s a messy, fluid thing that she explores in various forms: a wife completely fed up with her husband after decades of marriage; a husband who feels his wife has peeled away pieces of him over the years; two sisters in search of the brother who was disowned because of his identity.\u003c/p>\n\u003cp>Those male-female relationships go on to influence others, like the daughter who confronts her mother for her cold-heartedness; the mother who decides to love her kids out of spite for her husband; and the young woman who sees her parents in a new light after her baby’s father refuses to help.\u003c/p>\n\u003cp>The stories lay bare the death of a child, a partner, a sibling, a pet — topics that, in less careful hands, might be beyond ethical approach in a mere 20 pages. Watkins gives these momentous life changes the proper weight they deserve with the exact distance at which to feel them without being crushed.\u003c/p>\n\u003cp>In all of these stories, there’s tragedy at large and small scales. The fictional characters are in very real situations, each of them unique but carrying a feeling of familiarity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Holler, Child\u003c/em> is an excellent collection with true staying power. Every single story could stand on its own but works beautifully toward the whole.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Trail of the Lost’ is a Gripping Tale of Hikers Missing on the Pacific Crest Trail",
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"content": "\u003cp>Andrea Lankford left a decorated career as a park ranger after growing tired of the bureaucracy involved. But years later, three young men went missing on the Pacific Crest Trail in relatively similar circumstances — and she couldn’t stop thinking about them.\u003c/p>\n\u003cp>\u003cem>Trail of the Lost\u003c/em> was her answer.\u003c/p>\n\u003cp>It’s a gripping nonfiction narrative that delves deep into the cases of these three hikers who vanished while traversing the PCT. It digs into their lives and those of the people looking for them but also explores the history of the PCT and the rich, nuanced subculture, practices — and even literature — that surround it and those who undertake the 2,650-mi. journey from Mexico to Canada.\u003c/p>\n\u003cp>[aside postid='arts_13933261']As a park ranger with the National Park Service’s law enforcement team, Lankford won several awards for her investigations. She also led search and rescue missions (SAR) in wild areas all across America. With the knowledge and expertise of her years on the job, Lankford started looking into the cases of the missing hikers, and soon found herself immersed in the world of Facebook groups whose goal was to share information and help find them.\u003c/p>\n\u003cp>Lankford launched her own investigation into the disappearances and soon found herself working with the families of those missing hikers, authorities who were on the case—with varying degrees of communication and cooperation—and with other hikers and people who developed an interest in the cases and wanted to help. Together, Lankford and all those involved in the searches canvassed the areas where the hikers had last been seen, visited and interviewed those who’d had contact with them around the time of their disappearance, and followed families and friends as they desperately followed any leads.\u003c/p>\n\u003cfigure id=\"attachment_13933988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg\" alt=\"A book cover showing a tree-covered mountain range. It reads: Trail of the Lost: The relentless search to bring home the missing hikers of the Pacific Crest Trail.\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1106x1536.jpg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1474x2048.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607.jpg 1684w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Trail of the Lost’ by Andrea Lankford. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Trail of the Lost \u003c/em>is about the hikers and the efforts to find them, but it’s also a rich, multilayered narrative that works on three different levels. The first is the story of each of the three hikers—Chris Sylvia, David O’Sullivan, Kris Fowler. Lankford offers a small biography of each of the missing men and shows them through the eyes of those who knew them well and even those who joined the search after learning about their disappearances. The research was meticulous and Lankford used interviews to paint vivid pictures, including of what mental and emotional states they might’ve been in while hiking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right underneath the narratives about Sylvia, O’Sullivan, and Fowler are the stories of everyone looking for them. Lankford played a role in each search, but she relegated herself when writing this book and allowed friends, family, and even strangers to occupy center stage throughout most of the narrative. The story looks at the role of Facebook groups in the searches — and how crucial word of mouth can be. Many kindhearted individuals came forth and became instrumental in the searches or provided valuable information. But Lankford also writes of the many who lied for no apparent reason and muddled the investigations in the process.\u003c/p>\n\u003cp>While the stories of the hikers and everyone involved in the searches for them, including Lankford, takes up a lot of space, the narrative also shines a light on many aspects of the PCT, from its creation to the way popular books like Cheryl Strayed’s \u003cem>Wild \u003c/em>have had a massive impact on the number of people who attempt to hike the entire trail.\u003c/p>\n\u003cp>[aside postid='arts_13933542']Lankford, who on top of her SAR expertise has, among other accomplishments, thru-hiked the entire Appalachian Trail and was the first person to mountain bike the 800-mi. Arizona Trail along with her friend Beth Overton, knows just how wild and dangerous the PCT can be. The PCT is very popular, but the physical and mental demands of a thru-hike are many. Also, while the vistas are often some of the most beautiful in the country, \u003cem>Trail of the Lost \u003c/em>explores some of the dangers it hides. From the threat of mountain lions and bears to marijuana growers, mushroom poachers, and other people with bad intentions who don’t abide by the PCT’s unspoken code of ethics and camaraderie, this book also serves as an exposé on the well-known — as well as the often hidden or ignored — dangers of the PCT.\u003c/p>\n\u003cp>\u003cem>Trail of the Lost\u003c/em> is written with a clear, fast-paced, straightforward prose that still manages to be beautiful and immersive. It is also as full of hope and humanity as it is packed with pain, grief, danger, and tension. This is a book in which the PCT is as much of a character as every person Lankford writes about, and that balance makes it worthy reading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Trail+of+the+Lost%27+is+a+gripping+tale+of+hikers+missing+on+the+Pacific+Crest+Trail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrea Lankford left a decorated career as a park ranger after growing tired of the bureaucracy involved. But years later, three young men went missing on the Pacific Crest Trail in relatively similar circumstances — and she couldn’t stop thinking about them.\u003c/p>\n\u003cp>\u003cem>Trail of the Lost\u003c/em> was her answer.\u003c/p>\n\u003cp>It’s a gripping nonfiction narrative that delves deep into the cases of these three hikers who vanished while traversing the PCT. It digs into their lives and those of the people looking for them but also explores the history of the PCT and the rich, nuanced subculture, practices — and even literature — that surround it and those who undertake the 2,650-mi. journey from Mexico to Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a park ranger with the National Park Service’s law enforcement team, Lankford won several awards for her investigations. She also led search and rescue missions (SAR) in wild areas all across America. With the knowledge and expertise of her years on the job, Lankford started looking into the cases of the missing hikers, and soon found herself immersed in the world of Facebook groups whose goal was to share information and help find them.\u003c/p>\n\u003cp>Lankford launched her own investigation into the disappearances and soon found herself working with the families of those missing hikers, authorities who were on the case—with varying degrees of communication and cooperation—and with other hikers and people who developed an interest in the cases and wanted to help. Together, Lankford and all those involved in the searches canvassed the areas where the hikers had last been seen, visited and interviewed those who’d had contact with them around the time of their disappearance, and followed families and friends as they desperately followed any leads.\u003c/p>\n\u003cfigure id=\"attachment_13933988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg\" alt=\"A book cover showing a tree-covered mountain range. It reads: Trail of the Lost: The relentless search to bring home the missing hikers of the Pacific Crest Trail.\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1106x1536.jpg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1474x2048.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607.jpg 1684w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Trail of the Lost’ by Andrea Lankford. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Trail of the Lost \u003c/em>is about the hikers and the efforts to find them, but it’s also a rich, multilayered narrative that works on three different levels. The first is the story of each of the three hikers—Chris Sylvia, David O’Sullivan, Kris Fowler. Lankford offers a small biography of each of the missing men and shows them through the eyes of those who knew them well and even those who joined the search after learning about their disappearances. The research was meticulous and Lankford used interviews to paint vivid pictures, including of what mental and emotional states they might’ve been in while hiking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right underneath the narratives about Sylvia, O’Sullivan, and Fowler are the stories of everyone looking for them. Lankford played a role in each search, but she relegated herself when writing this book and allowed friends, family, and even strangers to occupy center stage throughout most of the narrative. The story looks at the role of Facebook groups in the searches — and how crucial word of mouth can be. Many kindhearted individuals came forth and became instrumental in the searches or provided valuable information. But Lankford also writes of the many who lied for no apparent reason and muddled the investigations in the process.\u003c/p>\n\u003cp>While the stories of the hikers and everyone involved in the searches for them, including Lankford, takes up a lot of space, the narrative also shines a light on many aspects of the PCT, from its creation to the way popular books like Cheryl Strayed’s \u003cem>Wild \u003c/em>have had a massive impact on the number of people who attempt to hike the entire trail.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lankford, who on top of her SAR expertise has, among other accomplishments, thru-hiked the entire Appalachian Trail and was the first person to mountain bike the 800-mi. Arizona Trail along with her friend Beth Overton, knows just how wild and dangerous the PCT can be. The PCT is very popular, but the physical and mental demands of a thru-hike are many. Also, while the vistas are often some of the most beautiful in the country, \u003cem>Trail of the Lost \u003c/em>explores some of the dangers it hides. From the threat of mountain lions and bears to marijuana growers, mushroom poachers, and other people with bad intentions who don’t abide by the PCT’s unspoken code of ethics and camaraderie, this book also serves as an exposé on the well-known — as well as the often hidden or ignored — dangers of the PCT.\u003c/p>\n\u003cp>\u003cem>Trail of the Lost\u003c/em> is written with a clear, fast-paced, straightforward prose that still manages to be beautiful and immersive. It is also as full of hope and humanity as it is packed with pain, grief, danger, and tension. This is a book in which the PCT is as much of a character as every person Lankford writes about, and that balance makes it worthy reading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Trail+of+the+Lost%27+is+a+gripping+tale+of+hikers+missing+on+the+Pacific+Crest+Trail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13933553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg\" alt=\"The wooden fences, monuments and trees of a cemetery in the mid-1800s. A church with a two-story perpendicular addition. Masonry on the first floor, a wooden second story.\" width=\"800\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-768x750.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original Mission Dolores cemetery was much larger than what’s left behind today. Thousands of bodies remain under 16th Street and the surrounding area. \u003ccite>(OpenSFHistory / wnp71.1458)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spend a lot of time writing about local history for KQED. Most days you can find me wading through old newspaper clippings, library archives and museum collections digging up the \u003ca href=\"https://www.kqed.org/rebelgirls\">forgotten stories of our Bay Area predecessors\u003c/a>. Because of this, I thought I knew a fair amount about \u003ca href=\"https://www.kqed.org/arts/13917340/hidden-old-tombstones-guide-san-francisco-history\">San Francisco’s messy history of burying the dead\u003c/a> in one place, then half-heartedly digging them up and reburying them in another. I was not, however, prepared for everything Beth Winegarner unearths in her new book, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13917340']What most people in the Bay Area already know is that the city moved the vast majority of its dead to Colma in the 1930s. That, at least, is the common narrative. What Winegarner uncovers here is a far more shocking tale — one in which San Francisco remains awash with dead bodies that are simply lacking grave markers. And we’re not just talking about \u003ca href=\"https://www.kqed.org/pop/103040/are-the-cliff-house-and-the-sutro-baths-cursed\">the handful that have popped up over the years\u003c/a> during construction work.\u003c/p>\n\u003cp>The bodies that were moved to Colma came from San Francisco’s four main cemeteries — Laurel Hill, Masonic, Odd Fellows and Calvary — all of which were positioned on the north side of the city. However, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em> thoroughly charts all of the other places that city dwellers once used as graveyards — and many are in unexpected, and under-discussed, locations. Dolores Park, for example, was a Jewish cemetery. Russian Hill is named for the fact that Russian sailors were buried there in 1848. Bodies were buried at First and Minna downtown. Most shockingly of all, Civic Center was once home to an enormous cemetery named Yerba Buena. (And a smaller one known as Green Oak.)\u003c/p>\n\u003cfigure id=\"attachment_13933545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg\" alt=\"Cemetery, agricultural fields, houses in foregr\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-768x658.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View northwest across today’s Dolores Park, in 1870, when the plot was still home to a Jewish cemetery. \u003ccite>(OpenSFHistory / wnp37.02113-L)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Yerba Buena graveyard started at Market and Larkin and stretched all the way up to where City Hall stands today. It was opened in 1850, contained an unmarked mass grave of 800 bodies moved from North Beach, and was filled with between 7,000 and 9,000 bodies within the first eight years of its existence. In 1868, the dead were disinterred and moved again — at least, they were supposed to be. In truth, hundreds of bodies were left behind, under what is now Civic Center Plaza, City Hall, the Asian Art Museum and the Library.\u003c/p>\n\u003cp>According to Winegarner, few corners of the city are actually free of former residents’ bodies. Keep in mind that the Mission Dolores graveyard once contained between 10,000 and 11,000 bodies. And while only 200 or so are marked by gravestones today, thousands of dead remain under 16th Street and the surrounding buildings, many of them the Indigenous people who built the mission in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this barely scratches the surface of the many grim realities uncovered in \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em>. But Winegarner makes absorbing this macabre information bearable — even thrilling at times — through calm and careful writing. She is entirely uninterested in sensationalizing her meticulously researched facts. She is also conscientious when it comes to humanizing the people buried beneath our streets, sporadically telling individuals’ stories in a way that brings them to life once more.\u003c/p>\n\u003cp>[aside postid='arts_13919589']By the end of the book — a journey that chronicles the history of San Francisco’s cemeteries from early settlers burying friends where they lay, all the way to the big Colma move — one gets the distinct sense that Winegarner wants only for us to be more mindful as we move through the city. In many ways, she is imploring us to pay our respects to those who still lie beneath our feet. And after reading her book, you’ll absolutely feel compelled to.\u003c/p>\n\u003cp>“Ultimately, it doesn’t matter much whether San Francisco’s dead, especially its marginalized dead, were left behind intentionally or through neglect,” Winegarner writes in her final chapter. “The result is the same: their descendants, by both blood and geography, have no way of finding and connecting with them in a tangible way.\u003c/p>\n\u003cp>“Given that these were the people who physically built the city we know as San Francisco, we are all their children of a kind,” she concludes, “and we owe them a debt of respect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.arcadiapublishing.com/products/9781467154925/\">San Francisco’s Forgotten Cemeteries\u003c/a>’ is out on Aug. 28 from \u003ca href=\"https://www.arcadiapublishing.com/pages/the-history-press\">The History Press\u003c/a>. Beth Winegarner is making appearances around the city in support of the book throughout August, September and October. \u003ca href=\"https://www.bethwinegarner.com/san-franciscos-forgotten-cemeteries\">See those event details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13933553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg\" alt=\"The wooden fences, monuments and trees of a cemetery in the mid-1800s. A church with a two-story perpendicular addition. Masonry on the first floor, a wooden second story.\" width=\"800\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-768x750.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original Mission Dolores cemetery was much larger than what’s left behind today. Thousands of bodies remain under 16th Street and the surrounding area. \u003ccite>(OpenSFHistory / wnp71.1458)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spend a lot of time writing about local history for KQED. Most days you can find me wading through old newspaper clippings, library archives and museum collections digging up the \u003ca href=\"https://www.kqed.org/rebelgirls\">forgotten stories of our Bay Area predecessors\u003c/a>. Because of this, I thought I knew a fair amount about \u003ca href=\"https://www.kqed.org/arts/13917340/hidden-old-tombstones-guide-san-francisco-history\">San Francisco’s messy history of burying the dead\u003c/a> in one place, then half-heartedly digging them up and reburying them in another. I was not, however, prepared for everything Beth Winegarner unearths in her new book, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What most people in the Bay Area already know is that the city moved the vast majority of its dead to Colma in the 1930s. That, at least, is the common narrative. What Winegarner uncovers here is a far more shocking tale — one in which San Francisco remains awash with dead bodies that are simply lacking grave markers. And we’re not just talking about \u003ca href=\"https://www.kqed.org/pop/103040/are-the-cliff-house-and-the-sutro-baths-cursed\">the handful that have popped up over the years\u003c/a> during construction work.\u003c/p>\n\u003cp>The bodies that were moved to Colma came from San Francisco’s four main cemeteries — Laurel Hill, Masonic, Odd Fellows and Calvary — all of which were positioned on the north side of the city. However, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em> thoroughly charts all of the other places that city dwellers once used as graveyards — and many are in unexpected, and under-discussed, locations. Dolores Park, for example, was a Jewish cemetery. Russian Hill is named for the fact that Russian sailors were buried there in 1848. Bodies were buried at First and Minna downtown. Most shockingly of all, Civic Center was once home to an enormous cemetery named Yerba Buena. (And a smaller one known as Green Oak.)\u003c/p>\n\u003cfigure id=\"attachment_13933545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg\" alt=\"Cemetery, agricultural fields, houses in foregr\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-768x658.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View northwest across today’s Dolores Park, in 1870, when the plot was still home to a Jewish cemetery. \u003ccite>(OpenSFHistory / wnp37.02113-L)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Yerba Buena graveyard started at Market and Larkin and stretched all the way up to where City Hall stands today. It was opened in 1850, contained an unmarked mass grave of 800 bodies moved from North Beach, and was filled with between 7,000 and 9,000 bodies within the first eight years of its existence. In 1868, the dead were disinterred and moved again — at least, they were supposed to be. In truth, hundreds of bodies were left behind, under what is now Civic Center Plaza, City Hall, the Asian Art Museum and the Library.\u003c/p>\n\u003cp>According to Winegarner, few corners of the city are actually free of former residents’ bodies. Keep in mind that the Mission Dolores graveyard once contained between 10,000 and 11,000 bodies. And while only 200 or so are marked by gravestones today, thousands of dead remain under 16th Street and the surrounding buildings, many of them the Indigenous people who built the mission in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All this barely scratches the surface of the many grim realities uncovered in \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em>. But Winegarner makes absorbing this macabre information bearable — even thrilling at times — through calm and careful writing. She is entirely uninterested in sensationalizing her meticulously researched facts. She is also conscientious when it comes to humanizing the people buried beneath our streets, sporadically telling individuals’ stories in a way that brings them to life once more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By the end of the book — a journey that chronicles the history of San Francisco’s cemeteries from early settlers burying friends where they lay, all the way to the big Colma move — one gets the distinct sense that Winegarner wants only for us to be more mindful as we move through the city. In many ways, she is imploring us to pay our respects to those who still lie beneath our feet. And after reading her book, you’ll absolutely feel compelled to.\u003c/p>\n\u003cp>“Ultimately, it doesn’t matter much whether San Francisco’s dead, especially its marginalized dead, were left behind intentionally or through neglect,” Winegarner writes in her final chapter. “The result is the same: their descendants, by both blood and geography, have no way of finding and connecting with them in a tangible way.\u003c/p>\n\u003cp>“Given that these were the people who physically built the city we know as San Francisco, we are all their children of a kind,” she concludes, “and we owe them a debt of respect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.arcadiapublishing.com/products/9781467154925/\">San Francisco’s Forgotten Cemeteries\u003c/a>’ is out on Aug. 28 from \u003ca href=\"https://www.arcadiapublishing.com/pages/the-history-press\">The History Press\u003c/a>. Beth Winegarner is making appearances around the city in support of the book throughout August, September and October. \u003ca href=\"https://www.bethwinegarner.com/san-franciscos-forgotten-cemeteries\">See those event details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13933529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg\" alt=\"A book cover featuring an illustration of two women with brown skin and Black wavy hair face to face. Above them floats another female figure almost acting as a sort of guardian.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/cover_custom-55176823d72bd2bbb7e4d3f04fe93a5eef22f179.jpg 1588w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Daughters of Latin America.’ \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Award-winning writer, editor and filmmaker Sandra Guzmán once heard an alarming statistic: Every 14 days, an Indigenous language dies around the world.\u003c/p>\n\u003cp>That is, in part, what prompted her to seek out those voices for a new multilingual project centered on Latin American women. The result is the book, \u003cem>Daughters of Latin America: An International Anthology of Writing by Latine Women\u003c/em>, which compiles the work of 140 writers, activists and thought leaders from the region.\u003c/p>\n\u003cp>[aside postid='arts_13932147']“What clicked was this notion that whenever we think about writers, we don’t automatically think of a Latin American woman writer,” Guzmán told \u003cem>All Things Considered\u003c/em>. “We don’t think of an Esmeralda Santiago or a Sandra Cisneros … or Guadeloupe’s masterful writer Maryse Condé or Edwidge Danticat.”\u003c/p>\n\u003cp>“And these are women who have historically written and guided me, and so why not bring together the voices in one volume?”\u003c/p>\n\u003cp>Guzmán also took inspiration from an existing collection, called \u003cem>New Daughters of Africa: An International Anthology of Writing by Women of African Descent\u003c/em>. It features more than 200 women from that region.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her anthology weaves poems, short stories, essays, speeches and more. The contributors live across the Americas and the Caribbean, in Europe and in other parts of the world; some are immigrants, others are members of Indigenous communities. And there are more than 20 languages in the book.\u003c/p>\n\u003cp>“We are one of the most multilingual, multiethnic, multiracial, multireligious regions in the world,” Guzmán said. “So for me, it was really important to convey that diversity.”\u003c/p>\n\u003cp>There is, for example, Rosa Chávez, a Maya K’iche’-Kaqchikel poet and artist from Guatemala. A few of her poems appear in the Kʼicheʼ language in the anthology as well as in English. The poem, \u003cem>Speak to me in the language of time, \u003c/em>was translated from Spanish by Gabriela Ramirez- Chávez:\u003c/p>\n\u003cblockquote>\u003cp>Speak to me in the language of time\u003c/p>\n\u003cp>shake me in the silence of the stars\u003c/p>\n\u003cp>wake merely before drifting back to sleep\u003c/p>\n\u003cp>so I can love you with my domesticated tongue\u003c/p>\n\u003cp>so your barefoot voice plays inside my body.\u003c/p>\n\u003cp>Speak to me with the sun’s tongue\u003c/p>\n\u003cp>tell me green words that ripen on my skin\u003c/p>\n\u003cp>join your name to mine\u003c/p>\n\u003cp>and love me with your two hearts.\u003c/p>\u003c/blockquote>\n\u003cp>There is also Sonia Guiñansaca, who was born in Ecuador and raised in Harlem, NY. They are a Kichwa-Kañari poet, culture strategist and activist. This is an excerpt of their poem, \u003cem>Runa in Translation\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>There is a longing to write this poem in Kichwa / I speak broken\u003c/p>\n\u003cp>Spanish / English with a heavy New York City accent / I wonder if my\u003c/p>\n\u003cp>tongue will ever heal from the breaking /\u003c/p>\n\u003cp>A breaking like when I am around other Kichwas\u003c/p>\n\u003cp>and I cannot understand them /\u003c/p>\n\u003cp>I wonder sometimes (most times) if I’m real / At age five I am plucked\u003c/p>\n\u003cp>from Ecuador and flown to the U.S. / For a brief moment I am given a new\u003c/p>\n\u003cp>name and my hair is cut / and my burgundy luggage goes missing / So I\u003c/p>\n\u003cp>arrive with nothing / I think that I am nothing through middle school / And\u003c/p>\n\u003cp>in high school I stop existing / I nest in my mouth / Quietly /Kikinka\u003c/p>\n\u003cp>maymantatak kanki\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán said she also wanted to put Afro-Latinas front and center in this collection: “It’s really important for me as an Afro-Indigenous woman to include women who have paved the way for us.”\u003c/p>\n\u003cp>One example is Mary Grueso Romero, a poet, children’s literature author and Spanish professor from Colombia. Here’s an excerpt of her poem, \u003cem>Si Dios hubiese nacido aquí (If God had been born here)\u003c/em>, translated into English by Guzmán herself:\u003c/p>\n\u003cblockquote>\u003cp>If God had been born here\u003c/p>\n\u003cp>he’d be a fisherman,\u003c/p>\n\u003cp>eat chontaduro\u003c/p>\n\u003cp>and drink borojó.\u003c/p>\n\u003cp>María would be Black\u003c/p>\n\u003cp>big boned like me\u003c/p>\n\u003cp>and on top of her head would carry a platter of fish\u003c/p>\n\u003cp>offering at the top of her lungs\u003c/p>\n\u003cp>through the town’s streets\u003c/p>\n\u003cp>to all the town folk:\u003c/p>\n\u003cp>“I have silky fish whole and intact;\u003c/p>\n\u003cp>snapper to eat fried,\u003c/p>\n\u003cp>ñato fo’ stewin,\u003c/p>\n\u003cp>tollo fo’ sweatin’\u003c/p>\n\u003cp>and canchimala for tapao.”\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d be a farmer\u003c/p>\n\u003cp>who’d harvest coconuts from the palm\u003c/p>\n\u003cp>grove with his muscled body\u003c/p>\n\u003cp>like a Black man from El Piñal,\u003c/p>\n\u003cp>with jet Black skin\u003c/p>\n\u003cp>and ivory teeth,\u003c/p>\n\u003cp>with tight coily hair\u003c/p>\n\u003cp>like he was a chacarrás.\u003c/p>\n\u003cp>On the Pacific plain\u003c/p>\n\u003cp>he’d harvest natos and mangroves\u003c/p>\n\u003cp>that he’d turn into rollers fo’ the rails to rest,\u003c/p>\n\u003cp>and he’d fish crabs\u003c/p>\n\u003cp>from the neighborhood caves.\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d feel his blood rise\u003c/p>\n\u003cp>at the sound of the drum.\u003c/p>\n\u003cp>He’d dance currulao with marimba and guasá,\u003c/p>\n\u003cp>he’d drink biche\u003c/p>\n\u003cp>in the patronal festival,\u003c/p>\n\u003cp>he’d feel on his own flesh\u003c/p>\n\u003cp>the inequality’s scorn for being Black,\u003c/p>\n\u003cp>for being poor,\u003c/p>\n\u003cp>and for being from this coast.\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán also wanted to highlight the works of Puerto Rican writers, explaining that they are often left in the margins.\u003c/p>\n\u003cp>“When anthologies are curated in the United States, for instance, we are often forgotten,” she said. “And when anthologies are curated in Latin America … we’re also forgotten.”\u003c/p>\n\u003cp>One of those she included was Esmeralda Santiago, a Puerto Rican novelist and memoirist who contributed the poem \u003cem>Mi Sangre \u003c/em>(\u003cem>My Blood\u003c/em>). Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>I’ve left my blood in 49 states, 27 countries on five continents.\u003c/p>\n\u003cp>These days, my blood fills test tubes and spreads across specimen slides.\u003c/p>\n\u003cp>I bleed to delay death a sanguine stream to insufferable regions while my defiant blood pulses in the strangest place of all my children’s veins.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13928174']Guzmán said she hopes this anthology will prompt people to read more of these artists — and others from the region — who live in all corners of the world.\u003c/p>\n\u003cp>“To understand Latin America through the lens of its women is to fully understand the cultures and the people that inhabit this region in different parts of the world,” she said.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The poems in this article were adapted from \u003c/strong>\u003cstrong>\u003cem>Daughters of Latin America \u003c/em>\u003c/strong>\u003cstrong>edited by Sandra Guzmán and reprinted with permission from Amistad, an imprint of HarperCollins Publishers. Copyright 2023.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+poems+by+Latin+American+women+reflect+a+multilingual+region&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What clicked was this notion that whenever we think about writers, we don’t automatically think of a Latin American woman writer,” Guzmán told \u003cem>All Things Considered\u003c/em>. “We don’t think of an Esmeralda Santiago or a Sandra Cisneros … or Guadeloupe’s masterful writer Maryse Condé or Edwidge Danticat.”\u003c/p>\n\u003cp>“And these are women who have historically written and guided me, and so why not bring together the voices in one volume?”\u003c/p>\n\u003cp>Guzmán also took inspiration from an existing collection, called \u003cem>New Daughters of Africa: An International Anthology of Writing by Women of African Descent\u003c/em>. It features more than 200 women from that region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her anthology weaves poems, short stories, essays, speeches and more. The contributors live across the Americas and the Caribbean, in Europe and in other parts of the world; some are immigrants, others are members of Indigenous communities. And there are more than 20 languages in the book.\u003c/p>\n\u003cp>“We are one of the most multilingual, multiethnic, multiracial, multireligious regions in the world,” Guzmán said. “So for me, it was really important to convey that diversity.”\u003c/p>\n\u003cp>There is, for example, Rosa Chávez, a Maya K’iche’-Kaqchikel poet and artist from Guatemala. A few of her poems appear in the Kʼicheʼ language in the anthology as well as in English. The poem, \u003cem>Speak to me in the language of time, \u003c/em>was translated from Spanish by Gabriela Ramirez- Chávez:\u003c/p>\n\u003cblockquote>\u003cp>Speak to me in the language of time\u003c/p>\n\u003cp>shake me in the silence of the stars\u003c/p>\n\u003cp>wake merely before drifting back to sleep\u003c/p>\n\u003cp>so I can love you with my domesticated tongue\u003c/p>\n\u003cp>so your barefoot voice plays inside my body.\u003c/p>\n\u003cp>Speak to me with the sun’s tongue\u003c/p>\n\u003cp>tell me green words that ripen on my skin\u003c/p>\n\u003cp>join your name to mine\u003c/p>\n\u003cp>and love me with your two hearts.\u003c/p>\u003c/blockquote>\n\u003cp>There is also Sonia Guiñansaca, who was born in Ecuador and raised in Harlem, NY. They are a Kichwa-Kañari poet, culture strategist and activist. This is an excerpt of their poem, \u003cem>Runa in Translation\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>There is a longing to write this poem in Kichwa / I speak broken\u003c/p>\n\u003cp>Spanish / English with a heavy New York City accent / I wonder if my\u003c/p>\n\u003cp>tongue will ever heal from the breaking /\u003c/p>\n\u003cp>A breaking like when I am around other Kichwas\u003c/p>\n\u003cp>and I cannot understand them /\u003c/p>\n\u003cp>I wonder sometimes (most times) if I’m real / At age five I am plucked\u003c/p>\n\u003cp>from Ecuador and flown to the U.S. / For a brief moment I am given a new\u003c/p>\n\u003cp>name and my hair is cut / and my burgundy luggage goes missing / So I\u003c/p>\n\u003cp>arrive with nothing / I think that I am nothing through middle school / And\u003c/p>\n\u003cp>in high school I stop existing / I nest in my mouth / Quietly /Kikinka\u003c/p>\n\u003cp>maymantatak kanki\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán said she also wanted to put Afro-Latinas front and center in this collection: “It’s really important for me as an Afro-Indigenous woman to include women who have paved the way for us.”\u003c/p>\n\u003cp>One example is Mary Grueso Romero, a poet, children’s literature author and Spanish professor from Colombia. Here’s an excerpt of her poem, \u003cem>Si Dios hubiese nacido aquí (If God had been born here)\u003c/em>, translated into English by Guzmán herself:\u003c/p>\n\u003cblockquote>\u003cp>If God had been born here\u003c/p>\n\u003cp>he’d be a fisherman,\u003c/p>\n\u003cp>eat chontaduro\u003c/p>\n\u003cp>and drink borojó.\u003c/p>\n\u003cp>María would be Black\u003c/p>\n\u003cp>big boned like me\u003c/p>\n\u003cp>and on top of her head would carry a platter of fish\u003c/p>\n\u003cp>offering at the top of her lungs\u003c/p>\n\u003cp>through the town’s streets\u003c/p>\n\u003cp>to all the town folk:\u003c/p>\n\u003cp>“I have silky fish whole and intact;\u003c/p>\n\u003cp>snapper to eat fried,\u003c/p>\n\u003cp>ñato fo’ stewin,\u003c/p>\n\u003cp>tollo fo’ sweatin’\u003c/p>\n\u003cp>and canchimala for tapao.”\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d be a farmer\u003c/p>\n\u003cp>who’d harvest coconuts from the palm\u003c/p>\n\u003cp>grove with his muscled body\u003c/p>\n\u003cp>like a Black man from El Piñal,\u003c/p>\n\u003cp>with jet Black skin\u003c/p>\n\u003cp>and ivory teeth,\u003c/p>\n\u003cp>with tight coily hair\u003c/p>\n\u003cp>like he was a chacarrás.\u003c/p>\n\u003cp>On the Pacific plain\u003c/p>\n\u003cp>he’d harvest natos and mangroves\u003c/p>\n\u003cp>that he’d turn into rollers fo’ the rails to rest,\u003c/p>\n\u003cp>and he’d fish crabs\u003c/p>\n\u003cp>from the neighborhood caves.\u003c/p>\n\u003cp>If God had been born here,\u003c/p>\n\u003cp>here on this coast,\u003c/p>\n\u003cp>he’d feel his blood rise\u003c/p>\n\u003cp>at the sound of the drum.\u003c/p>\n\u003cp>He’d dance currulao with marimba and guasá,\u003c/p>\n\u003cp>he’d drink biche\u003c/p>\n\u003cp>in the patronal festival,\u003c/p>\n\u003cp>he’d feel on his own flesh\u003c/p>\n\u003cp>the inequality’s scorn for being Black,\u003c/p>\n\u003cp>for being poor,\u003c/p>\n\u003cp>and for being from this coast.\u003c/p>\u003c/blockquote>\n\u003cp>Guzmán also wanted to highlight the works of Puerto Rican writers, explaining that they are often left in the margins.\u003c/p>\n\u003cp>“When anthologies are curated in the United States, for instance, we are often forgotten,” she said. “And when anthologies are curated in Latin America … we’re also forgotten.”\u003c/p>\n\u003cp>One of those she included was Esmeralda Santiago, a Puerto Rican novelist and memoirist who contributed the poem \u003cem>Mi Sangre \u003c/em>(\u003cem>My Blood\u003c/em>). Here’s an excerpt:\u003c/p>\n\u003cblockquote>\u003cp>I’ve left my blood in 49 states, 27 countries on five continents.\u003c/p>\n\u003cp>These days, my blood fills test tubes and spreads across specimen slides.\u003c/p>\n\u003cp>I bleed to delay death a sanguine stream to insufferable regions while my defiant blood pulses in the strangest place of all my children’s veins.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Guzmán said she hopes this anthology will prompt people to read more of these artists — and others from the region — who live in all corners of the world.\u003c/p>\n\u003cp>“To understand Latin America through the lens of its women is to fully understand the cultures and the people that inhabit this region in different parts of the world,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The poems in this article were adapted from \u003c/strong>\u003cstrong>\u003cem>Daughters of Latin America \u003c/em>\u003c/strong>\u003cstrong>edited by Sandra Guzmán and reprinted with permission from Amistad, an imprint of HarperCollins Publishers. Copyright 2023.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+poems+by+Latin+American+women+reflect+a+multilingual+region&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Chloe Sherman’s ‘Renegades’ Beautifully Conveys Queer Life in 1990s San Francisco",
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"content": "\u003cp>At the outset of \u003ca href=\"https://www.chloeshermanphotography.com/\">Chloe Sherman\u003c/a>’s new photography book \u003cem>Renegades\u003c/em>, there are three forewords. One by fellow photographer \u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a>, one by writer (and former Blatz vocalist) \u003ca href=\"https://www.goodreads.com/author/show/4059815.Anna_Joy_Springer\">Anna Joy Springer\u003c/a>, and one by Tribe 8 vocalist and author \u003ca href=\"https://www.instagram.com/lynneeboy/?hl=en\">Lynn Breedlove\u003c/a>. All pay tribute to \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">Sherman’s disarming photographic style\u003c/a> and her knack for preserving everyday moments in queer Bay Area history. Breedlove’s words, however, go one step further, viscerally reveling in the memory of what it was to be young, rebellious and queer in 1990s San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13915084']“We came from around the country and the planet, tired of the crusades to be seen and not killed, from rural places, big cities,” Breedlove writes. “Even NYC and LA looked askance at our out-of-line gender assertions, as we stabbed flags into the dirt, some of us already transitioning, adopting pronouns, audaciously insisting we were gorgeous, terrifying, trifling with normativities, flying in the face of cisterns, tossing dynamite at binaries, then rebuilding ourselves from the bits.”\u003c/p>\n\u003cp>Breedlove’s searing introduction wholly reflects the 58 pages of photographs in \u003cem>Renegades\u003c/em>. But in truth, the book would have had just as much impact — and still succeeded in painting the very same picture that Breedlove does — even if accompanied by no words at all. Sherman’s colorful, intimate, impulsive and affectionate photos speak loudly for the wild, untethered souls in them, as well as the era they were living through.\u003c/p>\n\u003cfigure id=\"attachment_13933329\" class=\"wp-caption aligncenter\" style=\"max-width: 1556px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cake-and-wig.png\" alt=\"An androgynous Black person wearing black t-shirt and jeans laughs closely to a white woman with long, messy, pink hair. They are both leaning over a mint green cake on a red table in a back yard.\" width=\"1556\" height=\"1030\" class=\"size-full wp-image-13933329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig.png 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1536x1017.png 1536w\" sizes=\"(max-width: 1556px) 100vw, 1556px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ’Birthday Cake With Wings,’ mid-90s. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The queer joy positively beams from these pictures, with a palpable and rollicking sense of newfound freedom and community. Viewing these images all in one sitting is like suddenly being invited into the coolest (and tightest) group of friends you’ve ever had. Those of Sherman’s pals who appear repeatedly — I don’t mind admitting that I grew rather attached to both \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Dodge\">Harry Dodge\u003c/a> and Asia — begin to feel like characters to root for. Each appearance leaves a more detailed impression of their beautiful, unapologetic selves than the last.\u003c/p>\n\u003cp>[aside postid='arts_13902953']Sherman’s work also acts as a guide to queer San Francisco hotspots — some past (RIP \u003ca href=\"http://lostwomynsspace.blogspot.com/2014/07/red-doras-bearded-lady.html\">Bearded Lady Cafe\u003c/a>, \u003ca href=\"https://www.kqed.org/news/10501545/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\">The Lexington\u003c/a>), others still very present (hello \u003ca href=\"https://www.yelp.com/biz/hole-in-the-wall-saloon-san-francisco\">Hole in the Wall\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/glama-rama-san-francisco-3\">Glamarama\u003c/a>, \u003ca href=\"http://www.blackandbluetattoo.com/\">Black & Blue Tattoo\u003c/a>). Well known figures from the city’s queer community also appear — including \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\">Juanita More\u003c/a> looking like a silver screen goddess in 1999, \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> bar owner Malia Spanyol before she started running venues, and Lexington founder Lila Thirkield behind her brand new bar in 1998. Impossibly cool members of queercore bands like \u003ca href=\"https://en.wikipedia.org/wiki/Tribe_8\">Tribe 8\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Cypher_in_the_Snow\">Cypher in the Snow\u003c/a> also make appearances.\u003c/p>\n\u003cfigure id=\"attachment_13933364\" class=\"wp-caption aligncenter\" style=\"max-width: 1572px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png\" alt=\"A woman in a red satin dressing gown reclines on a bed, her black messy hair pulled back, her lips painted red. She is talking on a green landline telephone and smoking a cigarette. A leaf-shaped ashtray sits at her hip.\" width=\"1572\" height=\"1048\" class=\"size-full wp-image-13933364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png 1572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1536x1024.png 1536w\" sizes=\"(max-width: 1572px) 100vw, 1572px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Anna Joy Post Surgery at Home,’ 1997. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though featured frequently, \u003cem>Renegades\u003c/em> isn’t just about queer San Francisco nightlife in the ’90s. Some of the most impactful images are of messy bedrooms with graffitied walls, group outings in classic cars, idyllic picnics with sunbathing and snacks, and casual frolics on the beach. It’s a reminder that not so long ago, San Francisco was a place with affordable rent where young bohemians could live, thriving on minimal wages and maximum fun. That Sherman can take us back to that time so vividly is a gift to us all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘\u003ca href=\"https://bookshop.org/p/books/chloe-sherman-renegades-chloe-sherman/19986751?\">Renegades\u003c/a>’ will be released by Hatje Cantz on Sept. 19, 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>A launch and signing event for the book will be held at the San Francisco bar \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> (3079 16th St.) on Friday, Aug. 25 at 6 p.m. Sherman will also be signing copies of ‘Renegades’ at San Francisco’s \u003ca href=\"https://www.fabulosabooks.com/\">Fabulosa Books\u003c/a> (489 Castro St.) on Thursday, Sept. 28.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sherman will be in conversation at the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/rooms/koret-auditorium\">Koret Auditorium\u003c/a> (100 Larkin St.) on Thursday, Oct. 5 at 6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the outset of \u003ca href=\"https://www.chloeshermanphotography.com/\">Chloe Sherman\u003c/a>’s new photography book \u003cem>Renegades\u003c/em>, there are three forewords. One by fellow photographer \u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a>, one by writer (and former Blatz vocalist) \u003ca href=\"https://www.goodreads.com/author/show/4059815.Anna_Joy_Springer\">Anna Joy Springer\u003c/a>, and one by Tribe 8 vocalist and author \u003ca href=\"https://www.instagram.com/lynneeboy/?hl=en\">Lynn Breedlove\u003c/a>. All pay tribute to \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">Sherman’s disarming photographic style\u003c/a> and her knack for preserving everyday moments in queer Bay Area history. Breedlove’s words, however, go one step further, viscerally reveling in the memory of what it was to be young, rebellious and queer in 1990s San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We came from around the country and the planet, tired of the crusades to be seen and not killed, from rural places, big cities,” Breedlove writes. “Even NYC and LA looked askance at our out-of-line gender assertions, as we stabbed flags into the dirt, some of us already transitioning, adopting pronouns, audaciously insisting we were gorgeous, terrifying, trifling with normativities, flying in the face of cisterns, tossing dynamite at binaries, then rebuilding ourselves from the bits.”\u003c/p>\n\u003cp>Breedlove’s searing introduction wholly reflects the 58 pages of photographs in \u003cem>Renegades\u003c/em>. But in truth, the book would have had just as much impact — and still succeeded in painting the very same picture that Breedlove does — even if accompanied by no words at all. Sherman’s colorful, intimate, impulsive and affectionate photos speak loudly for the wild, untethered souls in them, as well as the era they were living through.\u003c/p>\n\u003cfigure id=\"attachment_13933329\" class=\"wp-caption aligncenter\" style=\"max-width: 1556px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cake-and-wig.png\" alt=\"An androgynous Black person wearing black t-shirt and jeans laughs closely to a white woman with long, messy, pink hair. They are both leaning over a mint green cake on a red table in a back yard.\" width=\"1556\" height=\"1030\" class=\"size-full wp-image-13933329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig.png 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1536x1017.png 1536w\" sizes=\"(max-width: 1556px) 100vw, 1556px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ’Birthday Cake With Wings,’ mid-90s. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The queer joy positively beams from these pictures, with a palpable and rollicking sense of newfound freedom and community. Viewing these images all in one sitting is like suddenly being invited into the coolest (and tightest) group of friends you’ve ever had. Those of Sherman’s pals who appear repeatedly — I don’t mind admitting that I grew rather attached to both \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Dodge\">Harry Dodge\u003c/a> and Asia — begin to feel like characters to root for. Each appearance leaves a more detailed impression of their beautiful, unapologetic selves than the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sherman’s work also acts as a guide to queer San Francisco hotspots — some past (RIP \u003ca href=\"http://lostwomynsspace.blogspot.com/2014/07/red-doras-bearded-lady.html\">Bearded Lady Cafe\u003c/a>, \u003ca href=\"https://www.kqed.org/news/10501545/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\">The Lexington\u003c/a>), others still very present (hello \u003ca href=\"https://www.yelp.com/biz/hole-in-the-wall-saloon-san-francisco\">Hole in the Wall\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/glama-rama-san-francisco-3\">Glamarama\u003c/a>, \u003ca href=\"http://www.blackandbluetattoo.com/\">Black & Blue Tattoo\u003c/a>). Well known figures from the city’s queer community also appear — including \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\">Juanita More\u003c/a> looking like a silver screen goddess in 1999, \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> bar owner Malia Spanyol before she started running venues, and Lexington founder Lila Thirkield behind her brand new bar in 1998. Impossibly cool members of queercore bands like \u003ca href=\"https://en.wikipedia.org/wiki/Tribe_8\">Tribe 8\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Cypher_in_the_Snow\">Cypher in the Snow\u003c/a> also make appearances.\u003c/p>\n\u003cfigure id=\"attachment_13933364\" class=\"wp-caption aligncenter\" style=\"max-width: 1572px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png\" alt=\"A woman in a red satin dressing gown reclines on a bed, her black messy hair pulled back, her lips painted red. She is talking on a green landline telephone and smoking a cigarette. A leaf-shaped ashtray sits at her hip.\" width=\"1572\" height=\"1048\" class=\"size-full wp-image-13933364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png 1572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1536x1024.png 1536w\" sizes=\"(max-width: 1572px) 100vw, 1572px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Anna Joy Post Surgery at Home,’ 1997. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though featured frequently, \u003cem>Renegades\u003c/em> isn’t just about queer San Francisco nightlife in the ’90s. Some of the most impactful images are of messy bedrooms with graffitied walls, group outings in classic cars, idyllic picnics with sunbathing and snacks, and casual frolics on the beach. It’s a reminder that not so long ago, San Francisco was a place with affordable rent where young bohemians could live, thriving on minimal wages and maximum fun. That Sherman can take us back to that time so vividly is a gift to us all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘\u003ca href=\"https://bookshop.org/p/books/chloe-sherman-renegades-chloe-sherman/19986751?\">Renegades\u003c/a>’ will be released by Hatje Cantz on Sept. 19, 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>A launch and signing event for the book will be held at the San Francisco bar \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> (3079 16th St.) on Friday, Aug. 25 at 6 p.m. Sherman will also be signing copies of ‘Renegades’ at San Francisco’s \u003ca href=\"https://www.fabulosabooks.com/\">Fabulosa Books\u003c/a> (489 Castro St.) on Thursday, Sept. 28.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sherman will be in conversation at the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/rooms/koret-auditorium\">Koret Auditorium\u003c/a> (100 Larkin St.) on Thursday, Oct. 5 at 6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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