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"content": "\u003cp>\u003cem>The Global Library Project\u003c/em> is a stirring photography exhibit that acts as a love letter to librarians, to the written word, and to histories preserved. (That it’s on show at San Francisco’s main public library should come as no surprise.)\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.robertdawson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Dawson\u003c/a>‘s adoration for all things bibliophilic was previously documented in 2014’s \u003cem>The Public Library: A Photographic Essay \u003c/em>book, in which he documented libraries across America. Now, in collaboration with his wife, photo historian \u003ca href=\"http://www.rupertjenkins.com/colorado-photo-history-blog/2021/1/13/ellen-manchester-amp-the-rephotographic-survey-project-mhwbd\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Manchester\u003c/a>, Dawson has begun documenting libraries around the world.\u003c/p>\n\u003cfigure id=\"attachment_13914748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1920x1286.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarians and volunteers stand outside the Children’s Library of Dnipro, Ukraine.\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it’s the palatial Wiblingen Library in Ulm, Germany, or an open air library for refugees in a downtrodden part of Tel Aviv, no library is off-limits for this San Francisco couple. In this new exhibit, on view through Nov. 13, Dawson and Manchester capture the warmth inside these community spaces and, frequently, the pride each institution has for its location. But the thing that truly elevates Dawson and Manchester’s work is their knack for presenting every library as essential and even sacred.\u003c/p>\n\u003cp>[aside postid='arts_13873153']By expanding his scope beyond American borders, Dawson’s camera now carries the weight of old conflicts that have played out across European history. It’s clear throughout \u003cem>The Global Library Project\u003c/em> that the battles beyond library walls can’t help but impact what’s inside them. One striking example from the Palestinian Nablus Public Library: a book with a cube neatly cut out of its center—a space where Palestinian people imprisoned in Israel could exchange personal notes and information. In Belgium, the charred remains of old books stand as a reminder of when Leuven’s Library of the Catholic University was burned to the ground by Nazis.\u003c/p>\n\u003cfigure id=\"attachment_13914787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914787\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117805271_738ab5dbaf_k-800x533.jpg\" alt=\"A long grand hall, with ornate pews and desks on both sides, separated by a walkway and white structural pillars.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The Malatestiana Library in Italy was built in 1454. Following medieval tradition, to this day it is lit entirely with natural light and all the books are secured to desks via chains. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, the fallout from World War II and the Nazi decimation of the Jewish people reoccurs in \u003cem>The Global Library Project\u003c/em>. In Poland, we see synagogues that became libraries when there were no more Jews to frequent them. From Israel’s National Library, the story of a World War I veteran who kept a torah with him in a World War II concentration camp—disguised as his wooden leg. In Berlin, there’s The Empty Library—a memorial to the thousands of books lost to Nazi book burnings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sometimes, the libraries stand as symbols for what is no longer there. Today in Germany, for example, two libraries serve the exact same community. They are positioned close together because they were once separated by the Berlin wall. At Oświęcim—more commonly known as Auschwitz—Dawson and Manchester capture a library that makes no mention of the atrocities that took place there during the second world war. Though jarred by the erasure, the couple is careful to note: “The library was built to forget.”\u003c/p>\n\u003cfigure id=\"attachment_13914747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914747\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841838_65b38daa4c_k-800x534.jpg\" alt=\"A man and two women sit cross legged above a window built into the sidewalk. Brightly lit underneath them are rows and rows of white empty shelves. Behind them stands a grand old library building.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">The Empty Library: Micha Ullman’s stark memorial stands on the site of a 1933 book burning outside Humboldt University’s Old Library. Its empty white shelves are large enough to hold the estimated 20,000 books burned by the Nazis. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Dawson and Manchester take the viewer on a fascinating trip that touches down in Canada, Russia, France, Greece, Italy, and even through the library ruins of Pompeii. Together, the resulting photographs make for a moving journey full of human resilience, intellect, and the determination it takes to document and catalog it all for future generations.\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 Global Library Project’ is on display at San Francisco Main Library’s Jewett Gallery through Nov. 13. \u003ca href=\"https://sfpl.org/exhibits/2022/06/11/global-library-project\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Global Library Project\u003c/em> is a stirring photography exhibit that acts as a love letter to librarians, to the written word, and to histories preserved. (That it’s on show at San Francisco’s main public library should come as no surprise.)\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.robertdawson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Dawson\u003c/a>‘s adoration for all things bibliophilic was previously documented in 2014’s \u003cem>The Public Library: A Photographic Essay \u003c/em>book, in which he documented libraries across America. Now, in collaboration with his wife, photo historian \u003ca href=\"http://www.rupertjenkins.com/colorado-photo-history-blog/2021/1/13/ellen-manchester-amp-the-rephotographic-survey-project-mhwbd\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Manchester\u003c/a>, Dawson has begun documenting libraries around the world.\u003c/p>\n\u003cfigure id=\"attachment_13914748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1920x1286.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarians and volunteers stand outside the Children’s Library of Dnipro, Ukraine.\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it’s the palatial Wiblingen Library in Ulm, Germany, or an open air library for refugees in a downtrodden part of Tel Aviv, no library is off-limits for this San Francisco couple. In this new exhibit, on view through Nov. 13, Dawson and Manchester capture the warmth inside these community spaces and, frequently, the pride each institution has for its location. But the thing that truly elevates Dawson and Manchester’s work is their knack for presenting every library as essential and even sacred.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By expanding his scope beyond American borders, Dawson’s camera now carries the weight of old conflicts that have played out across European history. It’s clear throughout \u003cem>The Global Library Project\u003c/em> that the battles beyond library walls can’t help but impact what’s inside them. One striking example from the Palestinian Nablus Public Library: a book with a cube neatly cut out of its center—a space where Palestinian people imprisoned in Israel could exchange personal notes and information. In Belgium, the charred remains of old books stand as a reminder of when Leuven’s Library of the Catholic University was burned to the ground by Nazis.\u003c/p>\n\u003cfigure id=\"attachment_13914787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914787\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117805271_738ab5dbaf_k-800x533.jpg\" alt=\"A long grand hall, with ornate pews and desks on both sides, separated by a walkway and white structural pillars.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The Malatestiana Library in Italy was built in 1454. Following medieval tradition, to this day it is lit entirely with natural light and all the books are secured to desks via chains. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, the fallout from World War II and the Nazi decimation of the Jewish people reoccurs in \u003cem>The Global Library Project\u003c/em>. In Poland, we see synagogues that became libraries when there were no more Jews to frequent them. From Israel’s National Library, the story of a World War I veteran who kept a torah with him in a World War II concentration camp—disguised as his wooden leg. In Berlin, there’s The Empty Library—a memorial to the thousands of books lost to Nazi book burnings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sometimes, the libraries stand as symbols for what is no longer there. Today in Germany, for example, two libraries serve the exact same community. They are positioned close together because they were once separated by the Berlin wall. At Oświęcim—more commonly known as Auschwitz—Dawson and Manchester capture a library that makes no mention of the atrocities that took place there during the second world war. Though jarred by the erasure, the couple is careful to note: “The library was built to forget.”\u003c/p>\n\u003cfigure id=\"attachment_13914747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914747\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841838_65b38daa4c_k-800x534.jpg\" alt=\"A man and two women sit cross legged above a window built into the sidewalk. Brightly lit underneath them are rows and rows of white empty shelves. Behind them stands a grand old library building.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">The Empty Library: Micha Ullman’s stark memorial stands on the site of a 1933 book burning outside Humboldt University’s Old Library. Its empty white shelves are large enough to hold the estimated 20,000 books burned by the Nazis. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Dawson and Manchester take the viewer on a fascinating trip that touches down in Canada, Russia, France, Greece, Italy, and even through the library ruins of Pompeii. Together, the resulting photographs make for a moving journey full of human resilience, intellect, and the determination it takes to document and catalog it all for future generations.\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 Global Library Project’ is on display at San Francisco Main Library’s Jewett Gallery through Nov. 13. \u003ca href=\"https://sfpl.org/exhibits/2022/06/11/global-library-project\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Books That Try to Explain the Unexplainable: the U.S. Gun Violence Epidemic",
"headTitle": "5 Books That Try to Explain the Unexplainable: the U.S. Gun Violence Epidemic | KQED",
"content": "\u003cp>As of May 31, there have already been \u003ca href=\"https://www.gunviolencearchive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">233 mass shootings in 2022\u003c/a>, according to the Gun Violence Archive, an independent organization that collects data from over 7,500 sources. That includes \u003ca href=\"https://www.npr.org/series/1101183663/uvalde-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">the massacre at Robb Elementary School\u003c/a> in Uvalde, Texas, which killed 19 children and two adults and injured many others.\u003c/p>\n\u003cp>[aside postid='arts_13913932']More than 45,000 people in the U.S. were killed by guns in 2020, \u003ca href=\"https://wonder.cdc.gov/controller/datarequest/D76;jsessionid=EE19ACC48655F2DC04EA2EC2EBE3\" target=\"_blank\" rel=\"noopener noreferrer\">the Centers for Disease Control reported recently\u003c/a>. That year, firearms became the \u003ca href=\"https://www.axios.com/2022/05/26/gun-deaths-children-america\" target=\"_blank\" rel=\"noopener noreferrer\">leading cause of death\u003c/a> for American children. On average, gun violence kills nine children every day.\u003c/p>\n\u003cp>While these statistics are startling, they can dull the senses, at the same time that solutions seem increasingly hard to come by. Here are five books that help us go beyond the numbers: telling the stories of victims of American gun violence, and explaining how we got here and how we might get out.\u003c/p>\n\u003ch3>\u003cem>Another Day in the Death Of America: A Chronicle of Ten Short Lives\u003c/em> by Gary Younge\u003c/h3>\n\u003cfigure id=\"attachment_13914551\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Another Day in the Death of America: A Chronicle of Ten Short Lives’ By Gary Younge. \u003ccite>(PublicAffairs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tyler, 11, loved catching fish in the creek behind his house . He was accidentally shot by his best friend during a sleepover. Gary Anderson was an 18-year-old who loved to fix things—especially bikes. He was killed while walking to his mother’s apartment, in what his father says was a case of mistaken identity. The baseball coaches for his team all called 9-year-old Jaiden “Smiley.” He was murdered by his mom’s ex-boyfriend.\u003c/p>\n\u003cp>\u003cem>Another Day in the Death of America \u003c/em>documents the lives and deaths of 10 boys—ages 9 to 19—killed by guns over the course of a single day: Nov. 23, 2013. The randomly chosen date reflects \u003ca href=\"https://www.childrensdefense.org/state-of-americas-children/soac-2021-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">troubling statistics\u003c/a> of American life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But these children aren’t just data points. With meticulous research, interviews with family members, and reports of gun violence around the country, Younge pieces together devastating memorials for each of the victims as he explains the circumstances that lead to their deaths.\u003c/p>\n\u003ch3>\u003cem>From a Taller Tower: The Rise of the American Mass Shooter \u003c/em>by Seamus McGraw\u003c/h3>\n\u003cp>In 1966, after murdering his wife and his mother, a student climbed a tower at the University of Texas and began firing. In the end, he killed 17 people. At the time, it was the deadliest mass shooting in modern United States history. Now, it’s the 10th.\u003c/p>\n\u003cp>\u003cem>From a Taller Tower \u003c/em>traces the history of the American mass shooter—at Columbine, Sandy Hook, Parkland—without giving in to the notoriety that so many of them seek. With few exceptions, the murderers are never named. Instead, the book examines the beliefs many Americans hold onto about guns, mass shootings and mental illness, and confronts the circumstances that allow these catastrophes to continue.\u003c/p>\n\u003ch3>\u003cem>Glimmer of Hope: How Tragedy Sparked a Movement\u003c/em> by The March for Our Lives Founders\u003c/h3>\n\u003cfigure id=\"attachment_13914553\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Glimmer of Hope: How Tragedy Sparked a Movement’ By The March for Our Lives Founders. \u003ccite>(Penguin Young Readers Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the wake of one of the United States’ deadliest school shootings, students from Marjory Stoneman Douglas High School in Parkland, Fla., organized. Now, the March for Our Lives movement and nonprofit are working to end gun violence through civic engagement, education and direct action.\u003c/p>\n\u003cp>This anthology chronicles the stories of 25 student founders through poetry, personal essays, conversations and excerpts from speeches. It details the fear they felt on Feb. 14, 2018, the countless hours required to make a movement successful, and the trauma that continues to impact survivors long after the news cameras have moved on. While it can be easy to forget how young these activists are, this look into their extraordinary work is also a reminder that they should never have needed to take on this work in the first place.\u003c/p>\n\u003cp>All net proceeds from the book go to the March For Our Lives Action Fund.\u003c/p>\n\u003ch3>\u003cem>Misfire: Inside the Downfall of the NRA\u003c/em> by Tim Mak\u003c/h3>\n\u003cp>With confidential files, depositions and over 100 interviews with NRA staff and associates, \u003ca href=\"https://www.npr.org/2021/11/02/1051363337/misfire-takes-a-hard-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">NPR investigative correspondent Tim Mak\u003c/a> chronicles the \u003ca href=\"https://www.npr.org/2021/11/01/1050432834/misfire-is-a-scathing-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">incompetence, corruption and wanton embezzlement\u003c/a> that has marked Wayne LaPierre’s (continued) oversight of the organization, and outlines how the NRA went from teaching marksmanship to sabotaging bipartisan legislation supporting background checks after the Sandy Hook massacre.\u003c/p>\n\u003ch3>\u003cem>Stand Your Ground: A History Of America’s Love Affair With Lethal Self-Defense\u003c/em> by Caroline Light\u003c/h3>\n\u003cfigure id=\"attachment_13914555\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Stand Your Ground: A History of America’s Love Affair With Lethal Self-Defense’ By Caroline Light. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With keen legal analysis, Caroline Light examines the history of violence rooted in stand-your-ground laws and the ideology of “DIY-security” citizenship in the United States from the 17th century to today. Despite the theoretical right of any American to stand their ground, Light argues that, in practice, these laws are rooted in the need to protect white men’s honor.\u003c/p>\n\u003cp>Looking at influential court cases and crucial moments in America’s history, she shows how, time and time again, these laws fail to protect women, the poor, gender-nonconforming people and racial minority groups—and frequently targets them when they do try and stand their ground.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A sobering read, Light illuminates how America’s debates about gun control are deeply rooted in the inequality that has marked our country’s history.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+that+try+to+help+explain+the+unexplainable%3A+the+U.S.+gun+violence+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As of May 31, there have already been \u003ca href=\"https://www.gunviolencearchive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">233 mass shootings in 2022\u003c/a>, according to the Gun Violence Archive, an independent organization that collects data from over 7,500 sources. That includes \u003ca href=\"https://www.npr.org/series/1101183663/uvalde-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">the massacre at Robb Elementary School\u003c/a> in Uvalde, Texas, which killed 19 children and two adults and injured many others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than 45,000 people in the U.S. were killed by guns in 2020, \u003ca href=\"https://wonder.cdc.gov/controller/datarequest/D76;jsessionid=EE19ACC48655F2DC04EA2EC2EBE3\" target=\"_blank\" rel=\"noopener noreferrer\">the Centers for Disease Control reported recently\u003c/a>. That year, firearms became the \u003ca href=\"https://www.axios.com/2022/05/26/gun-deaths-children-america\" target=\"_blank\" rel=\"noopener noreferrer\">leading cause of death\u003c/a> for American children. On average, gun violence kills nine children every day.\u003c/p>\n\u003cp>While these statistics are startling, they can dull the senses, at the same time that solutions seem increasingly hard to come by. Here are five books that help us go beyond the numbers: telling the stories of victims of American gun violence, and explaining how we got here and how we might get out.\u003c/p>\n\u003ch3>\u003cem>Another Day in the Death Of America: A Chronicle of Ten Short Lives\u003c/em> by Gary Younge\u003c/h3>\n\u003cfigure id=\"attachment_13914551\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/anotherday_custom-1d16347a02f410ce0446d50200655534ae5fee94-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Another Day in the Death of America: A Chronicle of Ten Short Lives’ By Gary Younge. \u003ccite>(PublicAffairs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tyler, 11, loved catching fish in the creek behind his house . He was accidentally shot by his best friend during a sleepover. Gary Anderson was an 18-year-old who loved to fix things—especially bikes. He was killed while walking to his mother’s apartment, in what his father says was a case of mistaken identity. The baseball coaches for his team all called 9-year-old Jaiden “Smiley.” He was murdered by his mom’s ex-boyfriend.\u003c/p>\n\u003cp>\u003cem>Another Day in the Death of America \u003c/em>documents the lives and deaths of 10 boys—ages 9 to 19—killed by guns over the course of a single day: Nov. 23, 2013. The randomly chosen date reflects \u003ca href=\"https://www.childrensdefense.org/state-of-americas-children/soac-2021-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">troubling statistics\u003c/a> of American life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But these children aren’t just data points. With meticulous research, interviews with family members, and reports of gun violence around the country, Younge pieces together devastating memorials for each of the victims as he explains the circumstances that lead to their deaths.\u003c/p>\n\u003ch3>\u003cem>From a Taller Tower: The Rise of the American Mass Shooter \u003c/em>by Seamus McGraw\u003c/h3>\n\u003cp>In 1966, after murdering his wife and his mother, a student climbed a tower at the University of Texas and began firing. In the end, he killed 17 people. At the time, it was the deadliest mass shooting in modern United States history. Now, it’s the 10th.\u003c/p>\n\u003cp>\u003cem>From a Taller Tower \u003c/em>traces the history of the American mass shooter—at Columbine, Sandy Hook, Parkland—without giving in to the notoriety that so many of them seek. With few exceptions, the murderers are never named. Instead, the book examines the beliefs many Americans hold onto about guns, mass shootings and mental illness, and confronts the circumstances that allow these catastrophes to continue.\u003c/p>\n\u003ch3>\u003cem>Glimmer of Hope: How Tragedy Sparked a Movement\u003c/em> by The March for Our Lives Founders\u003c/h3>\n\u003cfigure id=\"attachment_13914553\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg\" alt=\"\" width=\"200\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/glimmer_custom-962ac66f1f1df12351ffd8e6e17378ae9ad7dc93-160x243.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Glimmer of Hope: How Tragedy Sparked a Movement’ By The March for Our Lives Founders. \u003ccite>(Penguin Young Readers Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the wake of one of the United States’ deadliest school shootings, students from Marjory Stoneman Douglas High School in Parkland, Fla., organized. Now, the March for Our Lives movement and nonprofit are working to end gun violence through civic engagement, education and direct action.\u003c/p>\n\u003cp>This anthology chronicles the stories of 25 student founders through poetry, personal essays, conversations and excerpts from speeches. It details the fear they felt on Feb. 14, 2018, the countless hours required to make a movement successful, and the trauma that continues to impact survivors long after the news cameras have moved on. While it can be easy to forget how young these activists are, this look into their extraordinary work is also a reminder that they should never have needed to take on this work in the first place.\u003c/p>\n\u003cp>All net proceeds from the book go to the March For Our Lives Action Fund.\u003c/p>\n\u003ch3>\u003cem>Misfire: Inside the Downfall of the NRA\u003c/em> by Tim Mak\u003c/h3>\n\u003cp>With confidential files, depositions and over 100 interviews with NRA staff and associates, \u003ca href=\"https://www.npr.org/2021/11/02/1051363337/misfire-takes-a-hard-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">NPR investigative correspondent Tim Mak\u003c/a> chronicles the \u003ca href=\"https://www.npr.org/2021/11/01/1050432834/misfire-is-a-scathing-look-at-nepotism-fraud-and-corruption-in-the-nra\" target=\"_blank\" rel=\"noopener noreferrer\">incompetence, corruption and wanton embezzlement\u003c/a> that has marked Wayne LaPierre’s (continued) oversight of the organization, and outlines how the NRA went from teaching marksmanship to sabotaging bipartisan legislation supporting background checks after the Sandy Hook massacre.\u003c/p>\n\u003ch3>\u003cem>Stand Your Ground: A History Of America’s Love Affair With Lethal Self-Defense\u003c/em> by Caroline Light\u003c/h3>\n\u003cfigure id=\"attachment_13914555\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/ground_custom-a401cce9a9c59317dd6396ef6d9c0cde50df7671-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Stand Your Ground: A History of America’s Love Affair With Lethal Self-Defense’ By Caroline Light. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With keen legal analysis, Caroline Light examines the history of violence rooted in stand-your-ground laws and the ideology of “DIY-security” citizenship in the United States from the 17th century to today. Despite the theoretical right of any American to stand their ground, Light argues that, in practice, these laws are rooted in the need to protect white men’s honor.\u003c/p>\n\u003cp>Looking at influential court cases and crucial moments in America’s history, she shows how, time and time again, these laws fail to protect women, the poor, gender-nonconforming people and racial minority groups—and frequently targets them when they do try and stand their ground.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A sobering read, Light illuminates how America’s debates about gun control are deeply rooted in the inequality that has marked our country’s history.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+that+try+to+help+explain+the+unexplainable%3A+the+U.S.+gun+violence+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oprah Winfrey has chosen \u003cem>Nightcrawling\u003c/em>, from 19-year-old Oakland author Leila Mottley, for her next Oprah’s book club pick.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> is inspired by the 2016 Celeste Guap sex exploitation scandal within the Oakland Police Department, and follows a young Black woman from East Oakland and her battles with poverty, racism and the police. \u003c/p>\n\u003cp>A spokesperson for Winfrey said Mottley is the youngest author to ever be selected for Oprah’s Book Club, founded in 1996.\u003c/p>\n\u003cp>“It brings me great joy to introduce readers to new authors, and this young poet Leila Mottley wrote a soul-searching portrait of survival and hope,” Winfrey said in a statement Tuesday.\u003c/p>\n\u003cp>[aside postID='forum_2010101872031']Mottley, born and raised in Oakland, served as the city’s youth poet laureate in 2018. In an interview with KPIX, Mottley said she wrote her first novel at 14 years old, her second at 15 and that she started writing \u003cem>Nightcrawling\u003c/em> at the age of 16, finished it by 17 and signed her publishing deal on her 18th birthday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve been writing since I could. I think it’s just part of my nature to tell stories and to tell stories that we don’t get to hear,” she told KPIX.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> was published Tuesday and has been praised by James McBride and fellow Oakland author Tommy Orange, among others. It follows Kiara Johnson, the first-person narrator of the novel, as she becomes tied up in a scandal involving the Oakland Police Department while doing sex work, which sees her become the star witness in a blockbuster trial.\u003c/p>\n\u003cp>Mottley’s novel was inspired by the real-life story of Jasmine Abuslin, known as Celeste Guap, a young woman who was sexually exploited by as many as 30 law enforcement officers across seven different jurisdictions in the Bay Area in 2015 while she was a minor and the victim of sex trafficking.\u003c/p>\n\u003cp>Abuslin was 17 when she became sexually involved with Oakland Police Department officer Brendan O’Brien. Her name spread among the department and soon, Abuslin claimed, officers from all over the Bay Area started texting her, inquiring about her sex work. Abuslin said officers would provide her with information about confidential stings so that she could avoid going to jail for prostitution.\u003c/p>\n\u003cp>O’Brien shot himself in 2015 and left a suicide note that alerted OPD internal investigators to his and other officers’ sexual encounters with Abuslin. \u003c/p>\n\u003cp>[aside postID='news_11106467']Seven officers were eventually brought up on charges by the Alameda County District Attorney in 2016, while the city of Oakland fired four of their officers and put seven more on leave. Abuslin herself was sent to a drug rehab facility in Florida by the Richmond Police Department where she was charged with battery and imprisoned in Florida until 2016 before returning to California.\u003c/p>\n\u003cp>Mottley was just 13 years old when the OPD sexual exploitation scandal broke. She told KPIX that she remembers “being really kind of taken by the way that the media seemed to focus more on the police department than on the harm done to this girl, and the thousands of other girls and women that this happens to.”\u003c/p>\n\u003cp>“I hope that this book is either a mirror or a window,” the author continued. “Whether you see yourself reflected back to you through this book, or whether it’s not something you’ve experienced, but it expands your idea of our world and our country, I hope that more people think about the ways that we’re complicit in the harm of Black or brown girls and allow more Black girls to get to be kids and to experience ourselves as more than what the world expects of us.”\u003c/p>\n\u003cp>A co-sign from Oprah is a sure way for Mottley to reach more people. Mottley said in a statement that she was “absolutely floored when Ms. Winfrey popped up” during what she thought was an ordinary publishing meeting.\u003c/p>\n\u003cp>“It was the surprise of a lifetime,” she added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winfrey will speak with Mottley on June 30 for an interactive book club event on OprahDaily.com. Since starting her book club, Winfrey has often alternated between such established authors Toni Morrison and Richard Powers and such first-time authors as Mottley, Imbolo Mbue and Cynthia Bond.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oprah Winfrey has chosen \u003cem>Nightcrawling\u003c/em>, from 19-year-old Oakland author Leila Mottley, for her next Oprah’s book club pick.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> is inspired by the 2016 Celeste Guap sex exploitation scandal within the Oakland Police Department, and follows a young Black woman from East Oakland and her battles with poverty, racism and the police. \u003c/p>\n\u003cp>A spokesperson for Winfrey said Mottley is the youngest author to ever be selected for Oprah’s Book Club, founded in 1996.\u003c/p>\n\u003cp>“It brings me great joy to introduce readers to new authors, and this young poet Leila Mottley wrote a soul-searching portrait of survival and hope,” Winfrey said in a statement Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mottley, born and raised in Oakland, served as the city’s youth poet laureate in 2018. In an interview with KPIX, Mottley said she wrote her first novel at 14 years old, her second at 15 and that she started writing \u003cem>Nightcrawling\u003c/em> at the age of 16, finished it by 17 and signed her publishing deal on her 18th birthday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve been writing since I could. I think it’s just part of my nature to tell stories and to tell stories that we don’t get to hear,” she told KPIX.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> was published Tuesday and has been praised by James McBride and fellow Oakland author Tommy Orange, among others. It follows Kiara Johnson, the first-person narrator of the novel, as she becomes tied up in a scandal involving the Oakland Police Department while doing sex work, which sees her become the star witness in a blockbuster trial.\u003c/p>\n\u003cp>Mottley’s novel was inspired by the real-life story of Jasmine Abuslin, known as Celeste Guap, a young woman who was sexually exploited by as many as 30 law enforcement officers across seven different jurisdictions in the Bay Area in 2015 while she was a minor and the victim of sex trafficking.\u003c/p>\n\u003cp>Abuslin was 17 when she became sexually involved with Oakland Police Department officer Brendan O’Brien. Her name spread among the department and soon, Abuslin claimed, officers from all over the Bay Area started texting her, inquiring about her sex work. Abuslin said officers would provide her with information about confidential stings so that she could avoid going to jail for prostitution.\u003c/p>\n\u003cp>O’Brien shot himself in 2015 and left a suicide note that alerted OPD internal investigators to his and other officers’ sexual encounters with Abuslin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Seven officers were eventually brought up on charges by the Alameda County District Attorney in 2016, while the city of Oakland fired four of their officers and put seven more on leave. Abuslin herself was sent to a drug rehab facility in Florida by the Richmond Police Department where she was charged with battery and imprisoned in Florida until 2016 before returning to California.\u003c/p>\n\u003cp>Mottley was just 13 years old when the OPD sexual exploitation scandal broke. She told KPIX that she remembers “being really kind of taken by the way that the media seemed to focus more on the police department than on the harm done to this girl, and the thousands of other girls and women that this happens to.”\u003c/p>\n\u003cp>“I hope that this book is either a mirror or a window,” the author continued. “Whether you see yourself reflected back to you through this book, or whether it’s not something you’ve experienced, but it expands your idea of our world and our country, I hope that more people think about the ways that we’re complicit in the harm of Black or brown girls and allow more Black girls to get to be kids and to experience ourselves as more than what the world expects of us.”\u003c/p>\n\u003cp>A co-sign from Oprah is a sure way for Mottley to reach more people. Mottley said in a statement that she was “absolutely floored when Ms. Winfrey popped up” during what she thought was an ordinary publishing meeting.\u003c/p>\n\u003cp>“It was the surprise of a lifetime,” she added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winfrey will speak with Mottley on June 30 for an interactive book club event on OprahDaily.com. Since starting her book club, Winfrey has often alternated between such established authors Toni Morrison and Richard Powers and such first-time authors as Mottley, Imbolo Mbue and Cynthia Bond.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Near the end of her incandescent 1976 memoir, \u003cem>The Woman Warrior\u003c/em>, Maxine Hong Kingston tells the story of a knot-maker in China who tied a knot so complicated that it made him blind. In response, the emperor outlawed the knot. “If I had lived in China,” Kingston tells us, “I would have been an outlaw knot-maker.”\u003c/p>\n\u003cp>[aside postid='arts_13880960']Instead, she put her defiant love of complication into knotty books that tie together biography, history, myth, movies and fiction to show us an America that is too often overlooked. Born to Chinese immigrants who ran a laundromat in Stockton, the 81-year-old Kingston is at once an Asian American writer, a feminist storyteller, a chronicler of immigrant experience and a literary innovator. One of those rare figures who shifted American culture, and who keeps on being relevant, she belongs on the same shelf as \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129281259\" target=\"_blank\" rel=\"noopener noreferrer\">James Baldwin\u003c/a>, \u003ca href=\"https://www.npr.org/2011/11/02/141808816/joan-didion-crafting-an-elegy-for-her-daughter\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Didion\u003c/a> and \u003ca href=\"https://www.npr.org/2011/05/31/136823289/kurt-vonnegut-still-speaking-to-the-war-weary\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Vonnegut\u003c/a>.\u003c/p>\n\u003cp>She’s now been placed alongside them in the prestigious Library of America, which has just released a volume that collects, among other great things, her three most famous works: \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11163242\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman Warrior\u003c/em>\u003c/a>, \u003cem>China Men\u003c/em> and \u003cem>Tripmaster Monkey: His Fake Book\u003c/em>. She tells stories about creating your own identity, not settling for the one the world tries to give you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914502 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1020x1488.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1053x1536.png 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This was clear from her first book, \u003cem>The Woman Warrior: Memoirs of a Girlhood Among Ghosts\u003c/em>, which begins with one of the killer opening lines in American literature: “‘You must not tell anyone,’ my mother said, ‘what I’m about to tell you.'” Naturally, the narrator \u003cem>does\u003c/em> tell us. We learn that Maxine’s father had a sister who got pregnant out of wedlock, killed herself and her baby in disgrace, and her whole family simply pretended she never existed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In telling this story she’s not supposed to tell us, Kingston underscores a cruel truth about traditional Chinese culture—its oppression of women. She also asserts her right, as an act of self-liberation, to scrutinize her mother’s dictates, the ghosts that haunt the Chinese past, and the American values that surround her.\u003c/p>\n\u003cp>Kingston continued that search for freedom in her more expansive and angrier second book, \u003cem>China Men\u003c/em>, which focuses on the experience of the Chinese men who came to the U.S. in search of prosperity only to encounter a racism as ghastly as the misogyny highlighted in \u003cem>The Woman Warrior\u003c/em>.\u003c/p>\n\u003cp>Unlike most writers who tackle such volatile material, Kingston never simplifies. She offers no tear-jerking melodrama, no sentimental clichés about immigrants, no grind-you-down realism. Too original for that, she offers her personal version of storytelling—what the Chinese call “talk-story.” She explores the ideas of “Chineseness” and “Americanness” by weaving together far-ranging elements, be it an indelible evocation of her family’s laundry, a haunting, movie-laced reverie on her brother heading off to Vietnam, or the inspirational myth of the woman warrior Mulan, whose now-Hollywoodized story first became well known in the West because Kingston wrote about it.\u003c/p>\n\u003cp>[aside postid='arts_13902268']Writing as she damn well pleased, she followed these first two brilliant books with a novel, \u003cem>Tripmaster Monkey\u003c/em>, which is probably \u003cem>too\u003c/em> brilliant. Set in a marvelously evoked early-’60s Bay Area, the book focuses on Wittman Ah Sing, a writer seeking to cook up a workable Chinese American identity from a postmodern salad of influences, tossing together the Beats, the poet Rilke, Hollywood movies, the Chinese epic \u003cem>Journey to the West\u003c/em>, and countless other things. While it proved too hip for the room of 1989 America, \u003cem>Tripmaster Monkey\u003c/em> crackles with an ambition and brio that’s still dazzling.\u003c/p>\n\u003cp>Although Kingston had her detractors, her transgressive willingness to go for broke made her a pioneering inspiration for the scads of wonderful writers who began mapping the territory she first opened. You can find her footprints in, among others, \u003ca href=\"https://www.npr.org/2017/10/17/558295524/-i-am-full-of-contradictions-novelist-amy-tan-on-fate-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Tan\u003c/a>‘s \u003cem>The Joy Luck Club\u003c/em>, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=90111248\" target=\"_blank\" rel=\"noopener noreferrer\">Junot Diaz\u003c/a>‘s \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em>, \u003ca href=\"https://www.npr.org/2020/01/25/799340952/interior-chinatown-puts-that-guy-in-the-background-front-and-center\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Yu\u003c/a>‘s \u003cem>Interior Chinatown\u003c/em> and \u003cem>The Sympathizer, \u003c/em>by \u003ca href=\"https://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Thanh Nguyen\u003c/a>, who edited this collection.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She opened up new territory for readers like me, too. Re-reading these books today, I’ve been struck by how much of what I now think of as conventional wisdom became so because of her unconventional work. In a way, Maxine Hong Kingston truly is an outlaw knot-maker, but her work doesn’t make anyone go blind—it helps us to see.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Maxine+Hong+Kingston%27s+work+is+as+wondrous+and+alive+as+ever+in+this+collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near the end of her incandescent 1976 memoir, \u003cem>The Woman Warrior\u003c/em>, Maxine Hong Kingston tells the story of a knot-maker in China who tied a knot so complicated that it made him blind. In response, the emperor outlawed the knot. “If I had lived in China,” Kingston tells us, “I would have been an outlaw knot-maker.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, she put her defiant love of complication into knotty books that tie together biography, history, myth, movies and fiction to show us an America that is too often overlooked. Born to Chinese immigrants who ran a laundromat in Stockton, the 81-year-old Kingston is at once an Asian American writer, a feminist storyteller, a chronicler of immigrant experience and a literary innovator. One of those rare figures who shifted American culture, and who keeps on being relevant, she belongs on the same shelf as \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129281259\" target=\"_blank\" rel=\"noopener noreferrer\">James Baldwin\u003c/a>, \u003ca href=\"https://www.npr.org/2011/11/02/141808816/joan-didion-crafting-an-elegy-for-her-daughter\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Didion\u003c/a> and \u003ca href=\"https://www.npr.org/2011/05/31/136823289/kurt-vonnegut-still-speaking-to-the-war-weary\" target=\"_blank\" rel=\"noopener noreferrer\">Kurt Vonnegut\u003c/a>.\u003c/p>\n\u003cp>She’s now been placed alongside them in the prestigious Library of America, which has just released a volume that collects, among other great things, her three most famous works: \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11163242\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman Warrior\u003c/em>\u003c/a>, \u003cem>China Men\u003c/em> and \u003cem>Tripmaster Monkey: His Fake Book\u003c/em>. She tells stories about creating your own identity, not settling for the one the world tries to give you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914502 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1020x1488.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM-1053x1536.png 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-07-at-10.24.16-AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This was clear from her first book, \u003cem>The Woman Warrior: Memoirs of a Girlhood Among Ghosts\u003c/em>, which begins with one of the killer opening lines in American literature: “‘You must not tell anyone,’ my mother said, ‘what I’m about to tell you.'” Naturally, the narrator \u003cem>does\u003c/em> tell us. We learn that Maxine’s father had a sister who got pregnant out of wedlock, killed herself and her baby in disgrace, and her whole family simply pretended she never existed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In telling this story she’s not supposed to tell us, Kingston underscores a cruel truth about traditional Chinese culture—its oppression of women. She also asserts her right, as an act of self-liberation, to scrutinize her mother’s dictates, the ghosts that haunt the Chinese past, and the American values that surround her.\u003c/p>\n\u003cp>Kingston continued that search for freedom in her more expansive and angrier second book, \u003cem>China Men\u003c/em>, which focuses on the experience of the Chinese men who came to the U.S. in search of prosperity only to encounter a racism as ghastly as the misogyny highlighted in \u003cem>The Woman Warrior\u003c/em>.\u003c/p>\n\u003cp>Unlike most writers who tackle such volatile material, Kingston never simplifies. She offers no tear-jerking melodrama, no sentimental clichés about immigrants, no grind-you-down realism. Too original for that, she offers her personal version of storytelling—what the Chinese call “talk-story.” She explores the ideas of “Chineseness” and “Americanness” by weaving together far-ranging elements, be it an indelible evocation of her family’s laundry, a haunting, movie-laced reverie on her brother heading off to Vietnam, or the inspirational myth of the woman warrior Mulan, whose now-Hollywoodized story first became well known in the West because Kingston wrote about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Writing as she damn well pleased, she followed these first two brilliant books with a novel, \u003cem>Tripmaster Monkey\u003c/em>, which is probably \u003cem>too\u003c/em> brilliant. Set in a marvelously evoked early-’60s Bay Area, the book focuses on Wittman Ah Sing, a writer seeking to cook up a workable Chinese American identity from a postmodern salad of influences, tossing together the Beats, the poet Rilke, Hollywood movies, the Chinese epic \u003cem>Journey to the West\u003c/em>, and countless other things. While it proved too hip for the room of 1989 America, \u003cem>Tripmaster Monkey\u003c/em> crackles with an ambition and brio that’s still dazzling.\u003c/p>\n\u003cp>Although Kingston had her detractors, her transgressive willingness to go for broke made her a pioneering inspiration for the scads of wonderful writers who began mapping the territory she first opened. You can find her footprints in, among others, \u003ca href=\"https://www.npr.org/2017/10/17/558295524/-i-am-full-of-contradictions-novelist-amy-tan-on-fate-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Tan\u003c/a>‘s \u003cem>The Joy Luck Club\u003c/em>, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=90111248\" target=\"_blank\" rel=\"noopener noreferrer\">Junot Diaz\u003c/a>‘s \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em>, \u003ca href=\"https://www.npr.org/2020/01/25/799340952/interior-chinatown-puts-that-guy-in-the-background-front-and-center\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Yu\u003c/a>‘s \u003cem>Interior Chinatown\u003c/em> and \u003cem>The Sympathizer, \u003c/em>by \u003ca href=\"https://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Thanh Nguyen\u003c/a>, who edited this collection.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She opened up new territory for readers like me, too. Re-reading these books today, I’ve been struck by how much of what I now think of as conventional wisdom became so because of her unconventional work. In a way, Maxine Hong Kingston truly is an outlaw knot-maker, but her work doesn’t make anyone go blind—it helps us to see.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Maxine+Hong+Kingston%27s+work+is+as+wondrous+and+alive+as+ever+in+this+collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My sense of time is fuzzier thanks to the pandemic, so this could be a late spring or an early summer round-up. The one thing I know for sure is that this mixed bag of terrific books is one I’d want to carry with me anytime.\u003c/p>\n\u003chr>\n\u003ch3>This Time Tomorrow\u003c/h3>\n\u003cp>by Emma Straub\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913651 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg\" alt=\"\" width=\"321\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg 321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86-160x120.jpg 160w\" sizes=\"(max-width: 321px) 100vw, 321px\">Straub’s new novel is a time-travel fantasy imbued with her signature awareness of the infinite ways we humans make life harder for ourselves. The heroine here is a single woman named Alice who works at her old high school. Her father, a bestselling novelist who raised Alice on his own, is dying in a New York hospital. That ordeal, coupled with Alice’s approaching 40th birthday, plunges her into despondency: “Alice had always thought of her professional life in perfect contrast with her father’s—he’d had wild success, and she, none, just hanging on to something stable like a seahorse with its tail looped around some seagrass …”\u003c/p>\n\u003cp>On the night of her birthday, Alice returns from a drunken binge and stumbles into the gift of time travel, which allows her to explore the big question, “What if?” The greatest compliment I can pay to \u003cem>This Time Tomorrow\u003c/em> is to say that I’d always considered Jack Finney’s 1970 novel, \u003ca href=\"https://www.npr.org/2009/07/23/106168183/escape-to-new-york-a-sentimental-trip-through-time\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Time and Again\u003c/em>\u003c/a>, to be \u003cem>the\u003c/em> New York City time travel tale; now Finney’s classic has company.\u003c/p>\n\u003chr>\n\u003ch3>Search\u003c/h3>\n\u003cp>by Michelle Huneven\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Huneven’s comic novel is a delicious, recipe-laden, must-read for anyone who’s ever served on a committee. The narrator, Dana Potowski, is a food writer living in California who’s roped into joining the search committee for the new minister of her Unitarian Universalist church.\u003c/p>\n\u003cp>Huneven dramatizes how one strong personality—in this case a young woman swollen with insolence—can control a committee. And her descriptions of conducting first-round interviews over Zoom are hilarious. Here’s Dana describing an interview with a female candidate that turns disastrous:\u003c/p>\n\u003cblockquote>\u003cp>Just before she signed off, she offered to sing us a song.\u003c/p>\n\u003cp>Plucking a dulcimer off the wall, she … started in on “Bridge over Troubled Water”. … With the chorus, she began to keep time by slapping the dulcimer, and somehow each slap was a sharp direct crack to our eardrums. … At the end, she looked up, smiled ecstatically, and waved.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003ch3>One-Shot Harry\u003c/h3>\n\u003cp>by Gary Phillips\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913657 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/9781641292917.jpg\" alt=\"\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917-160x240.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">Group decisions are not something Harry Ingram worries about. He’s the star of this new hard-boiled mystery by veteran crime writer Gary Phillips. \u003cem>One-Shot Harry i\u003c/em>s set in L.A. in 1963, as racial tensions are escalating in advance of Martin Luther King’s upcoming Freedom Rally at Wrigley Field. Harry, a Black freelance news photographer who roams all over L.A. with his Speed Graphic camera, is the best of all possible guides to this watershed moment. His job gives him entrée into neighborhoods and events that might otherwise be off-limits to him because of his race. In the course of investigating a friend’s suspicious death, Harry finds himself facing off with a white supremacist group who wants the speedometer of racial progress pushed way back down. What makes \u003cem>One-Shot Harry\u003c/em> a standout is the cityscape of mid-century L.A. it summons up—its music, chromium cars, hateful slurs, “invisible” racial boundaries and cautious hopes.\u003c/p>\n\u003chr>\n\u003ch3>Knock Off the Hat\u003c/h3>\n\u003cp>by Richard Stevenson\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913658 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg\" alt=\"\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1-160x243.jpg 160w\" sizes=\"(max-width: 329px) 100vw, 329px\">The circumstances of this last recommendation are unusual. Richard Lipez, who wrote under the penname Richard Stevenson, was a groundbreaking author of gay detective novels featuring private eye Donald Strachey. Decades ago, I reviewed one of those Strachey books, and Dick and I became fast friends. He died in March, but one of the things he left behind was the first novel in what would have been a new series about a gay private eye in 1940s Philadelphia. \u003cem>Knock Off The Hat \u003c/em>may be \u003cem>the\u003c/em> best novel Dick ever wrote. Its main character, Clifford Waterman, is a former police detective dishonorably discharged from the Army during World War II for an “indecent act.” Cliff gets drawn into helping a man who’s nabbed in a raid on a so-called “Degenerates” club.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As with \u003cem>One-Shot Harry\u003c/em>, the greatest pleasures here are the details that make 1940s Philly come alive: the Horn & Hardart automat meals of meat loaf and coconut cream pie; the network of Cliff’s closeted friends, working in town at Wanamaker’s shoe department or even on the police force. I wish I could say there’d be more Waterman novels to come, but the fact that Dick was in his early 80s when he wrote this novel — well, maybe that’s a reason to believe in springtime possibilities no matter the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+4+novels+will+get+your+summer+off+to+a+terrific+start&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My sense of time is fuzzier thanks to the pandemic, so this could be a late spring or an early summer round-up. The one thing I know for sure is that this mixed bag of terrific books is one I’d want to carry with me anytime.\u003c/p>\n\u003chr>\n\u003ch3>This Time Tomorrow\u003c/h3>\n\u003cp>by Emma Straub\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913651 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg\" alt=\"\" width=\"321\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg 321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86-160x120.jpg 160w\" sizes=\"(max-width: 321px) 100vw, 321px\">Straub’s new novel is a time-travel fantasy imbued with her signature awareness of the infinite ways we humans make life harder for ourselves. The heroine here is a single woman named Alice who works at her old high school. Her father, a bestselling novelist who raised Alice on his own, is dying in a New York hospital. That ordeal, coupled with Alice’s approaching 40th birthday, plunges her into despondency: “Alice had always thought of her professional life in perfect contrast with her father’s—he’d had wild success, and she, none, just hanging on to something stable like a seahorse with its tail looped around some seagrass …”\u003c/p>\n\u003cp>On the night of her birthday, Alice returns from a drunken binge and stumbles into the gift of time travel, which allows her to explore the big question, “What if?” The greatest compliment I can pay to \u003cem>This Time Tomorrow\u003c/em> is to say that I’d always considered Jack Finney’s 1970 novel, \u003ca href=\"https://www.npr.org/2009/07/23/106168183/escape-to-new-york-a-sentimental-trip-through-time\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Time and Again\u003c/em>\u003c/a>, to be \u003cem>the\u003c/em> New York City time travel tale; now Finney’s classic has company.\u003c/p>\n\u003chr>\n\u003ch3>Search\u003c/h3>\n\u003cp>by Michelle Huneven\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Huneven’s comic novel is a delicious, recipe-laden, must-read for anyone who’s ever served on a committee. The narrator, Dana Potowski, is a food writer living in California who’s roped into joining the search committee for the new minister of her Unitarian Universalist church.\u003c/p>\n\u003cp>Huneven dramatizes how one strong personality—in this case a young woman swollen with insolence—can control a committee. And her descriptions of conducting first-round interviews over Zoom are hilarious. Here’s Dana describing an interview with a female candidate that turns disastrous:\u003c/p>\n\u003cblockquote>\u003cp>Just before she signed off, she offered to sing us a song.\u003c/p>\n\u003cp>Plucking a dulcimer off the wall, she … started in on “Bridge over Troubled Water”. … With the chorus, she began to keep time by slapping the dulcimer, and somehow each slap was a sharp direct crack to our eardrums. … At the end, she looked up, smiled ecstatically, and waved.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003ch3>One-Shot Harry\u003c/h3>\n\u003cp>by Gary Phillips\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913657 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/9781641292917.jpg\" alt=\"\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917-160x240.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">Group decisions are not something Harry Ingram worries about. He’s the star of this new hard-boiled mystery by veteran crime writer Gary Phillips. \u003cem>One-Shot Harry i\u003c/em>s set in L.A. in 1963, as racial tensions are escalating in advance of Martin Luther King’s upcoming Freedom Rally at Wrigley Field. Harry, a Black freelance news photographer who roams all over L.A. with his Speed Graphic camera, is the best of all possible guides to this watershed moment. His job gives him entrée into neighborhoods and events that might otherwise be off-limits to him because of his race. In the course of investigating a friend’s suspicious death, Harry finds himself facing off with a white supremacist group who wants the speedometer of racial progress pushed way back down. What makes \u003cem>One-Shot Harry\u003c/em> a standout is the cityscape of mid-century L.A. it summons up—its music, chromium cars, hateful slurs, “invisible” racial boundaries and cautious hopes.\u003c/p>\n\u003chr>\n\u003ch3>Knock Off the Hat\u003c/h3>\n\u003cp>by Richard Stevenson\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913658 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg\" alt=\"\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1-160x243.jpg 160w\" sizes=\"(max-width: 329px) 100vw, 329px\">The circumstances of this last recommendation are unusual. Richard Lipez, who wrote under the penname Richard Stevenson, was a groundbreaking author of gay detective novels featuring private eye Donald Strachey. Decades ago, I reviewed one of those Strachey books, and Dick and I became fast friends. He died in March, but one of the things he left behind was the first novel in what would have been a new series about a gay private eye in 1940s Philadelphia. \u003cem>Knock Off The Hat \u003c/em>may be \u003cem>the\u003c/em> best novel Dick ever wrote. Its main character, Clifford Waterman, is a former police detective dishonorably discharged from the Army during World War II for an “indecent act.” Cliff gets drawn into helping a man who’s nabbed in a raid on a so-called “Degenerates” club.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As with \u003cem>One-Shot Harry\u003c/em>, the greatest pleasures here are the details that make 1940s Philly come alive: the Horn & Hardart automat meals of meat loaf and coconut cream pie; the network of Cliff’s closeted friends, working in town at Wanamaker’s shoe department or even on the police force. I wish I could say there’d be more Waterman novels to come, but the fact that Dick was in his early 80s when he wrote this novel — well, maybe that’s a reason to believe in springtime possibilities no matter the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+4+novels+will+get+your+summer+off+to+a+terrific+start&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been a minute since we’ve recommended a \u003ci>Pop-Up Magazine\u003c/i> stage show. The live magazine \u003ca href=\"https://www.kqed.org/arts/13880706/pop-up-magazine-trades-stage-for-screen-and-were-all-invited\" target=\"_blank\" rel=\"noopener noreferrer\">pivoted to video\u003c/a> early in the pandemic, then produced a food-themed “Issue in a Box” in late 2020. Last year, the team created a “\u003ca href=\"https://www.popupmagazine.com/sidewalk/\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Issue\u003c/a>,” blending magazine, scavenger hunt and public art to create tangible (and by all accounts, delightful) experiences in San Francisco, Los Angeles and Brooklyn, before resuming in-person events for a fall 2021 tour.\u003c/p>\n\u003cp>On Tuesday, May 24, \u003ci>Pop-Up\u003c/i> returns to its familiar spot on Oakland’s Paramount Theatre stage, bringing together a group of talented people for a night of multimedia nonfiction storytelling. If you haven’t experienced a \u003ci>Pop-Up\u003c/i> show before, picture something akin to sitting down with your smartest friends and consuming a magazine, page by page and section by section, with the help of erudite narrators and live musical accompaniment (courtesy house band \u003ca href=\"http://magikmagikorchestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Magik*Magik Orchestra\u003c/a>).[aside postID='arts_13908852']\u003c/p>\n\u003cp>The “Spring 2022 Issue” includes podcaster (and one of my favorite \u003ca href=\"https://twitter.com/brokeymcpoverty\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter presences\u003c/a>) Tracy Clayton; author and illustrator Kristen Radtke; writers Chloé Cooper Jones, Brooke Jarvis and Elena Passarello; photographer Oscar Castillo; and Oakland-based filmmaker \u003ca href=\"https://adrianburrell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian L. Burrell\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Pop-Up Magazine\u003c/i> likes to keep things mysterious beforehand, but from the titles of various presenters’ pieces, I can tell you this: Clayton will be hosting a game show with the entire audience as participants, Castillo examines music and family in Venezuela’s “most notorious prison,” and Burrell is showing a film that chronicles his family’s journey from Jim Crow-era Louisiana to modern-day West Oakland. Your live event-starved senses will thank you.\u003c/p>\n\u003cp>\u003ci>‘Pop-Up Magazine’ takes place May 24, 7:30pm at Paramount Theatre. \u003ca href=\"https://www.popupmagazine.com/spring22/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Spring 2022 Issue” includes podcaster (and one of my favorite \u003ca href=\"https://twitter.com/brokeymcpoverty\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter presences\u003c/a>) Tracy Clayton; author and illustrator Kristen Radtke; writers Chloé Cooper Jones, Brooke Jarvis and Elena Passarello; photographer Oscar Castillo; and Oakland-based filmmaker \u003ca href=\"https://adrianburrell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian L. Burrell\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Pop-Up Magazine\u003c/i> likes to keep things mysterious beforehand, but from the titles of various presenters’ pieces, I can tell you this: Clayton will be hosting a game show with the entire audience as participants, Castillo examines music and family in Venezuela’s “most notorious prison,” and Burrell is showing a film that chronicles his family’s journey from Jim Crow-era Louisiana to modern-day West Oakland. Your live event-starved senses will thank you.\u003c/p>\n\u003cp>\u003ci>‘Pop-Up Magazine’ takes place May 24, 7:30pm at Paramount Theatre. \u003ca href=\"https://www.popupmagazine.com/spring22/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Thinking of a master plan\u003cbr>\nAin’t nothin’ but sweat inside my hands\u003cbr>\nSo I dig into my pocket, all my money is spent\u003cbr>\nSo I dig deeper but still comin’ up with lint\u003c/em>\u003c/p>\n\u003cp>What an opening stanza. Poetry. \u003cem>Broke\u003c/em> poetry.\u003c/p>\n\u003cp>That’s the song “\u003ca href=\"https://www.youtube.com/watch?v=E7t8eoA_1jQ\" rel=\"noopener noreferrer\" target=\"_blank\">Paid in Full\u003c/a>,” by Eric B. & Rakim—and, despite its stature as a work of literary prowess, it wasn’t taken seriously as such when it was released in 1985. Hip-hop had yet to become enshrined as literature. That’d take another 20 years or so. \u003c/p>\n\u003cp>[aside postID='forum_2010101888845']Enter this year’s \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>, running May 7 and 8, where it’s clear the perception of hip-hop has changed. Among the dozens of authors at the festival, you’ll find Danyel Smith, who grew up among the beats and rhymes of Oakland’s hip-hop scene, and whose latest book is \u003cem>Shine Bright: A Very Personal History of Black Women in Pop\u003c/em>.\u003c/p>\n\u003cp>Making a special appearance, too, is Hanif Abdurraqib, who wrote \u003ca href=\"https://www.kqed.org/arts/13857192/celebrating-a-tribe-called-quests-midnight-marauders\" rel=\"noopener noreferrer\" target=\"_blank\">one of the all-time great pieces of prose about hip-hop\u003c/a> with \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em>; his latest is \u003cem>A Little Devil in America: Notes in Praise of Black Performance\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From what I’ve gleaned by reading these authors’ work, both conversations are sure to expand the conventions of a typical author talk. Along with dozens of other authors, including San Francisco staples like Rebecca Solnit and David Talbot, the Bay Area Book Festival runs Saturday and Sunday, May 7 and 8, at various venues in downtown Berkeley and online. \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Full schedule and details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Enter this year’s \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>, running May 7 and 8, where it’s clear the perception of hip-hop has changed. Among the dozens of authors at the festival, you’ll find Danyel Smith, who grew up among the beats and rhymes of Oakland’s hip-hop scene, and whose latest book is \u003cem>Shine Bright: A Very Personal History of Black Women in Pop\u003c/em>.\u003c/p>\n\u003cp>Making a special appearance, too, is Hanif Abdurraqib, who wrote \u003ca href=\"https://www.kqed.org/arts/13857192/celebrating-a-tribe-called-quests-midnight-marauders\" rel=\"noopener noreferrer\" target=\"_blank\">one of the all-time great pieces of prose about hip-hop\u003c/a> with \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em>; his latest is \u003cem>A Little Devil in America: Notes in Praise of Black Performance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From what I’ve gleaned by reading these authors’ work, both conversations are sure to expand the conventions of a typical author talk. Along with dozens of other authors, including San Francisco staples like Rebecca Solnit and David Talbot, the Bay Area Book Festival runs Saturday and Sunday, May 7 and 8, at various venues in downtown Berkeley and online. \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Full schedule and details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Wayne Turner III, 'Satisfied'",
"headTitle": "Michael Wayne Turner III, ‘Satisfied’ | KQED",
"content": "\u003cfigure id=\"attachment_13912747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_.jpg\" alt=\"A young Black man stands in front of the Pacific Ocean\" width=\"800\" height=\"800\" class=\"size-full wp-image-13912747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Michael Wayne Turner III. \u003ccite>(Courtesy Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Michael Wayne Turner III, ‘Satisfied’\u003c/h2>\n\u003cp>\u003cem>I look for water if ever I find myself lost. \u003c/em>\u003cbr />\n\u003cem>Be lost as I may; I know how to spot a grey cloud and track it for rain. \u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m looking for oceans in the open space we hold so dear. \u003c/em>\u003cbr />\n\u003cem>Dear beloved beholder; may a queer love find you.\u003c/em>\u003cbr />\n\u003cem> Let it be different and unique; special in specifics to you.\u003c/em>\u003cbr />\n\u003cem> May you live long enough to give it a chance. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Perchance you find yourself and find someone to love it. \u003c/em>\u003cbr />\n\u003cem>Will it satisfy?\u003c/em>\u003cbr />\n\u003cem> Will you ever be satisfied?\u003c/em>\u003cbr />\n\u003cem> What skill may that require? \u003c/em>\u003cbr />\n\u003cem>If any. \u003c/em>\u003cbr />\n\u003cem>I’m sure some…..\u003c/em>\u003cbr />\n\u003cem>being satisfied with who you are \u003c/em>\u003cbr />\n\u003cem>and what you’ve come to accomplish in route to accomplishing must require some skill. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Where might we learn this skill? \u003c/em>\u003cbr />\n\u003cem>Who’s teaching it? To be satisfied….\u003c/em>\u003cbr />\n\u003cem>who even wants to be satisfied nowadays. \u003c/em>\u003cbr />\n\u003cem>It seems like no one….\u003c/em>\u003cbr />\n\u003cem>yet everyone at the same time. \u003c/em>\u003c/p>\n\u003cp>\u003cem>I’ll race to it;\u003c/em>\u003cbr />\n\u003cem> where my happiness lies to confront the truth of my joy. \u003c/em>\u003cbr />\n\u003cem>I pray that you find yourself and find someone to love it and be satisfied. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912746\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MichaelTurner.embed_.jpg\" alt=\"A young Black man stands in front of the Pacific Ocean\" width=\"480\" height=\"720\" class=\"size-full wp-image-13912746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurner.embed_.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurner.embed_-160x240.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\" />\u003cfigcaption class=\"wp-caption-text\">Michael Wayne Turner III. \u003ccite>(Courtesy Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this poem?\u003c/strong>\u003c/p>\n\u003cp>Michael Wayne Turner III: The work I do is in pursuit of affirmations of black life in public space. I’ve witnessed firsthand the magic and transformation of empathy when you blend classical string music with real, raw, and colorful stories about our lives and our collective American experience. The work I create, I do so with a promise to hold people and their stories sensitively and beautifully. I create art fashioned to uplift the joy and happiness brilliance in humanity. I am a performing artist of the last 15 years. To some of you who know me, you know this all too well—others wouldn’t have the slightest clue. For all involved, I have something big coming from you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Satisfied’ is from Michael Wayne Turner III’s upcoming production, \u003ca href=\"https://oaklandtheaterproject.org/hatmatter\" rel=\"noopener noreferrer\" target=\"_blank\">‘Hat Matter: Thoughts of a Black Mad Hatter,’ running May 13–22 at the Oakland Theater Project\u003c/a>. Keep up with Michael Wayne Turner III \u003ca href=\"https://www.instagram.com/sir_michaelwayne/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n",
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"description": "'Dear beloved beholder; may a queer love find you,' writes Michael Wayne Turner III in this poem for National Poetry Month.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_.jpg\" alt=\"A young Black man stands in front of the Pacific Ocean\" width=\"800\" height=\"800\" class=\"size-full wp-image-13912747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurnerIII.MAIN_-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Michael Wayne Turner III. \u003ccite>(Courtesy Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Michael Wayne Turner III, ‘Satisfied’\u003c/h2>\n\u003cp>\u003cem>I look for water if ever I find myself lost. \u003c/em>\u003cbr />\n\u003cem>Be lost as I may; I know how to spot a grey cloud and track it for rain. \u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m looking for oceans in the open space we hold so dear. \u003c/em>\u003cbr />\n\u003cem>Dear beloved beholder; may a queer love find you.\u003c/em>\u003cbr />\n\u003cem> Let it be different and unique; special in specifics to you.\u003c/em>\u003cbr />\n\u003cem> May you live long enough to give it a chance. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Perchance you find yourself and find someone to love it. \u003c/em>\u003cbr />\n\u003cem>Will it satisfy?\u003c/em>\u003cbr />\n\u003cem> Will you ever be satisfied?\u003c/em>\u003cbr />\n\u003cem> What skill may that require? \u003c/em>\u003cbr />\n\u003cem>If any. \u003c/em>\u003cbr />\n\u003cem>I’m sure some…..\u003c/em>\u003cbr />\n\u003cem>being satisfied with who you are \u003c/em>\u003cbr />\n\u003cem>and what you’ve come to accomplish in route to accomplishing must require some skill. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Where might we learn this skill? \u003c/em>\u003cbr />\n\u003cem>Who’s teaching it? To be satisfied….\u003c/em>\u003cbr />\n\u003cem>who even wants to be satisfied nowadays. \u003c/em>\u003cbr />\n\u003cem>It seems like no one….\u003c/em>\u003cbr />\n\u003cem>yet everyone at the same time. \u003c/em>\u003c/p>\n\u003cp>\u003cem>I’ll race to it;\u003c/em>\u003cbr />\n\u003cem> where my happiness lies to confront the truth of my joy. \u003c/em>\u003cbr />\n\u003cem>I pray that you find yourself and find someone to love it and be satisfied. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912746\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MichaelTurner.embed_.jpg\" alt=\"A young Black man stands in front of the Pacific Ocean\" width=\"480\" height=\"720\" class=\"size-full wp-image-13912746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurner.embed_.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MichaelTurner.embed_-160x240.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\" />\u003cfigcaption class=\"wp-caption-text\">Michael Wayne Turner III. \u003ccite>(Courtesy Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this poem?\u003c/strong>\u003c/p>\n\u003cp>Michael Wayne Turner III: The work I do is in pursuit of affirmations of black life in public space. I’ve witnessed firsthand the magic and transformation of empathy when you blend classical string music with real, raw, and colorful stories about our lives and our collective American experience. The work I create, I do so with a promise to hold people and their stories sensitively and beautifully. I create art fashioned to uplift the joy and happiness brilliance in humanity. I am a performing artist of the last 15 years. To some of you who know me, you know this all too well—others wouldn’t have the slightest clue. For all involved, I have something big coming from you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Satisfied’ is from Michael Wayne Turner III’s upcoming production, \u003ca href=\"https://oaklandtheaterproject.org/hatmatter\" rel=\"noopener noreferrer\" target=\"_blank\">‘Hat Matter: Thoughts of a Black Mad Hatter,’ running May 13–22 at the Oakland Theater Project\u003c/a>. Keep up with Michael Wayne Turner III \u003ca href=\"https://www.instagram.com/sir_michaelwayne/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13912540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Karam.MAIN_.jpg\" alt=\"The poet looks into the camera in a blue shirt\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Karam.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Karam.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Karam.MAIN_-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Andrea Abi-Karam. \u003ccite>(Courtesy Andrea Abi-Karam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Andrea Abi-Karam, ‘POETRY AS FORCES,’ AFTER Cecilia Vicuña\u003c/h2>\n\u003cp>\u003cem>The “about to happen” / “poetry as forces”—when Cecilia Vicuña says that the lies (the words, the language) of the Chilean dictatorship murdered & tortured thousands of people I remember the power of the word & i remember the power of poetry—“made of forces”—that holds something in the action of language—material consequences can occur—not always—literal action is necessary but the line between language & action no longer feels quite as precise as the street vs. the aftermath—an emergence of literature—unrestrained\u003c/em>\u003c/p>\n\u003cp>i ask questions like\u003c/p>\n\u003cp>how to weaponize my own body\u003c/p>\n\u003cp>or what’s left\u003c/p>\n\u003cp>of it how do we weaponize our selves\u003c/p>\n\u003cp>how to weaponize the poem \u003cem>(words as weapons)\u003c/em>\u003c/p>\n\u003cp>give the poem teeth\u003c/p>\n\u003cp>overflow its vacancies\u003c/p>\n\u003cp>with sharpnesses\u003c/p>\n\u003cp>momentary, transitory criminal aesthetics\u003c/p>\n\u003cp>an unpublished sketch\u003c/p>\n\u003cp>of affinities\u003c/p>\n\u003cp>explicit revenge fantasy\u003c/p>\n\u003cp>& pride orgy\u003c/p>\n\u003cp>accumulation becomes\u003c/p>\n\u003cp>a book\u003c/p>\n\u003cp>a constellation of bruises\u003c/p>\n\u003cp>a blockade\u003c/p>\n\u003cp>a dance party\u003c/p>\n\u003cp>on the freeway\u003c/p>\n\u003cp>Andrea Abi -Karam alongside, from\u003c/p>\n\u003cp>within, erupting\u003c/p>\n\u003cp>out of\u003c/p>\n\u003cp>we sharpen\u003c/p>\n\u003cp>our teeth\u003c/p>\n\u003cp>& make attempts\u003c/p>\n\u003cp>glass breaking\u003c/p>\n\u003cp>disruption\u003c/p>\n\u003cp>simultaneous\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What specifically inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Andrea Abi-Karam: “POETRY AS FORCES” AFTER Cecilia Vicuña draws inspiration directly from the revolutionary life and work of oral performer, poet, and visual artist Cecilia Vicuña, looking towards the movements and interventions her work has been a part of in the face of the Chilean dictatorship (1973-1990) and seeks to apply those interventions to a contemporary context. One of the many elements I love about Cecilia Vicuña’s performances is that they are collaborative with the audience and the environment around her—she invites everything in to participate. This invitation embraces spontaneity, disruption, and adaptation to the predetermined performance and revels in the possibility of collective force.\u003c/p>\n\u003cp>\u003cstrong>In the face of injustice, what can words and poems do?\u003c/strong>\u003c/p>\n\u003cp>I believe that action is necessary to combat injustice, and that poetry can act as an accomplice to that action—but can’t stand alone against it. This is something that Kay Gabriel and I deep dive into in the introduction to \u003ca href=\"https://nightboat.org/book/we-want-it-all/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Want It All: An Anthology of Radical Trans Poetics\u003c/em> (Nightboat Books, 2020)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>How does your identity inform your art?\u003c/strong>\u003c/p>\n\u003cp>I write extensively from my own experience where my multitude of identities as queer, trans, and Arab American is infused into everything, but is not always the headlining subject. I write a lot about the dangers and necessity of being visibly queer and trans in public—I feel it’s important to demand space for queer and trans revelry in public space, and in the face of danger, friendship and collectivity prevails. I also sink into the SWANA histories and literary legacy that I am a part of, and work to draw attention to post-9/11 state and military violences. Some writers that I’m endlessly inspired by are Etel Adnan, Solmaz Sharif, Marwa Helal, George Abraham, and Fargo Tbakhi.\u003c/p>\n\u003cp>\u003cstrong>Where are you from and where can people find more of your work? \u003c/strong>\u003c/p>\n\u003cp>I grew up in Connecticut and have lived in Boston, Oakland, and New York. I came of age as a trans person and a poet in Oakland. Kelsey Street Press in Berkeley published my first book \u003ca href=\"https://www.spdbooks.org/Products/9780932716897/extratransmission.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>EXTRATRANSMISSION\u003c/em> \u003c/a>(2019), which is a critique of the U.S. military’s involvement in the War on Terror. In the fall of 2021, Nightboat Books published my second book \u003ca href=\"https://nightboat.org/book/villainy/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Villainy\u003c/em>\u003c/a>, which reimagines militant collectivity in the wake of the Ghost Ship fire and the Muslim Ban.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Keep up with events and other activities at \u003ca href=\"http://andreaak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Andrea Abi-Karam’s website\u003c/a> or \u003ca href=\"https://www.instagram.com/wolf_hour/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Karam.MAIN_.jpg\" alt=\"The poet looks into the camera in a blue shirt\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Karam.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Karam.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Karam.MAIN_-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Andrea Abi-Karam. \u003ccite>(Courtesy Andrea Abi-Karam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Andrea Abi-Karam, ‘POETRY AS FORCES,’ AFTER Cecilia Vicuña\u003c/h2>\n\u003cp>\u003cem>The “about to happen” / “poetry as forces”—when Cecilia Vicuña says that the lies (the words, the language) of the Chilean dictatorship murdered & tortured thousands of people I remember the power of the word & i remember the power of poetry—“made of forces”—that holds something in the action of language—material consequences can occur—not always—literal action is necessary but the line between language & action no longer feels quite as precise as the street vs. the aftermath—an emergence of literature—unrestrained\u003c/em>\u003c/p>\n\u003cp>i ask questions like\u003c/p>\n\u003cp>how to weaponize my own body\u003c/p>\n\u003cp>or what’s left\u003c/p>\n\u003cp>of it how do we weaponize our selves\u003c/p>\n\u003cp>how to weaponize the poem \u003cem>(words as weapons)\u003c/em>\u003c/p>\n\u003cp>give the poem teeth\u003c/p>\n\u003cp>overflow its vacancies\u003c/p>\n\u003cp>with sharpnesses\u003c/p>\n\u003cp>momentary, transitory criminal aesthetics\u003c/p>\n\u003cp>an unpublished sketch\u003c/p>\n\u003cp>of affinities\u003c/p>\n\u003cp>explicit revenge fantasy\u003c/p>\n\u003cp>& pride orgy\u003c/p>\n\u003cp>accumulation becomes\u003c/p>\n\u003cp>a book\u003c/p>\n\u003cp>a constellation of bruises\u003c/p>\n\u003cp>a blockade\u003c/p>\n\u003cp>a dance party\u003c/p>\n\u003cp>on the freeway\u003c/p>\n\u003cp>Andrea Abi -Karam alongside, from\u003c/p>\n\u003cp>within, erupting\u003c/p>\n\u003cp>out of\u003c/p>\n\u003cp>we sharpen\u003c/p>\n\u003cp>our teeth\u003c/p>\n\u003cp>& make attempts\u003c/p>\n\u003cp>glass breaking\u003c/p>\n\u003cp>disruption\u003c/p>\n\u003cp>simultaneous\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What specifically inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Andrea Abi-Karam: “POETRY AS FORCES” AFTER Cecilia Vicuña draws inspiration directly from the revolutionary life and work of oral performer, poet, and visual artist Cecilia Vicuña, looking towards the movements and interventions her work has been a part of in the face of the Chilean dictatorship (1973-1990) and seeks to apply those interventions to a contemporary context. One of the many elements I love about Cecilia Vicuña’s performances is that they are collaborative with the audience and the environment around her—she invites everything in to participate. This invitation embraces spontaneity, disruption, and adaptation to the predetermined performance and revels in the possibility of collective force.\u003c/p>\n\u003cp>\u003cstrong>In the face of injustice, what can words and poems do?\u003c/strong>\u003c/p>\n\u003cp>I believe that action is necessary to combat injustice, and that poetry can act as an accomplice to that action—but can’t stand alone against it. This is something that Kay Gabriel and I deep dive into in the introduction to \u003ca href=\"https://nightboat.org/book/we-want-it-all/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Want It All: An Anthology of Radical Trans Poetics\u003c/em> (Nightboat Books, 2020)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>How does your identity inform your art?\u003c/strong>\u003c/p>\n\u003cp>I write extensively from my own experience where my multitude of identities as queer, trans, and Arab American is infused into everything, but is not always the headlining subject. I write a lot about the dangers and necessity of being visibly queer and trans in public—I feel it’s important to demand space for queer and trans revelry in public space, and in the face of danger, friendship and collectivity prevails. I also sink into the SWANA histories and literary legacy that I am a part of, and work to draw attention to post-9/11 state and military violences. Some writers that I’m endlessly inspired by are Etel Adnan, Solmaz Sharif, Marwa Helal, George Abraham, and Fargo Tbakhi.\u003c/p>\n\u003cp>\u003cstrong>Where are you from and where can people find more of your work? \u003c/strong>\u003c/p>\n\u003cp>I grew up in Connecticut and have lived in Boston, Oakland, and New York. I came of age as a trans person and a poet in Oakland. Kelsey Street Press in Berkeley published my first book \u003ca href=\"https://www.spdbooks.org/Products/9780932716897/extratransmission.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>EXTRATRANSMISSION\u003c/em> \u003c/a>(2019), which is a critique of the U.S. military’s involvement in the War on Terror. In the fall of 2021, Nightboat Books published my second book \u003ca href=\"https://nightboat.org/book/villainy/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Villainy\u003c/em>\u003c/a>, which reimagines militant collectivity in the wake of the Ghost Ship fire and the Muslim Ban.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Keep up with events and other activities at \u003ca href=\"http://andreaak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Andrea Abi-Karam’s website\u003c/a> or \u003ca href=\"https://www.instagram.com/wolf_hour/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Serenity Belton, 'Mask'",
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"content": "\u003cfigure id=\"attachment_13912360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Serenity.MAIN_.jpg\" alt=\"A young Black woman in glasses and braids\" width=\"800\" height=\"800\" class=\"size-full wp-image-13912360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.MAIN_-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Serenity Belton. \u003ccite>(Courtesy Serenity Belton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Mask’ by Serenity Belton\u003c/h2>\n\u003cp>\u003cem>Behind a mask…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Behind a mask lies emotionless eyes..\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a broken heart.. \u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a me that’s falling apart…\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a true me that i don’t show…\u003c/em>\u003c/p>\n\u003cp>\u003cem>a me that I’d rather not expose..\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask is a scared me..\u003c/em>\u003c/p>\n\u003cp>\u003cem>one that wants to cry, maybe even a whole sea…\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask I tell myself I’m fine…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Behind a mask is not a smile..behind a mask is a me that wants to open up..\u003c/em>\u003c/p>\n\u003cp>\u003cem>but gets consumed by the fears..which stops me from seeing what’s clear.. \u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a different sere..one that i’m scared of you to see..\u003c/em>\u003c/p>\n\u003cp>\u003cem>so day after day..I put on a mask before you can ask…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sometimes I feel like I’m walking on glass…\u003c/em>\u003c/p>\n\u003cp>\u003cem>The pain I feel everywhere…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sometimes I just can’t bare…\u003c/em>\u003c/p>\n\u003cp>\u003cem>I smile and pretend… \u003c/em>\u003c/p>\n\u003cp>\u003cem>because I’m not used to this painful pair of skin..\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask..is a whole other story..one that im not ready to share…\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask…is a frown…\u003c/em>\u003c/p>\n\u003cp>\u003cem>one that I’m not sure how to turn upside down..\u003c/em>\u003c/p>\n\u003cp>\u003cem>Each day, I hide behind a mask before you can even ask.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912362\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Serenity.1.jpg\" alt=\"Serenity Belton wears glasses and a cloth mask over her nose and face while taking a selfie.\" width=\"600\" height=\"750\" class=\"size-full wp-image-13912362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.1-160x200.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">Serenity Belton. \u003ccite>(Courtesy Serenity Belton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>: What inspired this poem?\u003c/p>\n\u003cp>\u003cb>Serenity Belton\u003c/b>: What inspired this poem was mainly my feelings, and wanting to express them. At that time I was heavily struggling with depression and opening up, I didn’t know what to do, and writing came to mind. So I ended up writing.\u003c/p>\n\u003cp>\u003cb>How has your poetry been received? What do people say when they hear or read your work?\u003c/b>\u003c/p>\n\u003cp>To be honest, I’m not sure, since I haven’t shared my poems with others before. This is the first time letting one of my poems be out for others to see. At first I was afraid of hearing what others would say about my poems, but I took a chance this time to let others see my work.\u003c/p>\n\u003cp>\u003cb>How old are you, and what does it feel like to be part of the Bay Area’s poetry legacy?\u003c/b>\u003c/p>\n\u003cp>I’m 17 years old, and it feels nice to have my poem be a part of the Bay Area’s poetry legacy. It feels like my poem has been acknowledged, as well as my feelings—since that poem held my feelings within it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Serenity.MAIN_.jpg\" alt=\"A young Black woman in glasses and braids\" width=\"800\" height=\"800\" class=\"size-full wp-image-13912360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.MAIN_-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Serenity Belton. \u003ccite>(Courtesy Serenity Belton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Mask’ by Serenity Belton\u003c/h2>\n\u003cp>\u003cem>Behind a mask…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Behind a mask lies emotionless eyes..\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a broken heart.. \u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a me that’s falling apart…\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a true me that i don’t show…\u003c/em>\u003c/p>\n\u003cp>\u003cem>a me that I’d rather not expose..\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask is a scared me..\u003c/em>\u003c/p>\n\u003cp>\u003cem>one that wants to cry, maybe even a whole sea…\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask I tell myself I’m fine…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Behind a mask is not a smile..behind a mask is a me that wants to open up..\u003c/em>\u003c/p>\n\u003cp>\u003cem>but gets consumed by the fears..which stops me from seeing what’s clear.. \u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask lies a different sere..one that i’m scared of you to see..\u003c/em>\u003c/p>\n\u003cp>\u003cem>so day after day..I put on a mask before you can ask…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sometimes I feel like I’m walking on glass…\u003c/em>\u003c/p>\n\u003cp>\u003cem>The pain I feel everywhere…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sometimes I just can’t bare…\u003c/em>\u003c/p>\n\u003cp>\u003cem>I smile and pretend… \u003c/em>\u003c/p>\n\u003cp>\u003cem>because I’m not used to this painful pair of skin..\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask..is a whole other story..one that im not ready to share…\u003c/em>\u003c/p>\n\u003cp>\u003cem>behind a mask…is a frown…\u003c/em>\u003c/p>\n\u003cp>\u003cem>one that I’m not sure how to turn upside down..\u003c/em>\u003c/p>\n\u003cp>\u003cem>Each day, I hide behind a mask before you can even ask.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912362\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Serenity.1.jpg\" alt=\"Serenity Belton wears glasses and a cloth mask over her nose and face while taking a selfie.\" width=\"600\" height=\"750\" class=\"size-full wp-image-13912362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Serenity.1-160x200.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">Serenity Belton. \u003ccite>(Courtesy Serenity Belton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>: What inspired this poem?\u003c/p>\n\u003cp>\u003cb>Serenity Belton\u003c/b>: What inspired this poem was mainly my feelings, and wanting to express them. At that time I was heavily struggling with depression and opening up, I didn’t know what to do, and writing came to mind. So I ended up writing.\u003c/p>\n\u003cp>\u003cb>How has your poetry been received? What do people say when they hear or read your work?\u003c/b>\u003c/p>\n\u003cp>To be honest, I’m not sure, since I haven’t shared my poems with others before. This is the first time letting one of my poems be out for others to see. At first I was afraid of hearing what others would say about my poems, but I took a chance this time to let others see my work.\u003c/p>\n\u003cp>\u003cb>How old are you, and what does it feel like to be part of the Bay Area’s poetry legacy?\u003c/b>\u003c/p>\n\u003cp>I’m 17 years old, and it feels nice to have my poem be a part of the Bay Area’s poetry legacy. It feels like my poem has been acknowledged, as well as my feelings—since that poem held my feelings within it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "We All Come From Water: Poetry from the Edge",
"publishDate": 1650621612,
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4962440556\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>So many of us come from water but\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>when you come from water\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>no one believes you.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Colonization keeps laughing.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Global warming is grinning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>at all your grief.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>How you mourn the loss of a home\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that isn’t even gone yet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>That no one believes you’re from.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>These are the words of \u003ca href=\"https://www.instagram.com/terisasiagatonu/\" target=\"_blank\" rel=\"noopener noreferrer\">Terisa Siagatonu\u003c/a> in her poem ‘\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146222/atlas-5aa944cf31dad\">Atlas\u003c/a>‘.\u003c/p>\n\u003cp>Terisa’s poetry emerges from climate change and its impact on marginalized communities. She also writes poems from the perspective of her hyphenated identity: raised in San Francisco with deep Samoan roots.\u003c/p>\n\u003cp>In our conversation, Terisa looks back at January’s \u003ca href=\"https://www.kqed.org/news/11901877/bay-area-tongans-wait-in-hope-and-fear-for-news-of-family-after-tsunami\" target=\"_blank\" rel=\"noopener noreferrer\">underwater eruption\u003c/a> that caused massive tsunamis in Samoa, Tonga, Fiji and other nations in Oceania. Initially, the disaster made headlines and relief efforts filled social media feeds, but Terisa questions what sustained care looks like for those impacted by a changing global climate.\u003c/p>\n\u003cp>After speaking on this topic at venues across the country and around the world, even addressing members of the United Nations, Terisa Siagatonu discusses climate justice and how she “languages” her experience on this episode of Rightnowish.\u003c/p>\n\u003cfigure id=\"attachment_13912228\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-4-800x1203.jpg\" alt=\"Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4.jpg 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs. \u003ccite>(Courtesy of Terisa Siagatonu )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Terisa Siagatonu.\u003c/strong>\u003c/p>\n\u003cp>Terisa: For those who don’t know, [in January 2022,] there was an underwater volcanic eruption right on the coast of the island and Kingdom of Tonga… I saw a lot of Tongan friends of mine really nervous about not getting a hold of family members. I also saw the power of the Pacific Ocean herself, in terms of how the waves of eruption could reach our coast here in the US. And it speaks to this notion that I hold with me all the time that Hawaiian scholar, activist poet, Haunani-Kay Trask talks about in her work, “upon the survival of the Pacific depends the survival of the world.”\u003c/p>\n\u003cp>Terisa: Because so many times the world kind of relegates [Pacific Islanders] to the margins of their consciousness and of world maps and forgets that there are people from water – like my people – that are only heard about when it comes to natural disasters or when it comes to tragedy. What happens in the Pacific should matter to all of us.\u003c/p>\n\u003cp>\u003cem>Pen: When I thought about speaking to you it was about how can we keep this story alive? Make sure that [devastation from the volcanic eruption] is not just something tragic that happens and we move on, because we know that this will impact people for some time to come. So how do you keep that in people’s foresight?\u003c/em>\u003c/p>\n\u003cp>Terisa: I think social media helps… I think it’s also a great time to talk about what do people know about Pacific Islanders outside of devastation and climate change outside of your honeymoon vacations? … If we’re talking about what happened in Tonga, let’s talk about Tongans. Let’s talk about how the Pacific migration even came to the U.S. Let’s have more nuanced conversations about it. A lot of times my lane is to help language, and stand in the gap between what people know and what people don’t know using art.\u003c/p>\n\u003cp>\u003cem>Pen: …Your poem titled “Atlas” you wrote that over 5 years ago still has huge implications today….for example, where you \u003cspan style=\"font-weight: 400\">talk about identifying with bodies of water…\u003c/span>\u003c/em>\u003cem> Growing up in the Bay Area, I’m so accustomed to identifying with land. Like I know somebody from the neighborhood. It’s Chris from 73rd, he’s from a piece of land. But I don’t talk about the creek that runs through his neighborhood or the body of water that the community was built around. And so this Atlas poem, you do a wonderful job of identifying water with people. Do people receive it that way?\u003c/em>\u003c/p>\n\u003cp>Terisa: You’re really hitting it on the head with the reasons I wrote it… expanding our notions of where we come from, that not all of us just come from land, but it is the water that surrounds us too, and it runs through us and our communities. Because I come from an island and my community comes from an island, water is of importance to us, but water is important to all of us! Being from the Bay, we are water people, we’re here on California’s coast and how much do we know about the quality of the water right here in our backyards?\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>How everyone is beginning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>to hear more about your island\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but only in the context of\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>vacations and honeymoons,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>football and military life,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>exotic women exotic fruit exotic beaches\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but never asks about the rest of its body.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: I don’t even think people realize that Samoa is actually two separate islands because of colonization in that the eastern island, called American Samoa, it’s a U.S. territory. I don’t think a lot of people even know that. I don’t even think people know what a U.S. territory is, which isn’t to shame them because I once didn’t know it either… And so my hope is for people to at least get curious. I don’t expect people to be experts and be supremely knowledgeable about who Samoans are… So much about being Samoan can also be linked directly to what it means to be American. I say that because of Samoan’s high rates in the U.S. military. I say that because so many of people’s insight into who Samoans are come from the NFL… I want people to care enough about helping to connect those dots for themselves because there’s a deep colonial history to why that is, why Samoans are who we are\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>When people ask me where I’m from,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>they don’t believe me when I say water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>So instead, I tell them that home is a machete\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and that I belong to places\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that don’t belong to themselves anymore,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>broken and butchered places that have made me\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a hyphen of a woman:\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a Samoan-American that carries the weight of both\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>colonizer and colonized,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>both blade and blood.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: It sometimes feels like the hyphen itself is like this bridge with no railings. So you just don’t know if you’re safe. You don’t know how to traverse it all the time. And I think part of being a bicultural kid in diaspora is that I am always yearning for a sense of belonging in being samoan enough to claim my Samoan identity, but sometimes not feeling adequate and living up to what that means, because of things like language loss and how I don’t fully know my language anymore, or I never learned it because my family was in survival mode when they immigrated here and thought teaching me English was going to be more helpful for for me and my upbringing.\u003c/p>\n\u003cp>Terisa: It’s also rejecting my Americanness sometimes because of U.S. imperialism and how much it has desecrated not just the Pacific, but so many of our countries. And so sometimes that identity is so hard for me to really reckon with… So I got deeper into exploring my indigeneity as a Samoan. And also making peace with: maybe I live on this hyphen. Maybe it’s not a matter of like equalizing my Samoaness and my Americanness, and I just stand on this hyphen and write my poems over here, over the water [laughs]\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>California, nestled on the western coast of the most powerful\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>country on this planet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, an island so microscopic on a map, it’s no wonder\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>people doubt its existence.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>California, a state of emergency away from having the drought\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>rid it of all its water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, a state of emergency away from becoming a saltwater cemetery\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>if the sea level doesn’t stop rising.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Since writing this piece five years ago where has it taken you?\u003c/em>\u003c/p>\n\u003cp>Terisa: It was one of the poems that I took with me to the U.N. Conference on Climate Change in Paris, where the Paris Agreement was created back in 2015. It has been the door that has remained open to many opportunities that I’ve gotten to expand the conversation of who Pacific Islanders are, what is at stake, and what is the cost of not knowing what’s what’s happening in the Pacific in terms of the climate and why people should care. And so that little poem means a lot to me. [laughs]\u003c/p>\n\u003cp>\u003cem>Pen: What did it feel like [presenting the poem to the United Nations]?\u003c/em>\u003c/p>\n\u003cp>Terisa: It felt exhilarating because it’s a global stage, people came from around the world to spend a few weeks together to talk about how are we going to get ourselves out of this climate devastation and what are our best solutions.. I am grateful for the times in which I can share work about the Pacific, about being Samoan. Something that maybe they didn’t have any knowledge of before. And I’m always thankful for those opportunities to share work in those ways… But there is this element of tokenization that happens often people want to hear your story… They for sure want to hear the tragic, traumatic parts of it so that they can feel something so that they can be stirred up with emotions in order to care and change and act. But then there’s this gross feeling to it sometimes too, where there’s this extraction… extracting people for their trauma, for their most devastating parts and not like seeing them as these whole human communities that deserve more.\u003c/p>\n\u003cp>Terisa: And so these climate convenings are interesting in those ways. I try to manage how much energy I give, to who and why… It’s like trying to heal the system within the system. I mean, we don’t even have to be at a global convening to feel that. I think that’s a daily thing for me, to ask what are people’s intentions? Am I clear on my own values? Am I aligned with them?\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned value. How do you show your value as an artist in this line of work?\u003c/em>\u003c/p>\n\u003cp>Terisa: There was a moment where I was in a Bay Area organizing space in which the facilitator was asking us, “like what our values were? And in asking us more importantly, like, do we know what our values are? and how do we know what they are? And she was asking us, like, Do you write them down? Do you review them? Do you adjust them? And I had to get real of myself around like, No, I don’t do a lot of those things. I think we in our head theoretically is like, Yeah, I have values. Of course I have them. Who do you think I am? But it’s like, how do I measure if I’m aligned with my values?… I think it’s a daily practice and I’m not an expert at it at all. Every day I’m trying to figure out how to do it better.\u003c/p>\n\u003cp>\u003cem>Pen: Mannnn. I never write down my values, as much as a write. It’s like duh! I write everything else down: to do list, shopping list. Anything else is like targeted intention.\u003c/em>\u003c/p>\n\u003cp>Terisa: now that we’re talking about it, I actually should revisit it because I haven’t looked at them in a while\u003c/p>\n\u003cp>\u003cem>Pen: I mean, it makes sense to revisit it now. Right? as you take on new journeys, right?\u003c/em>\u003c/p>\n\u003cp>Terisa: right!\u003c/p>\n\u003cp>\u003cem>Pen: Do you ever think of yourself as a climate changer?\u003c/em>\u003c/p>\n\u003cp>Terisa: Yeah, I do now! It took me a while to really own that I’m an environmentalist or I’m a climate change organizer because I had a perception of like, you had to care about this work in a particular way to deem yourself as a real and true climate changer… But then I realized, not only do I think that’s not true, we’re literally running out of time, so I don’t actually care. I’m just going to put my head down and do my work in this narrow lane that I know and trust that enough of us are in our own lanes with our own gifts trying our best to try everything!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "For National Poetry month, we talk to Terisa Siagatonu about writing poetry from atop her hyphen as a Tongan-American and how she languages the climate crisis. ",
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"title": "We All Come From Water: Poetry from the Edge | KQED",
"description": "For National Poetry month, we talk to Terisa Siagatonu about writing poetry from atop her hyphen as a Tongan-American and how she languages the climate crisis. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4962440556\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>So many of us come from water but\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>when you come from water\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>no one believes you.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Colonization keeps laughing.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Global warming is grinning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>at all your grief.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>How you mourn the loss of a home\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that isn’t even gone yet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>That no one believes you’re from.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>These are the words of \u003ca href=\"https://www.instagram.com/terisasiagatonu/\" target=\"_blank\" rel=\"noopener noreferrer\">Terisa Siagatonu\u003c/a> in her poem ‘\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146222/atlas-5aa944cf31dad\">Atlas\u003c/a>‘.\u003c/p>\n\u003cp>Terisa’s poetry emerges from climate change and its impact on marginalized communities. She also writes poems from the perspective of her hyphenated identity: raised in San Francisco with deep Samoan roots.\u003c/p>\n\u003cp>In our conversation, Terisa looks back at January’s \u003ca href=\"https://www.kqed.org/news/11901877/bay-area-tongans-wait-in-hope-and-fear-for-news-of-family-after-tsunami\" target=\"_blank\" rel=\"noopener noreferrer\">underwater eruption\u003c/a> that caused massive tsunamis in Samoa, Tonga, Fiji and other nations in Oceania. Initially, the disaster made headlines and relief efforts filled social media feeds, but Terisa questions what sustained care looks like for those impacted by a changing global climate.\u003c/p>\n\u003cp>After speaking on this topic at venues across the country and around the world, even addressing members of the United Nations, Terisa Siagatonu discusses climate justice and how she “languages” her experience on this episode of Rightnowish.\u003c/p>\n\u003cfigure id=\"attachment_13912228\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-4-800x1203.jpg\" alt=\"Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4.jpg 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs. \u003ccite>(Courtesy of Terisa Siagatonu )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Terisa Siagatonu.\u003c/strong>\u003c/p>\n\u003cp>Terisa: For those who don’t know, [in January 2022,] there was an underwater volcanic eruption right on the coast of the island and Kingdom of Tonga… I saw a lot of Tongan friends of mine really nervous about not getting a hold of family members. I also saw the power of the Pacific Ocean herself, in terms of how the waves of eruption could reach our coast here in the US. And it speaks to this notion that I hold with me all the time that Hawaiian scholar, activist poet, Haunani-Kay Trask talks about in her work, “upon the survival of the Pacific depends the survival of the world.”\u003c/p>\n\u003cp>Terisa: Because so many times the world kind of relegates [Pacific Islanders] to the margins of their consciousness and of world maps and forgets that there are people from water – like my people – that are only heard about when it comes to natural disasters or when it comes to tragedy. What happens in the Pacific should matter to all of us.\u003c/p>\n\u003cp>\u003cem>Pen: When I thought about speaking to you it was about how can we keep this story alive? Make sure that [devastation from the volcanic eruption] is not just something tragic that happens and we move on, because we know that this will impact people for some time to come. So how do you keep that in people’s foresight?\u003c/em>\u003c/p>\n\u003cp>Terisa: I think social media helps… I think it’s also a great time to talk about what do people know about Pacific Islanders outside of devastation and climate change outside of your honeymoon vacations? … If we’re talking about what happened in Tonga, let’s talk about Tongans. Let’s talk about how the Pacific migration even came to the U.S. Let’s have more nuanced conversations about it. A lot of times my lane is to help language, and stand in the gap between what people know and what people don’t know using art.\u003c/p>\n\u003cp>\u003cem>Pen: …Your poem titled “Atlas” you wrote that over 5 years ago still has huge implications today….for example, where you \u003cspan style=\"font-weight: 400\">talk about identifying with bodies of water…\u003c/span>\u003c/em>\u003cem> Growing up in the Bay Area, I’m so accustomed to identifying with land. Like I know somebody from the neighborhood. It’s Chris from 73rd, he’s from a piece of land. But I don’t talk about the creek that runs through his neighborhood or the body of water that the community was built around. And so this Atlas poem, you do a wonderful job of identifying water with people. Do people receive it that way?\u003c/em>\u003c/p>\n\u003cp>Terisa: You’re really hitting it on the head with the reasons I wrote it… expanding our notions of where we come from, that not all of us just come from land, but it is the water that surrounds us too, and it runs through us and our communities. Because I come from an island and my community comes from an island, water is of importance to us, but water is important to all of us! Being from the Bay, we are water people, we’re here on California’s coast and how much do we know about the quality of the water right here in our backyards?\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>How everyone is beginning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>to hear more about your island\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but only in the context of\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>vacations and honeymoons,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>football and military life,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>exotic women exotic fruit exotic beaches\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but never asks about the rest of its body.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: I don’t even think people realize that Samoa is actually two separate islands because of colonization in that the eastern island, called American Samoa, it’s a U.S. territory. I don’t think a lot of people even know that. I don’t even think people know what a U.S. territory is, which isn’t to shame them because I once didn’t know it either… And so my hope is for people to at least get curious. I don’t expect people to be experts and be supremely knowledgeable about who Samoans are… So much about being Samoan can also be linked directly to what it means to be American. I say that because of Samoan’s high rates in the U.S. military. I say that because so many of people’s insight into who Samoans are come from the NFL… I want people to care enough about helping to connect those dots for themselves because there’s a deep colonial history to why that is, why Samoans are who we are\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>When people ask me where I’m from,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>they don’t believe me when I say water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>So instead, I tell them that home is a machete\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and that I belong to places\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that don’t belong to themselves anymore,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>broken and butchered places that have made me\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a hyphen of a woman:\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a Samoan-American that carries the weight of both\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>colonizer and colonized,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>both blade and blood.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: It sometimes feels like the hyphen itself is like this bridge with no railings. So you just don’t know if you’re safe. You don’t know how to traverse it all the time. And I think part of being a bicultural kid in diaspora is that I am always yearning for a sense of belonging in being samoan enough to claim my Samoan identity, but sometimes not feeling adequate and living up to what that means, because of things like language loss and how I don’t fully know my language anymore, or I never learned it because my family was in survival mode when they immigrated here and thought teaching me English was going to be more helpful for for me and my upbringing.\u003c/p>\n\u003cp>Terisa: It’s also rejecting my Americanness sometimes because of U.S. imperialism and how much it has desecrated not just the Pacific, but so many of our countries. And so sometimes that identity is so hard for me to really reckon with… So I got deeper into exploring my indigeneity as a Samoan. And also making peace with: maybe I live on this hyphen. Maybe it’s not a matter of like equalizing my Samoaness and my Americanness, and I just stand on this hyphen and write my poems over here, over the water [laughs]\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>California, nestled on the western coast of the most powerful\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>country on this planet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, an island so microscopic on a map, it’s no wonder\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>people doubt its existence.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>California, a state of emergency away from having the drought\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>rid it of all its water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, a state of emergency away from becoming a saltwater cemetery\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>if the sea level doesn’t stop rising.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Since writing this piece five years ago where has it taken you?\u003c/em>\u003c/p>\n\u003cp>Terisa: It was one of the poems that I took with me to the U.N. Conference on Climate Change in Paris, where the Paris Agreement was created back in 2015. It has been the door that has remained open to many opportunities that I’ve gotten to expand the conversation of who Pacific Islanders are, what is at stake, and what is the cost of not knowing what’s what’s happening in the Pacific in terms of the climate and why people should care. And so that little poem means a lot to me. [laughs]\u003c/p>\n\u003cp>\u003cem>Pen: What did it feel like [presenting the poem to the United Nations]?\u003c/em>\u003c/p>\n\u003cp>Terisa: It felt exhilarating because it’s a global stage, people came from around the world to spend a few weeks together to talk about how are we going to get ourselves out of this climate devastation and what are our best solutions.. I am grateful for the times in which I can share work about the Pacific, about being Samoan. Something that maybe they didn’t have any knowledge of before. And I’m always thankful for those opportunities to share work in those ways… But there is this element of tokenization that happens often people want to hear your story… They for sure want to hear the tragic, traumatic parts of it so that they can feel something so that they can be stirred up with emotions in order to care and change and act. But then there’s this gross feeling to it sometimes too, where there’s this extraction… extracting people for their trauma, for their most devastating parts and not like seeing them as these whole human communities that deserve more.\u003c/p>\n\u003cp>Terisa: And so these climate convenings are interesting in those ways. I try to manage how much energy I give, to who and why… It’s like trying to heal the system within the system. I mean, we don’t even have to be at a global convening to feel that. I think that’s a daily thing for me, to ask what are people’s intentions? Am I clear on my own values? Am I aligned with them?\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned value. How do you show your value as an artist in this line of work?\u003c/em>\u003c/p>\n\u003cp>Terisa: There was a moment where I was in a Bay Area organizing space in which the facilitator was asking us, “like what our values were? And in asking us more importantly, like, do we know what our values are? and how do we know what they are? And she was asking us, like, Do you write them down? Do you review them? Do you adjust them? And I had to get real of myself around like, No, I don’t do a lot of those things. I think we in our head theoretically is like, Yeah, I have values. Of course I have them. Who do you think I am? But it’s like, how do I measure if I’m aligned with my values?… I think it’s a daily practice and I’m not an expert at it at all. Every day I’m trying to figure out how to do it better.\u003c/p>\n\u003cp>\u003cem>Pen: Mannnn. I never write down my values, as much as a write. It’s like duh! I write everything else down: to do list, shopping list. Anything else is like targeted intention.\u003c/em>\u003c/p>\n\u003cp>Terisa: now that we’re talking about it, I actually should revisit it because I haven’t looked at them in a while\u003c/p>\n\u003cp>\u003cem>Pen: I mean, it makes sense to revisit it now. Right? as you take on new journeys, right?\u003c/em>\u003c/p>\n\u003cp>Terisa: right!\u003c/p>\n\u003cp>\u003cem>Pen: Do you ever think of yourself as a climate changer?\u003c/em>\u003c/p>\n\u003cp>Terisa: Yeah, I do now! It took me a while to really own that I’m an environmentalist or I’m a climate change organizer because I had a perception of like, you had to care about this work in a particular way to deem yourself as a real and true climate changer… But then I realized, not only do I think that’s not true, we’re literally running out of time, so I don’t actually care. I’m just going to put my head down and do my work in this narrow lane that I know and trust that enough of us are in our own lanes with our own gifts trying our best to try everything!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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