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"title": "Looking Ahead to Bay Area Books to Read This Fall",
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"content": "\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\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\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Afghan Author on Losing Her Homeland—For the Second Time",
"headTitle": "An Afghan Author on Losing Her Homeland—For the Second Time | KQED",
"content": "\u003cp>The week \u003ca href=\"https://www.npr.org/2021/08/15/1027847038/taliban-forces-sweep-into-kabul-as-talks-underway-on-transfer-of-power\" target=\"_blank\" rel=\"noopener noreferrer\">Afghanistan fell to the Taliban\u003c/a>, I had gone out of town with my parents and in-laws. While my children played, their parents and grandparents sat riveted to our phones, speaking in fragments. Thoughts interrupted. Plates half eaten. Nothing was whole anymore.\u003c/p>\n\u003cp>It is too cruel to ask if it hurts more the first or second time a homeland is lost. I know one never becomes numb to it. Across social media, family and friends were relatively silent as \u003ca href=\"https://www.npr.org/2021/08/08/1025909600/taliban-seizes-2-more-provincial-capitals-in-afghanistan\" target=\"_blank\" rel=\"noopener noreferrer\">one province after another fell\u003c/a>. Forty years of conflict means that generations—plural—of Afghans carry with them some form of trauma or loss. The headlines of that week were making an inevitability clear. We braced ourselves for \u003ca href=\"https://www.npr.org/2021/08/17/1028448554/what-kabul-looks-like-2-days-after-the-taliban-took-control\" target=\"_blank\" rel=\"noopener noreferrer\">what might unfold in Kabul\u003c/a>, the seat of power.\u003c/p>\n\u003cfigure id=\"attachment_13902074\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/81ojvltmill_custom-8494a321417ca1b6ef3ba17e9e443a5b70112e23.jpg\" alt=\"\" width=\"200\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/81ojvltmill_custom-8494a321417ca1b6ef3ba17e9e443a5b70112e23.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/81ojvltmill_custom-8494a321417ca1b6ef3ba17e9e443a5b70112e23-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Sparks Like Stars’ by Nadia Hashimi. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was thinking of my parents when I wrote a line in \u003ca href=\"https://www.npr.org/2021/03/06/974051047/reclaiming-family-and-memory-in-sparks-like-stars\" target=\"_blank\" rel=\"noopener noreferrer\">my most recent novel\u003c/a>, \u003cem>Sparks Like Stars\u003c/em>. “Your Kabul is gone,” a soldier shouts at a girl freshly orphaned and traumatized by the 1978 coup. New flags were raised then just as they were this month. In the stretches of time when Afghanistan wasn’t burying empires, it has thrived and progressed. Both my parents left Kabul in their 20s and never saw a day of conflict. The city has a sweetness to people who grew up wandering the bustling markets and storied gardens and their hearts break when they see these sites defiled by war.\u003c/p>\n\u003cp>Images are the worst. They offer no buffer. Some have been shared and reshared like the one of a \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/afghanistan-kabul-baby.html\" target=\"_blank\" rel=\"noopener noreferrer\">mother passing her baby over the barbed wire fence of the airport’s walls\u003c/a>. I wonder if she felt relief when she stared into her empty hands. We saw people fall from the sky. Twenty years ago, I stood on a Brooklyn street while, a few miles away, people leaped to their deaths rather than be consumed by toppled towers.\u003c/p>\n\u003cp>Like so many other displaced communities, we have people “back home.” We have schools and non-profits we support. Our phones have been abuzz with international calls. The technology is deceiving. Their pleas are crisp and clear as if they were half a block and not half a world away. Surely, there must be someone we can call on their behalf, some magical email address to which we can submit their names and the names of their children. They are afraid. A journalist lost a loved one in a Taliban attack targeting him. One laid pipes alongside Americans and Germans. They make their case to us. They speak English. They have degrees. Their daughters are bright and promising. They will pray for us for all their days if we can just find a way to lift them over the huddled masses yearning to breathe free and slip them through the blocked gates of the airport.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our routines have partially crumbled. My 11-year-old son ate olives for breakfast. The children are patient with us. With just a glance at the gun-slinging Taliban, they know these are the bad guys. But they have also watched the X-Men and Spider-Man, and they want to know why the good guys can’t defeat the bad guys. They’ve grown up on happy endings.\u003c/p>\n\u003cp>One of my earlier novels about Afghan refugees—\u003cem>\u003ca href=\"https://nadiahashimibooks.com/when-the-moon-is-low/\" target=\"_blank\" rel=\"noopener noreferrer\">When the Moon is Low\u003c/a>\u003c/em>—closes with a bit of ambiguity regarding a character’s fate, not something I’d recommend to other writers. Over the years, I’ve received dozens of messages from frustrated readers. I’ve told these readers that a tidier ending felt disingenuous to the struggles of those fleeing a dangerous homeland. Thus far, 20 people, mostly women, have died at the Kabul airport. We won’t see novels inspired by their lives because tragic last pages don’t sell books.\u003c/p>\n\u003cp>[aside postid='arts_13901335']So many friends have reached out offering notes of support that I scarcely have the time to reply to everyone. I want to spend my time here, in the soft petals of these messages rather than the thorns of the comments section. \u003cem>Afghans didn’t have the will to fight\u003c/em>, they say. As if tens of thousands of Afghan soldiers died of a mysterious illness rather than fighting for their country. \u003cem>They don’t believe in women’s rights\u003c/em>. \u003cem>Two decades of war and nothing’s changed.\u003c/em> We have evidence to the contrary, but you can’t change public opinion with 280 characters.\u003c/p>\n\u003cp>I can’t waste time arguing which U.S. president screwed this up the most—\u003cem>it’s D, all of the above\u003c/em>—not when women are being told to quiet their talk of women’s rights, for they are too young to die. Not when \u003ca href=\"https://www.npr.org/2021/08/17/1028483700/help-afghanistan-refugees\" target=\"_blank\" rel=\"noopener noreferrer\">fatigued families and unaccompanied children\u003c/a> are being ushered into auditoriums filled with cots and blankets and bottles of water. I want to bring one of these children home, because it says in a book the Taliban seem to have read upside down that to save one life is to save all of humanity.\u003c/p>\n\u003cp>I ground and surround myself with people who have focused on doing what we can for the people with whom we share a common, troubled ancestry. We share images of hope, not despair. A physics professor promised me that a body in motion tends to stay in motion. I am holding fast to this law as I keep moving. We, a body of \u003ca href=\"http://www.afghanamericans.org\" target=\"_blank\" rel=\"noopener noreferrer\">advocates\u003c/a> and volunteers who have gathered to move as a collective, like fish traveling in a streamlined school. We are evading the predations of pessimism and impotence. We are cheating friction.\u003c/p>\n\u003cp>The dark waters are made brighter knowing that this moment may be far from happy, but it is also not the end.\u003c/p>\n\u003cfigure id=\"attachment_13902073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-800x1040.jpg\" alt=\"\" width=\"800\" height=\"1040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1020x1326.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1181x1536.jpg 1181w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1575x2048.jpg 1575w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1920x2496.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-scaled.jpg 1969w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Nadia Hashimi \u003ccite>(Zayla Amini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nadia Hashimi is the author of \u003c/em>Sparks Like Stars.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Afghan+Author+On+Losing+Her+Homeland+%E2%80%94+For+The+Second+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The week \u003ca href=\"https://www.npr.org/2021/08/15/1027847038/taliban-forces-sweep-into-kabul-as-talks-underway-on-transfer-of-power\" target=\"_blank\" rel=\"noopener noreferrer\">Afghanistan fell to the Taliban\u003c/a>, I had gone out of town with my parents and in-laws. While my children played, their parents and grandparents sat riveted to our phones, speaking in fragments. Thoughts interrupted. Plates half eaten. Nothing was whole anymore.\u003c/p>\n\u003cp>It is too cruel to ask if it hurts more the first or second time a homeland is lost. I know one never becomes numb to it. Across social media, family and friends were relatively silent as \u003ca href=\"https://www.npr.org/2021/08/08/1025909600/taliban-seizes-2-more-provincial-capitals-in-afghanistan\" target=\"_blank\" rel=\"noopener noreferrer\">one province after another fell\u003c/a>. Forty years of conflict means that generations—plural—of Afghans carry with them some form of trauma or loss. The headlines of that week were making an inevitability clear. We braced ourselves for \u003ca href=\"https://www.npr.org/2021/08/17/1028448554/what-kabul-looks-like-2-days-after-the-taliban-took-control\" target=\"_blank\" rel=\"noopener noreferrer\">what might unfold in Kabul\u003c/a>, the seat of power.\u003c/p>\n\u003cfigure id=\"attachment_13902074\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/81ojvltmill_custom-8494a321417ca1b6ef3ba17e9e443a5b70112e23.jpg\" alt=\"\" width=\"200\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/81ojvltmill_custom-8494a321417ca1b6ef3ba17e9e443a5b70112e23.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/81ojvltmill_custom-8494a321417ca1b6ef3ba17e9e443a5b70112e23-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Sparks Like Stars’ by Nadia Hashimi. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was thinking of my parents when I wrote a line in \u003ca href=\"https://www.npr.org/2021/03/06/974051047/reclaiming-family-and-memory-in-sparks-like-stars\" target=\"_blank\" rel=\"noopener noreferrer\">my most recent novel\u003c/a>, \u003cem>Sparks Like Stars\u003c/em>. “Your Kabul is gone,” a soldier shouts at a girl freshly orphaned and traumatized by the 1978 coup. New flags were raised then just as they were this month. In the stretches of time when Afghanistan wasn’t burying empires, it has thrived and progressed. Both my parents left Kabul in their 20s and never saw a day of conflict. The city has a sweetness to people who grew up wandering the bustling markets and storied gardens and their hearts break when they see these sites defiled by war.\u003c/p>\n\u003cp>Images are the worst. They offer no buffer. Some have been shared and reshared like the one of a \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/afghanistan-kabul-baby.html\" target=\"_blank\" rel=\"noopener noreferrer\">mother passing her baby over the barbed wire fence of the airport’s walls\u003c/a>. I wonder if she felt relief when she stared into her empty hands. We saw people fall from the sky. Twenty years ago, I stood on a Brooklyn street while, a few miles away, people leaped to their deaths rather than be consumed by toppled towers.\u003c/p>\n\u003cp>Like so many other displaced communities, we have people “back home.” We have schools and non-profits we support. Our phones have been abuzz with international calls. The technology is deceiving. Their pleas are crisp and clear as if they were half a block and not half a world away. Surely, there must be someone we can call on their behalf, some magical email address to which we can submit their names and the names of their children. They are afraid. A journalist lost a loved one in a Taliban attack targeting him. One laid pipes alongside Americans and Germans. They make their case to us. They speak English. They have degrees. Their daughters are bright and promising. They will pray for us for all their days if we can just find a way to lift them over the huddled masses yearning to breathe free and slip them through the blocked gates of the airport.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our routines have partially crumbled. My 11-year-old son ate olives for breakfast. The children are patient with us. With just a glance at the gun-slinging Taliban, they know these are the bad guys. But they have also watched the X-Men and Spider-Man, and they want to know why the good guys can’t defeat the bad guys. They’ve grown up on happy endings.\u003c/p>\n\u003cp>One of my earlier novels about Afghan refugees—\u003cem>\u003ca href=\"https://nadiahashimibooks.com/when-the-moon-is-low/\" target=\"_blank\" rel=\"noopener noreferrer\">When the Moon is Low\u003c/a>\u003c/em>—closes with a bit of ambiguity regarding a character’s fate, not something I’d recommend to other writers. Over the years, I’ve received dozens of messages from frustrated readers. I’ve told these readers that a tidier ending felt disingenuous to the struggles of those fleeing a dangerous homeland. Thus far, 20 people, mostly women, have died at the Kabul airport. We won’t see novels inspired by their lives because tragic last pages don’t sell books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So many friends have reached out offering notes of support that I scarcely have the time to reply to everyone. I want to spend my time here, in the soft petals of these messages rather than the thorns of the comments section. \u003cem>Afghans didn’t have the will to fight\u003c/em>, they say. As if tens of thousands of Afghan soldiers died of a mysterious illness rather than fighting for their country. \u003cem>They don’t believe in women’s rights\u003c/em>. \u003cem>Two decades of war and nothing’s changed.\u003c/em> We have evidence to the contrary, but you can’t change public opinion with 280 characters.\u003c/p>\n\u003cp>I can’t waste time arguing which U.S. president screwed this up the most—\u003cem>it’s D, all of the above\u003c/em>—not when women are being told to quiet their talk of women’s rights, for they are too young to die. Not when \u003ca href=\"https://www.npr.org/2021/08/17/1028483700/help-afghanistan-refugees\" target=\"_blank\" rel=\"noopener noreferrer\">fatigued families and unaccompanied children\u003c/a> are being ushered into auditoriums filled with cots and blankets and bottles of water. I want to bring one of these children home, because it says in a book the Taliban seem to have read upside down that to save one life is to save all of humanity.\u003c/p>\n\u003cp>I ground and surround myself with people who have focused on doing what we can for the people with whom we share a common, troubled ancestry. We share images of hope, not despair. A physics professor promised me that a body in motion tends to stay in motion. I am holding fast to this law as I keep moving. We, a body of \u003ca href=\"http://www.afghanamericans.org\" target=\"_blank\" rel=\"noopener noreferrer\">advocates\u003c/a> and volunteers who have gathered to move as a collective, like fish traveling in a streamlined school. We are evading the predations of pessimism and impotence. We are cheating friction.\u003c/p>\n\u003cp>The dark waters are made brighter knowing that this moment may be far from happy, but it is also not the end.\u003c/p>\n\u003cfigure id=\"attachment_13902073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-800x1040.jpg\" alt=\"\" width=\"800\" height=\"1040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1020x1326.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1181x1536.jpg 1181w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1575x2048.jpg 1575w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-1920x2496.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hashimi-2021-headshot_custom-948821dbf9912af7ba341a3aa8ae195ab3dea07b-scaled.jpg 1969w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Nadia Hashimi \u003ccite>(Zayla Amini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nadia Hashimi is the author of \u003c/em>Sparks Like Stars.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Afghan+Author+On+Losing+Her+Homeland+%E2%80%94+For+The+Second+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "José Vadi’s Essays Reclaim California with Voices from the Margins",
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"content": "\u003cp>In 1979, literary critic Michiko Kakutani proclaimed “California belongs to Joan Didion.” The writer—who grew up in Sacramento—shot to fame in the late ’60s and spent her illustrious writing career enchanting readers with her observations of the Golden State, the mercurialness of the Santa Ana winds, and the lives of hippies in Haight-Ashbury. She did this in her quintessentially unsentimental and journalistic prose and, as many have pointed out, from a perch; she lived in a mansion in Brentwood (a tony L.A. enclave favored by celebs like Marilyn Monroe and Joan Crawford) and partied with the Hollywood elite. Her name became synonymous with a certain aesthetic that was later emulated by countless other thin, white, wealthy women. Didion’s legacy looms over California like a long shadow. In recent years many literary voices have argued this as a reason to rethink her canonization as “St. Joan” (as \u003ca href=\"https://www.vanityfair.com/culture/2016/02/joan-didion-writer-los-angeles\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>Vanity Fair\u003c/i> dubbed her\u003c/a> in 2016). \u003c/p>\n\u003cp>The subheading of writer Myriam Gurba’s recent \u003ca href=\"https://electricliterature.com/its-time-to-take-california-back-from-joan-didion/\" rel=\"noopener noreferrer\" target=\"_blank\">essay\u003c/a>, “It’s Time to Take California Back from Joan Didion,” reads: “The first lady of West Coast letters needs to share that honor with the Mexican diaspora.” The argument Gurba and others present is that her dethroning would give rise to new voices that are more representative of the racial and economic background of the U.S.’s most populous state. One such voice is that of Oakland resident José Vadi. \u003c/p>\n\u003cfigure id=\"attachment_13901848\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Jose%CC%81-Vadi-Author-Photo-credit_-Bobby-Gordon_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13901848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">José Vadi, author of ‘Inter State: Essays from California.’ \u003ccite>(Bobby Gordon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vadi is the grandson of Mexican farmworkers, a poet, and a lifelong skater. His new book, \u003ci>Inter State: Essays from California\u003c/i> reads like salvage ethnography from an amateur anthropologist. “I fear losing California,” he states in one of the book’s seven related essays. That fear propels him to study it, take grainy pictures, and preserve it in the way he knows best: in words. His voice offers earnest narration about gentrification and other changes that he recognizes have the power to turn him into “a modern-day Okie” in his home state. \u003c/p>\n\u003cp>“The California dream is inherently stratified,” Vadi explains to me. “It’s based on class, and as a result of that, it’s based on race and geography.” Mapping that changing geography is the work of \u003cem>Inter State\u003c/em>. In essays like “Standing in the Shadows of Brands,” and “14th and Jackson,” Vadi explores the way the tech industry has altered the landscape of San Francisco. Expansive development projects for luxury housing complexes continue while the homelessness epidemic worsens; the city’s skyline is altered by brands in a way Vadi notes is “akin to SimCity’s logical apocalyptic end.” In an essay titled “California Inquiry,” he writes: “The biggest question facing this state isn’t just its survival but its destruction.” \u003c/p>\n\u003cp>California is a palimpsest; there are cities and stories that were erased to make room for the ones that exist now. Vadi’s dispatches about gentrification sanitizing Oakland, the state’s many unheralded laborers (like the incarcerated men and women who work shoulder-to-shoulder but not dollar-for-dollar with our firefighters), and the tech and population booms reshaping the state, are an attempt to unearth those stories. \u003c/p>\n\u003cfigure id=\"attachment_13901850\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/sfstreet_1200.jpg\" alt=\"\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13901850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-768x509.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">11th Street at Kissling, Fifteen Fifty Luxury Rental Apartments under construction in background, San Francisco, 2018. \u003ccite>(José Vadi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the root of Vadi’s connection to California is his grandfather who passed away in 2011. “A lot of these essays are answering questions I had about my family’s relationship with the state, and my own,” Vadi explains. The book is a way of honoring his grandfather and the many like him who lived an “under-the-table existence.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everyone in my family who was a male of that generation was working in the fields,” Vadi says. “Even today in 2021, in the wake of a federal Cesar Chavez holiday, Latin voices, Mexican voices, Chicano voices—however you want to define it—are still very much on the back burner of the literary scene’s priorities.” His writing transposes those voices from the margins to center stage by letting them assume their rightful place as co-authors of the story of California.\u003c/p>\n\u003cp>For many, California has become more of an idea than a place. Splashy and hyperbolic \u003ca href=\"https://www.youtube.com/watch?v=pEg4m_kL2yI\" rel=\"noopener noreferrer\" target=\"_blank\">Visit California ads\u003c/a> depict the state as a racially harmonious utopia where everyone lives at or near the beach. Vadi reflects on how the success of that marketing strategy impacted his youth: “You mention you’re from California and people think that you spend your physical education classes surfing.” \u003c/p>\n\u003cp>“No one’s talking about Rosemead, California,” he points out, “or Whittier, or Paramount, the cities that you as a kid grow up visiting family in across L.A. County.” Inter State connects us to these under-chronicled regions via Vadi’s memories. \u003c/p>\n\u003cfigure id=\"attachment_13901849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/polaroid_1200crop.jpg\" alt=\"A younger man and an older man sit on a couch together.\" width=\"1200\" height=\"1444\" class=\"size-full wp-image-13901849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-768x924.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Author José Vadi with his grandfather Antonio Gomez, early 2000s. \u003ccite>(Vadi family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His literary agenda is also intrinsically a political one. “I really wanted to represent L.A., not just East L.A. the neighborhood, but that entire swath of San Gabriel Valley and that perspective of going east to west in L.A. versus starting at the coast and going downtown,” he explains. “It’s a different geographic alignment.” This realignment is the key to Vadi’s larger mission of getting readers to see California from a new perspective. \u003c/p>\n\u003cp>\u003cem>Inter State\u003c/em> comes alive because of the intimacy Vadi infuses into his archiving. This intimacy can be attributed to Vadi’s background as a skateboarder. “It creates a more dynamic relationship between yourself as a citizen of the city and place,” he remarks of the sport. “You begin to see the subtle nuances, whether it’s cracks or graffiti, or scrapes in the ground, or certain tags that are from skaters or like-minded underground groups communicating with one another or with the city in a way that many citizens may not understand.” \u003c/p>\n\u003cp>In \u003cem>The White Album\u003c/em> Didion wrote, “A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself … loves it so radically that he remakes it in his own image.” Vadi’s meticulous retracing of his family’s footprints across the state—down to the exact placement of the orange tree, chiles and aguacates in his late grandfather’s backyard—is exemplary, obsessive and claiming. To him, California is “a disjointed mosaic of a state,” but like so many other Californians, he wouldn’t want to live or die anywhere else.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>José Vadi’s ‘Inter State: Essays from California’ comes out Sept. 14 from Soft Skull Press. \u003ca href=\"https://softskull.com/dd-product/inter-state/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "‘Inter State,’ the Oakland poet and skateboarder’s new book of essays, archives a personal geography in the face of rapid change.\r\n",
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"title": "José Vadi’s Essays Reclaim California with Voices from the Margins | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1979, literary critic Michiko Kakutani proclaimed “California belongs to Joan Didion.” The writer—who grew up in Sacramento—shot to fame in the late ’60s and spent her illustrious writing career enchanting readers with her observations of the Golden State, the mercurialness of the Santa Ana winds, and the lives of hippies in Haight-Ashbury. She did this in her quintessentially unsentimental and journalistic prose and, as many have pointed out, from a perch; she lived in a mansion in Brentwood (a tony L.A. enclave favored by celebs like Marilyn Monroe and Joan Crawford) and partied with the Hollywood elite. Her name became synonymous with a certain aesthetic that was later emulated by countless other thin, white, wealthy women. Didion’s legacy looms over California like a long shadow. In recent years many literary voices have argued this as a reason to rethink her canonization as “St. Joan” (as \u003ca href=\"https://www.vanityfair.com/culture/2016/02/joan-didion-writer-los-angeles\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>Vanity Fair\u003c/i> dubbed her\u003c/a> in 2016). \u003c/p>\n\u003cp>The subheading of writer Myriam Gurba’s recent \u003ca href=\"https://electricliterature.com/its-time-to-take-california-back-from-joan-didion/\" rel=\"noopener noreferrer\" target=\"_blank\">essay\u003c/a>, “It’s Time to Take California Back from Joan Didion,” reads: “The first lady of West Coast letters needs to share that honor with the Mexican diaspora.” The argument Gurba and others present is that her dethroning would give rise to new voices that are more representative of the racial and economic background of the U.S.’s most populous state. One such voice is that of Oakland resident José Vadi. \u003c/p>\n\u003cfigure id=\"attachment_13901848\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Jose%CC%81-Vadi-Author-Photo-credit_-Bobby-Gordon_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13901848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/José-Vadi-Author-Photo-credit_-Bobby-Gordon_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">José Vadi, author of ‘Inter State: Essays from California.’ \u003ccite>(Bobby Gordon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vadi is the grandson of Mexican farmworkers, a poet, and a lifelong skater. His new book, \u003ci>Inter State: Essays from California\u003c/i> reads like salvage ethnography from an amateur anthropologist. “I fear losing California,” he states in one of the book’s seven related essays. That fear propels him to study it, take grainy pictures, and preserve it in the way he knows best: in words. His voice offers earnest narration about gentrification and other changes that he recognizes have the power to turn him into “a modern-day Okie” in his home state. \u003c/p>\n\u003cp>“The California dream is inherently stratified,” Vadi explains to me. “It’s based on class, and as a result of that, it’s based on race and geography.” Mapping that changing geography is the work of \u003cem>Inter State\u003c/em>. In essays like “Standing in the Shadows of Brands,” and “14th and Jackson,” Vadi explores the way the tech industry has altered the landscape of San Francisco. Expansive development projects for luxury housing complexes continue while the homelessness epidemic worsens; the city’s skyline is altered by brands in a way Vadi notes is “akin to SimCity’s logical apocalyptic end.” In an essay titled “California Inquiry,” he writes: “The biggest question facing this state isn’t just its survival but its destruction.” \u003c/p>\n\u003cp>California is a palimpsest; there are cities and stories that were erased to make room for the ones that exist now. Vadi’s dispatches about gentrification sanitizing Oakland, the state’s many unheralded laborers (like the incarcerated men and women who work shoulder-to-shoulder but not dollar-for-dollar with our firefighters), and the tech and population booms reshaping the state, are an attempt to unearth those stories. \u003c/p>\n\u003cfigure id=\"attachment_13901850\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/sfstreet_1200.jpg\" alt=\"\" width=\"1200\" height=\"795\" class=\"size-full wp-image-13901850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/sfstreet_1200-768x509.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">11th Street at Kissling, Fifteen Fifty Luxury Rental Apartments under construction in background, San Francisco, 2018. \u003ccite>(José Vadi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the root of Vadi’s connection to California is his grandfather who passed away in 2011. “A lot of these essays are answering questions I had about my family’s relationship with the state, and my own,” Vadi explains. The book is a way of honoring his grandfather and the many like him who lived an “under-the-table existence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone in my family who was a male of that generation was working in the fields,” Vadi says. “Even today in 2021, in the wake of a federal Cesar Chavez holiday, Latin voices, Mexican voices, Chicano voices—however you want to define it—are still very much on the back burner of the literary scene’s priorities.” His writing transposes those voices from the margins to center stage by letting them assume their rightful place as co-authors of the story of California.\u003c/p>\n\u003cp>For many, California has become more of an idea than a place. Splashy and hyperbolic \u003ca href=\"https://www.youtube.com/watch?v=pEg4m_kL2yI\" rel=\"noopener noreferrer\" target=\"_blank\">Visit California ads\u003c/a> depict the state as a racially harmonious utopia where everyone lives at or near the beach. Vadi reflects on how the success of that marketing strategy impacted his youth: “You mention you’re from California and people think that you spend your physical education classes surfing.” \u003c/p>\n\u003cp>“No one’s talking about Rosemead, California,” he points out, “or Whittier, or Paramount, the cities that you as a kid grow up visiting family in across L.A. County.” Inter State connects us to these under-chronicled regions via Vadi’s memories. \u003c/p>\n\u003cfigure id=\"attachment_13901849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/polaroid_1200crop.jpg\" alt=\"A younger man and an older man sit on a couch together.\" width=\"1200\" height=\"1444\" class=\"size-full wp-image-13901849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/polaroid_1200crop-768x924.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Author José Vadi with his grandfather Antonio Gomez, early 2000s. \u003ccite>(Vadi family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His literary agenda is also intrinsically a political one. “I really wanted to represent L.A., not just East L.A. the neighborhood, but that entire swath of San Gabriel Valley and that perspective of going east to west in L.A. versus starting at the coast and going downtown,” he explains. “It’s a different geographic alignment.” This realignment is the key to Vadi’s larger mission of getting readers to see California from a new perspective. \u003c/p>\n\u003cp>\u003cem>Inter State\u003c/em> comes alive because of the intimacy Vadi infuses into his archiving. This intimacy can be attributed to Vadi’s background as a skateboarder. “It creates a more dynamic relationship between yourself as a citizen of the city and place,” he remarks of the sport. “You begin to see the subtle nuances, whether it’s cracks or graffiti, or scrapes in the ground, or certain tags that are from skaters or like-minded underground groups communicating with one another or with the city in a way that many citizens may not understand.” \u003c/p>\n\u003cp>In \u003cem>The White Album\u003c/em> Didion wrote, “A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself … loves it so radically that he remakes it in his own image.” Vadi’s meticulous retracing of his family’s footprints across the state—down to the exact placement of the orange tree, chiles and aguacates in his late grandfather’s backyard—is exemplary, obsessive and claiming. To him, California is “a disjointed mosaic of a state,” but like so many other Californians, he wouldn’t want to live or die anywhere else.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>José Vadi’s ‘Inter State: Essays from California’ comes out Sept. 14 from Soft Skull Press. \u003ca href=\"https://softskull.com/dd-product/inter-state/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Haiti Deserves Careful Attention. An Author Recommends 4 Books to Help",
"headTitle": "Haiti Deserves Careful Attention. An Author Recommends 4 Books to Help | KQED",
"content": "\u003cp>Just over a week after the \u003ca href=\"https://www.npr.org/2021/08/15/1027949063/death-toll-haiti-massive-earthquake-rescue\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake that rocked southern Haiti\u003c/a>, killing over 2,000 people, tumbling buildings, fissuring roads, it’s difficult for me, as a native of Port-au-Prince, to piece together my thoughts on what has happened.\u003c/p>\n\u003cfigure id=\"attachment_13901714\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg\" alt=\"Author Myriam J.A. Chancy.\" width=\"421\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg 421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4-160x120.jpg 160w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Author Myriam J.A. Chancy. \u003ccite>(N. Affonso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So much of me remains, or has come with me, from that mountainous landscape: the red of flamboyant trees; the yells of market women; the cry of a neighbor’s rooster; my grandmother’s cooking. When I was born, most of my family lived in Port-au-Prince. Returns were frequent, to the point that I did not realize for years that I lived outside Haiti. It was only when summer returns ended and family began to visit us, that I realized that we had left. Still, in my mind, Haiti was home; everywhere else was temporary.\u003c/p>\n\u003cp>So soon after the current catastrophes, I’m surprised to hear my American acquaintances referencing the 8/14 earthquake—\u003ca href=\"https://www.npr.org/2021/08/18/1028888816/how-haiti-is-weathering-two-natural-disasters-at-once\" target=\"_blank\" rel=\"noopener noreferrer\">and the hurricane that struck a few days later\u003c/a>—as something banal, as if to say that, this being Haiti, we can expect little more than catastrophe and chaos. Such pronouncements are couched in an “othering” of Haitians. There is also an unspoken assumption that Haitian immigrants like myself seek to assimilate, start over, forget everything and everyone left behind. But most immigrants are here because others were there. Still, even as we continue in an elsewhere in which “home” must be forged, some part of us remains in our places of origin.\u003c/p>\n\u003ch3>Gunboat diplomacy brutalizes a newborn nation\u003c/h3>\n\u003cfigure id=\"attachment_13901715\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg\" alt=\"'Silencing the Past,' by Michel Rolph-Trouillot.\" width=\"200\" height=\"298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b-160x238.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Silencing the Past,’ by Michel Rolph-Trouillot. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>August 14 is also the anniversary of the gathering of Bois Caïman when, in 1791, enslaved Africans gathered in a vodou ceremony to set in motion the liberation of Saint-Domingue, making it the first Black nation in the hemisphere and the second American Republic (second to the US) by 1804. In an important historical analysis of Haiti’s marginalization in the Western Hemisphere, \u003cem>Silencing the Past\u003c/em>, Haitian anthropologist, Michel Rolph-Trouillot wrote about how the success of the Haitian Revolution has been denied because of a belief that enslaved people could not imagine freedom, nor free themselves.\u003c/p>\n\u003cp>Yet, its success can be measured by the visceral global response, including \u003ca href=\"https://www.miamiherald.com/opinion/op-ed/article252809873.html\" target=\"_blank\" rel=\"noopener noreferrer\">France’s imposition of a sizable indemnity\u003c/a> to “allow” the new nation access to global trade, \u003ca href=\"https://abcnews.go.com/US/colonial-era-debt-helped-shape-haitis-poverty-political/story?id=78851735\" target=\"_blank\" rel=\"noopener noreferrer\">estimated in today’s currency to amount to $21 billion\u003c/a>. This, and only this, is the cause of Haiti’s precipitous economic decline. Gunboat diplomacy then ensured that the fledging nation could not advance its sovereignty. Consequently, the number of Haitian immigrants and refugees to the U.S. rose dramatically in the late 20th century, only to be rebuffed, sometimes violently—as Edwidge Danticat has documented in the memoir of her uncle’s death at the hands of immigration services, \u003cem>Brother, I’m Dying. \u003c/em>When journalists refer to Haiti as \u003ca href=\"https://www.nytimes.com/2021/07/07/world/americas/haiti-poverty-history.html#:~:text=Haiti%2C%20with%20a%20population%20of,country%20in%20the%20Western%20Hemisphere\" target=\"_blank\" rel=\"noopener noreferrer\">the poorest country in the Western Hemisphere\u003c/a> I don’t cringe, as others do, because I know this history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those of us who are native-born, immigrant, or of Haitian descent, and who have narrow ties to family or friends there, the avalanche of news from Haiti this summer has been wrenching, from gangs holding whole neighborhoods hostage, to the assassination of the President, to the news of an inconceivable earthquake in areas mostly untouched during the \u003ca href=\"https://www.npr.org/series/122522434/haiti-quake-ruin-and-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake of January 12, 2010\u003c/a>, which rocked Port-au-Prince, home to a little over 2 million, and left nearly 300,000 dead. The epicenter of the recent quake is toward the southwestern tip of the island of Hispaniola which Haiti shares with the Dominican Republic. Upon hearing the news, I hoped that it was offshore, subterranean, leaving those on firm land unaffected. But, within hours, the preliminary reports stated that loss of life would be significant, the damage pervasive. The only “good” news is that the capital appears untouched.\u003c/p>\n\u003ch3>Aid without consulting the suffering—a vicious cycle\u003c/h3>\n\u003cfigure id=\"attachment_13901716\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg\" alt=\"'Fault Lines: Views Across Haiti's Divide,' by Beverly Bell.\" width=\"200\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c-160x239.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Fault Lines: Views Across Haiti’s Divide,’ by Beverly Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>The first images out have come from Haitians themselves, circulated on social media. One man narrates his walk down a chaotic street filming collapsed buildings. “There were people there,” he says, “they probably died.” Then, “it looks like January 12.” It is those on the ground, already suffering losses of life and home who will start the work of recovery and reconstruction. Then, within very little time, those activating the principle of the \u003cem>konbit\u003c/em>, of the collective, will be pushed aside by larger entities who think they know better\u003cem>.\u003c/em>\u003c/p>\n\u003cp>A vicious cycle is about to reignite, the features of which are already predictable: Plans for reconstruction without consultation with those most affected, camps for displaced people, disaster capitalism. If readers do not remember what happened to aid after the 2010 earthquake, I would suggest they seek out Raoul Peck’s film, \u003cem>\u003ca href=\"https://www.nytimes.com/2014/02/28/movies/fatal-assistance-about-relief-efforts-in-haiti.html\" target=\"_blank\" rel=\"noopener noreferrer\">Fatal Assistance\u003c/a>\u003c/em>, and Beverly Bell’s book \u003cem>Fault Lines\u003c/em>, both of which document the period meticulously. The present moment requires us to recognize, as Bell writes, “for every home destroyed, a story of life or death.” Both the dead and those remaining are owed the respect of our not looking away.\u003c/p>\n\u003cp>That first night after the earthquake of 8/14, with the memories of 2010 returned, many chose to sleep outdoors, for fear of the earth swaying again, for fear of another collapse, whether or not they were themselves in newly affected areas. \u003ca href=\"https://www.sunypress.edu/p-6944-the-immortals.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Makenzy Orcel’s novel, \u003cem>The Immortals\u003c/em>\u003c/a>, gives voice to the weight of these recollections: “Imagine for a moment that the sky is made of concrete. That this thing lasted an eternity. That the earth can no longer stop shaking. That the sun can never come up again.”\u003c/p>\n\u003cp>Many of us don’t have to imagine: some lived it first-hand. For others, this is how the weight of the losses felt. Whether we were here, or there, we defy forgetting. What matters now is how, remembrance in hand, the next moments are faced. How all of us, together, can make sure that history does not repeat itself endlessly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Myriam J. A. Chancy’s new novel on the 2010 Haiti earthquake, \u003c/em>What Storm, What Thunder\u003cem> is forthcoming from Tin House in October.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haiti+Deserves+Careful+Attention.+An+Author+Recommends+4+Books+To+Help&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just over a week after the \u003ca href=\"https://www.npr.org/2021/08/15/1027949063/death-toll-haiti-massive-earthquake-rescue\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake that rocked southern Haiti\u003c/a>, killing over 2,000 people, tumbling buildings, fissuring roads, it’s difficult for me, as a native of Port-au-Prince, to piece together my thoughts on what has happened.\u003c/p>\n\u003cfigure id=\"attachment_13901714\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg\" alt=\"Author Myriam J.A. Chancy.\" width=\"421\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4.jpg 421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chancyusethis-324b8da59a956c01ac6866165d5ad048d70944a4-160x120.jpg 160w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Author Myriam J.A. Chancy. \u003ccite>(N. Affonso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So much of me remains, or has come with me, from that mountainous landscape: the red of flamboyant trees; the yells of market women; the cry of a neighbor’s rooster; my grandmother’s cooking. When I was born, most of my family lived in Port-au-Prince. Returns were frequent, to the point that I did not realize for years that I lived outside Haiti. It was only when summer returns ended and family began to visit us, that I realized that we had left. Still, in my mind, Haiti was home; everywhere else was temporary.\u003c/p>\n\u003cp>So soon after the current catastrophes, I’m surprised to hear my American acquaintances referencing the 8/14 earthquake—\u003ca href=\"https://www.npr.org/2021/08/18/1028888816/how-haiti-is-weathering-two-natural-disasters-at-once\" target=\"_blank\" rel=\"noopener noreferrer\">and the hurricane that struck a few days later\u003c/a>—as something banal, as if to say that, this being Haiti, we can expect little more than catastrophe and chaos. Such pronouncements are couched in an “othering” of Haitians. There is also an unspoken assumption that Haitian immigrants like myself seek to assimilate, start over, forget everything and everyone left behind. But most immigrants are here because others were there. Still, even as we continue in an elsewhere in which “home” must be forged, some part of us remains in our places of origin.\u003c/p>\n\u003ch3>Gunboat diplomacy brutalizes a newborn nation\u003c/h3>\n\u003cfigure id=\"attachment_13901715\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg\" alt=\"'Silencing the Past,' by Michel Rolph-Trouillot.\" width=\"200\" height=\"298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/919tt-4dcvl_custom-5ce69a4a09b6390735d78f33a04c2b6324676c5b-160x238.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Silencing the Past,’ by Michel Rolph-Trouillot. \u003ccite>(Beacon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>August 14 is also the anniversary of the gathering of Bois Caïman when, in 1791, enslaved Africans gathered in a vodou ceremony to set in motion the liberation of Saint-Domingue, making it the first Black nation in the hemisphere and the second American Republic (second to the US) by 1804. In an important historical analysis of Haiti’s marginalization in the Western Hemisphere, \u003cem>Silencing the Past\u003c/em>, Haitian anthropologist, Michel Rolph-Trouillot wrote about how the success of the Haitian Revolution has been denied because of a belief that enslaved people could not imagine freedom, nor free themselves.\u003c/p>\n\u003cp>Yet, its success can be measured by the visceral global response, including \u003ca href=\"https://www.miamiherald.com/opinion/op-ed/article252809873.html\" target=\"_blank\" rel=\"noopener noreferrer\">France’s imposition of a sizable indemnity\u003c/a> to “allow” the new nation access to global trade, \u003ca href=\"https://abcnews.go.com/US/colonial-era-debt-helped-shape-haitis-poverty-political/story?id=78851735\" target=\"_blank\" rel=\"noopener noreferrer\">estimated in today’s currency to amount to $21 billion\u003c/a>. This, and only this, is the cause of Haiti’s precipitous economic decline. Gunboat diplomacy then ensured that the fledging nation could not advance its sovereignty. Consequently, the number of Haitian immigrants and refugees to the U.S. rose dramatically in the late 20th century, only to be rebuffed, sometimes violently—as Edwidge Danticat has documented in the memoir of her uncle’s death at the hands of immigration services, \u003cem>Brother, I’m Dying. \u003c/em>When journalists refer to Haiti as \u003ca href=\"https://www.nytimes.com/2021/07/07/world/americas/haiti-poverty-history.html#:~:text=Haiti%2C%20with%20a%20population%20of,country%20in%20the%20Western%20Hemisphere\" target=\"_blank\" rel=\"noopener noreferrer\">the poorest country in the Western Hemisphere\u003c/a> I don’t cringe, as others do, because I know this history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those of us who are native-born, immigrant, or of Haitian descent, and who have narrow ties to family or friends there, the avalanche of news from Haiti this summer has been wrenching, from gangs holding whole neighborhoods hostage, to the assassination of the President, to the news of an inconceivable earthquake in areas mostly untouched during the \u003ca href=\"https://www.npr.org/series/122522434/haiti-quake-ruin-and-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">earthquake of January 12, 2010\u003c/a>, which rocked Port-au-Prince, home to a little over 2 million, and left nearly 300,000 dead. The epicenter of the recent quake is toward the southwestern tip of the island of Hispaniola which Haiti shares with the Dominican Republic. Upon hearing the news, I hoped that it was offshore, subterranean, leaving those on firm land unaffected. But, within hours, the preliminary reports stated that loss of life would be significant, the damage pervasive. The only “good” news is that the capital appears untouched.\u003c/p>\n\u003ch3>Aid without consulting the suffering—a vicious cycle\u003c/h3>\n\u003cfigure id=\"attachment_13901716\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg\" alt=\"'Fault Lines: Views Across Haiti's Divide,' by Beverly Bell.\" width=\"200\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/71bavvh-pnl_custom-08071e7c916f9f6a3eed3cf0df9a3bb965fa6e8c-160x239.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Fault Lines: Views Across Haiti’s Divide,’ by Beverly Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>The first images out have come from Haitians themselves, circulated on social media. One man narrates his walk down a chaotic street filming collapsed buildings. “There were people there,” he says, “they probably died.” Then, “it looks like January 12.” It is those on the ground, already suffering losses of life and home who will start the work of recovery and reconstruction. Then, within very little time, those activating the principle of the \u003cem>konbit\u003c/em>, of the collective, will be pushed aside by larger entities who think they know better\u003cem>.\u003c/em>\u003c/p>\n\u003cp>A vicious cycle is about to reignite, the features of which are already predictable: Plans for reconstruction without consultation with those most affected, camps for displaced people, disaster capitalism. If readers do not remember what happened to aid after the 2010 earthquake, I would suggest they seek out Raoul Peck’s film, \u003cem>\u003ca href=\"https://www.nytimes.com/2014/02/28/movies/fatal-assistance-about-relief-efforts-in-haiti.html\" target=\"_blank\" rel=\"noopener noreferrer\">Fatal Assistance\u003c/a>\u003c/em>, and Beverly Bell’s book \u003cem>Fault Lines\u003c/em>, both of which document the period meticulously. The present moment requires us to recognize, as Bell writes, “for every home destroyed, a story of life or death.” Both the dead and those remaining are owed the respect of our not looking away.\u003c/p>\n\u003cp>That first night after the earthquake of 8/14, with the memories of 2010 returned, many chose to sleep outdoors, for fear of the earth swaying again, for fear of another collapse, whether or not they were themselves in newly affected areas. \u003ca href=\"https://www.sunypress.edu/p-6944-the-immortals.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Makenzy Orcel’s novel, \u003cem>The Immortals\u003c/em>\u003c/a>, gives voice to the weight of these recollections: “Imagine for a moment that the sky is made of concrete. That this thing lasted an eternity. That the earth can no longer stop shaking. That the sun can never come up again.”\u003c/p>\n\u003cp>Many of us don’t have to imagine: some lived it first-hand. For others, this is how the weight of the losses felt. Whether we were here, or there, we defy forgetting. What matters now is how, remembrance in hand, the next moments are faced. How all of us, together, can make sure that history does not repeat itself endlessly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Myriam J. A. Chancy’s new novel on the 2010 Haiti earthquake, \u003c/em>What Storm, What Thunder\u003cem> is forthcoming from Tin House in October.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haiti+Deserves+Careful+Attention.+An+Author+Recommends+4+Books+To+Help&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Laura Lippman's 'Dream Girl' is the Latest Thriller to Center on Stolen Stories",
"headTitle": "Laura Lippman’s ‘Dream Girl’ is the Latest Thriller to Center on Stolen Stories | KQED",
"content": "\u003cp>Something strange is afoot in mystery and suspense fiction. The plot of almost every thriller I’ve read in the past six months has had something to do with one character stealing the story of another character and passing it off as their own. The rundown includes: \u003ca href=\"https://www.npr.org/2021/05/16/996976488/the-plot-works-as-literary-satire-but-its-mystery-fizzles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot\u003c/em>\u003c/a> by Jean Hanff Korelitz, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/a-lonely-man-is-an-elegant-suspense-novel-in-the-tradition-of-the-the-third-man/2021/05/12/5981a17e-ace8-11eb-b476-c3b287e52a01_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Lonely Man\u003c/em>\u003c/a> by Chris Power, \u003ca href=\"https://www.npr.org/2021/06/04/1002959204/an-office-rivalry-turns-strange-and-maybe-dangerous-in-the-other-black-girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Other Black Girl\u003c/em>\u003c/a> by Zakiya Dalila Harris, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/an-intense-bond-between-two-women-fuels-the-suspense-in-palace-of-the-drowned/2021/06/25/0cd367ba-d2b1-11eb-ae54-515e2f63d37d_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Palace of the Drowned \u003c/em>\u003c/a>by Christine Mangan, and \u003ca href=\"https://www.penguinrandomhouse.com/books/543898/a-slow-fire-burning-by-paula-hawkins/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Slow Fire Burning\u003c/em>\u003c/a>, the forthcoming novel by Paula Hawkins of\u003ca href=\"https://www.npr.org/2015/01/13/376996145/girl-on-the-train-is-a-journey-into-the-lives-of-familiar-strangers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Girl on the Train\u003c/em>\u003c/a> fame.\u003c/p>\n\u003cp>[aside postid='arts_13900580']Worry over manuscripts falling into the wrong hands is nothing new in mystery fiction; after all, Edgar Allan Poe, the acknowledged Father of the form, relied on that plot for his 1844 short story, “The Purloined Letter.” But this years’ crop of mystery and suspense novels puts a socially-conscious spin on the missing manuscript tale: they’re about the anxiety of appropriation, about one character in a position of privilege—in terms of gender, financial security, or race—laying their sticky mitts on the writing or life story of another character who’s not so advantaged.\u003c/p>\n\u003cp>The plot of Laura Lippman’s latest standalone suspense novel,\u003cem> Dream Girl,\u003c/em> arises not only out of this anxiety about who gets to tell whose stories, but also out of the #MeToo movement. And, it also owes a lot to Stephen King’s 1987 horror classic, \u003cem>Misery,\u003c/em> altogether making\u003cem> Dream Girl \u003c/em>the ideal cutting-edge, socially-conscious entertainment for late summer.\u003c/p>\n\u003cfigure id=\"attachment_13901489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901489\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg\" alt=\"'Dream Girl: A Novel' by Laura Lippman.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream Girl: A Novel’ by Laura Lippman. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dream Girl \u003c/em>is set in the penthouse of a lofty eyesore of a luxury high-rise in Baltimore, Lippman’s hometown and the site of most of her novels. We savvy readers sense that something is “off” from the opening description of famous novelist Gerry Andersen’s lavish digs. Lippman’s narrator tells us:\u003c/p>\n\u003cblockquote>\u003cp>Gerry Andersen’s new apartment is a topsy-turvy affair—living area on the second floor, bedrooms below. The brochure—it is the kind of apartment that had its own brochure when it went on the market in 2018—boasted of 360-degree views, but that was pure hype. … Nothing means anything anymore, Gerry has decided. No one uses words correctly and if you call them on it, they claim that words are fungible, that it’s oppressive and prissy not to let words mean whatever the speaker wishes them to mean.\u003c/p>\u003c/blockquote>\n\u003cp>Isn’t this delicious? A cranky novelist ensconced in a swanky setting, railing at the idiocies of the contemporary world. As Lippman imagines him, Gerry owes something to \u003ca href=\"https://www.npr.org/2018/05/23/613631354/philip-roth-you-begin-every-book-as-an-amateur\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Roth\u003c/a> (as well as to Roth’s fictional alter ego, Nathan Zuckerman). There’s the brilliance, the wit, the complicated sexual history with women, and the fraught relationship with his own mother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But, at the end of the first chapter, Gerry—the Literary Lion in Winter—is taken down, literally: He stumbles over the rowing machine in his bedroom, skids to the edge of the “floating staircase” that connects the floors of the duplex, “wind-mills” down the steps, and lands at the bottom “a crooked broken thing.” There he lies alone throughout the night until his young assistant, Victoria, arrives in the morning.\u003c/p>\n\u003cp>For months, Gerry will be imprisoned in that penthouse, his only constant visitors Victoria and a night nurse named Aileen. During that time, Gerry will be tormented by dead-of-night phone calls from a woman who claims to be the person whose story Gerry stole for his breakthrough novel, also called \u003cem>Dream Girl\u003c/em>. Whenever the phone rings, Aileen claims she doesn’t hear it. In his medicated state Gerry can barely think straight. Is he being gaslighted? Think Stephen King’s \u003cem>Misery\u003c/em> starring Zuckerman “Bound.”\u003c/p>\n\u003cp>[aside postid='arts_13901414']With each standalone novel she writes, Lippman veers off in a different direction: \u003cem>Sunburn \u003c/em>was a sexy noir winking at James M. Cain; \u003ca href=\"https://www.npr.org/2019/07/25/742220303/real-disappearances-are-the-premise-for-laura-lippmans-lady-in-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lady in the Lake,\u003c/em>\u003c/a> a historical crime story, winked even more broadly at Raymond Chandler; and now Lippman has poked a toe into horror. The source of the jitters here is that very hi-rise Gerry is marooned in. Lippman’s series detective, Tess Monaghan, makes a cameo when Gerry tries to hire her. Tess turns up at Gerry’s place and, ultimately, turns down the job. As she explains, the reason is the penthouse itself:\u003c/p>\n\u003cblockquote>\u003cp>“I couldn’t spend a lot of time in this apartment. [Tess says]. [M]aybe it’s like the Spielberg movie where it turns out a grave has been desecrated. Only the thing that’s buried beneath your beautiful apartment is jobs. …”\u003c/p>\n\u003cp>“There were silos here. Grain silos. There were jobs all over this peninsula. . . .[T]his place gives me the creeps, big time. I could never do surveillance here.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Packed with social criticism, satire, ghosts and narrative turns of the screw, Lippman’s \u003cem>Dream Girl\u003c/em> is indeed a dream of a novel. And all the literary pilferings Lippman herself has committed here are acknowledged, front and center.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Laura+Lippman%27s+%27Dream+Girl%27+Is+The+Latest+Thriller+To+Center+On+Stolen+Stories&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Something strange is afoot in mystery and suspense fiction. The plot of almost every thriller I’ve read in the past six months has had something to do with one character stealing the story of another character and passing it off as their own. The rundown includes: \u003ca href=\"https://www.npr.org/2021/05/16/996976488/the-plot-works-as-literary-satire-but-its-mystery-fizzles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot\u003c/em>\u003c/a> by Jean Hanff Korelitz, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/a-lonely-man-is-an-elegant-suspense-novel-in-the-tradition-of-the-the-third-man/2021/05/12/5981a17e-ace8-11eb-b476-c3b287e52a01_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Lonely Man\u003c/em>\u003c/a> by Chris Power, \u003ca href=\"https://www.npr.org/2021/06/04/1002959204/an-office-rivalry-turns-strange-and-maybe-dangerous-in-the-other-black-girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Other Black Girl\u003c/em>\u003c/a> by Zakiya Dalila Harris, \u003ca href=\"https://www.washingtonpost.com/entertainment/books/an-intense-bond-between-two-women-fuels-the-suspense-in-palace-of-the-drowned/2021/06/25/0cd367ba-d2b1-11eb-ae54-515e2f63d37d_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Palace of the Drowned \u003c/em>\u003c/a>by Christine Mangan, and \u003ca href=\"https://www.penguinrandomhouse.com/books/543898/a-slow-fire-burning-by-paula-hawkins/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Slow Fire Burning\u003c/em>\u003c/a>, the forthcoming novel by Paula Hawkins of\u003ca href=\"https://www.npr.org/2015/01/13/376996145/girl-on-the-train-is-a-journey-into-the-lives-of-familiar-strangers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Girl on the Train\u003c/em>\u003c/a> fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Worry over manuscripts falling into the wrong hands is nothing new in mystery fiction; after all, Edgar Allan Poe, the acknowledged Father of the form, relied on that plot for his 1844 short story, “The Purloined Letter.” But this years’ crop of mystery and suspense novels puts a socially-conscious spin on the missing manuscript tale: they’re about the anxiety of appropriation, about one character in a position of privilege—in terms of gender, financial security, or race—laying their sticky mitts on the writing or life story of another character who’s not so advantaged.\u003c/p>\n\u003cp>The plot of Laura Lippman’s latest standalone suspense novel,\u003cem> Dream Girl,\u003c/em> arises not only out of this anxiety about who gets to tell whose stories, but also out of the #MeToo movement. And, it also owes a lot to Stephen King’s 1987 horror classic, \u003cem>Misery,\u003c/em> altogether making\u003cem> Dream Girl \u003c/em>the ideal cutting-edge, socially-conscious entertainment for late summer.\u003c/p>\n\u003cfigure id=\"attachment_13901489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901489\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg\" alt=\"'Dream Girl: A Novel' by Laura Lippman.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dreamgirl_custom-9ffbc7821529e35893f989d548a7c2f4fcdb8601.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream Girl: A Novel’ by Laura Lippman. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dream Girl \u003c/em>is set in the penthouse of a lofty eyesore of a luxury high-rise in Baltimore, Lippman’s hometown and the site of most of her novels. We savvy readers sense that something is “off” from the opening description of famous novelist Gerry Andersen’s lavish digs. Lippman’s narrator tells us:\u003c/p>\n\u003cblockquote>\u003cp>Gerry Andersen’s new apartment is a topsy-turvy affair—living area on the second floor, bedrooms below. The brochure—it is the kind of apartment that had its own brochure when it went on the market in 2018—boasted of 360-degree views, but that was pure hype. … Nothing means anything anymore, Gerry has decided. No one uses words correctly and if you call them on it, they claim that words are fungible, that it’s oppressive and prissy not to let words mean whatever the speaker wishes them to mean.\u003c/p>\u003c/blockquote>\n\u003cp>Isn’t this delicious? A cranky novelist ensconced in a swanky setting, railing at the idiocies of the contemporary world. As Lippman imagines him, Gerry owes something to \u003ca href=\"https://www.npr.org/2018/05/23/613631354/philip-roth-you-begin-every-book-as-an-amateur\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Roth\u003c/a> (as well as to Roth’s fictional alter ego, Nathan Zuckerman). There’s the brilliance, the wit, the complicated sexual history with women, and the fraught relationship with his own mother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, at the end of the first chapter, Gerry—the Literary Lion in Winter—is taken down, literally: He stumbles over the rowing machine in his bedroom, skids to the edge of the “floating staircase” that connects the floors of the duplex, “wind-mills” down the steps, and lands at the bottom “a crooked broken thing.” There he lies alone throughout the night until his young assistant, Victoria, arrives in the morning.\u003c/p>\n\u003cp>For months, Gerry will be imprisoned in that penthouse, his only constant visitors Victoria and a night nurse named Aileen. During that time, Gerry will be tormented by dead-of-night phone calls from a woman who claims to be the person whose story Gerry stole for his breakthrough novel, also called \u003cem>Dream Girl\u003c/em>. Whenever the phone rings, Aileen claims she doesn’t hear it. In his medicated state Gerry can barely think straight. Is he being gaslighted? Think Stephen King’s \u003cem>Misery\u003c/em> starring Zuckerman “Bound.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With each standalone novel she writes, Lippman veers off in a different direction: \u003cem>Sunburn \u003c/em>was a sexy noir winking at James M. Cain; \u003ca href=\"https://www.npr.org/2019/07/25/742220303/real-disappearances-are-the-premise-for-laura-lippmans-lady-in-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lady in the Lake,\u003c/em>\u003c/a> a historical crime story, winked even more broadly at Raymond Chandler; and now Lippman has poked a toe into horror. The source of the jitters here is that very hi-rise Gerry is marooned in. Lippman’s series detective, Tess Monaghan, makes a cameo when Gerry tries to hire her. Tess turns up at Gerry’s place and, ultimately, turns down the job. As she explains, the reason is the penthouse itself:\u003c/p>\n\u003cblockquote>\u003cp>“I couldn’t spend a lot of time in this apartment. [Tess says]. [M]aybe it’s like the Spielberg movie where it turns out a grave has been desecrated. Only the thing that’s buried beneath your beautiful apartment is jobs. …”\u003c/p>\n\u003cp>“There were silos here. Grain silos. There were jobs all over this peninsula. . . .[T]his place gives me the creeps, big time. I could never do surveillance here.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Packed with social criticism, satire, ghosts and narrative turns of the screw, Lippman’s \u003cem>Dream Girl\u003c/em> is indeed a dream of a novel. And all the literary pilferings Lippman herself has committed here are acknowledged, front and center.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Laura+Lippman%27s+%27Dream+Girl%27+Is+The+Latest+Thriller+To+Center+On+Stolen+Stories&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Author Rafia Zakaria states her agenda for \u003cem>Against White Feminism \u003c/em>in a book trailer released by Al Jazeera’s AJPlus brand: “putting the fangs back in feminism is a very urgent project.”\u003c/p>\n\u003cp>She then reminds us that mainstream Western feminism is, and always has been, for white women and girls—and that this how it’s been embedded in popular and news media, our consumerist economy, wars, political discourses, and more.\u003c/p>\n\u003cfigure id=\"attachment_13901415\" class=\"wp-caption aligncenter\" style=\"max-width: 782px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg\" alt=\"'Against White Feminism: Notes on Disruption,' Rafia Zakaria\" width=\"782\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-768x1179.jpg 768w\" sizes=\"(max-width: 782px) 100vw, 782px\">\u003cfigcaption class=\"wp-caption-text\">‘Against White Feminism: Notes on Disruption,’ Rafia Zakaria \u003ccite>(W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13885402']The first few lines of her book clarify exactly who she’s calling out as a white feminist: “. . . someone who refuses to consider the role that whiteness and the racial privilege attached to it have played and continue to play in universalizing white feminist concerns, agendas, and beliefs as being those of all feminism and all feminists.” This is about a set of entrenched assumptions and behaviors rather than racial identity. Although, of course, this kind of feminism is advanced mostly by white women.\u003c/p>\n\u003cp>As Zakaria, the civil rights attorney, sets up her case in \u003cem>Against White Feminism: Notes On Disruption, \u003c/em>we see that she is not on some earnest mission to educate the misinformed or enlighten the uninformed. This, as Tressie McMillan Cottom would say, \u003ca href=\"https://tressiemcphd.medium.com/breaking-up-with-white-supremacy-was-always-the-end-game-e7101f578363\" target=\"_blank\" rel=\"noopener noreferrer\">ain’t her row to hoe\u003c/a>. Instead, Zakaria presents, calmly and methodically, plenty of well-researched evidence for why white feminism is messed up and why it must be dismantled. Like the feminists of color she cites—Audre Lorde, Kimberlé Crenshaw, Gayatri Chakravorty Spivak, Lila Abu-Lughod, and more—Zakaria’s thesis is that we are dealing with systemic racism built over centuries into our cultures, institutions, socio-political movements, and everyday interactions and behaviors. And, like \u003ca href=\"https://www.npr.org/2020/02/27/802298200/in-minor-feelings-asian-american-racial-trauma-is-laid-bare\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Park Hong in \u003cem>Minor Feelings\u003c/em>\u003c/a>, Zakaria is not making any allowances for the myth of white innocence.\u003c/p>\n\u003cp>Through historical and contemporary examples from across the world, the book’s eight essays examine how imperialism, settler-colonialism, capitalism, neo-colonialism, and late capitalism have allowed for a white-centric feminism to evolve such that it speaks for all women everywhere. Regardless of their relative disadvantages, cultural differences, and lived experiences, women of color—especially in non-western countries—are only included in this feminist movement when they conform to its particular values. Zakaria illustrates how these values are in service of white supremacy and capitalism, leaving no room for any Black, brown, or Asian feminisms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s the extensive damage done by white women who traveled to colonized countries to civilize and save native women from their terrible conditions and, particularly, from native men. And the centering of whiteness by women who traveled to war-ravaged countries to bring attention to the difficulties of the local women. Instead, those local women were often othered, objectified, or exoticized and coerced to follow the Western feminism model, Zakaria writes. When Western neoliberalism and capitalism became the engines driving large-scale foreign aid and development projects, women’s “empowerment” (a term originally introduced by Indian feminists in a more holistic context) became a “fuzzword that could be pinned to numerous motives,” Zakaria says. All of this is not news to those who’ve been keeping score. But Zakaria goes further to quantify how many such white savior initiatives failed precisely because of their harmful, oppressive approaches.\u003c/p>\n\u003cp>[aside postid='arts_13865685']This fuzzy kind of empowerment is also part of the securofeminism that emerged during the war on terror. Discussing the hypocrisies and ironies that not only caused initiatives and programs in those countries to run aground, Zakaria reveals the appalling cruelties they inflicted on local women in the name of freedom.\u003c/p>\n\u003cp>Similarly, Zakaria says, sex-positive feminism has become a stand-in for total liberation and empowerment and led to the commodification of sexual identities. She relates a particularly moving incident from her law school days. As a brown Muslim immigrant, a divorced, single mother, and a survivor of domestic abuse, she felt forced to perform her sexuality or be reduced to the usual stereotypes associated with her cultural identity. The ending of this chapter speaks to so many women like her (and me):\u003c/p>\n\u003cblockquote>\u003cp>“I had broken every gender norm I had been raised with, had chosen education and independence—and all the struggles that came with it—with little support. The seminar’s preoccupation with sexual pleasure instead of sexual politics seemed so disconnected from the feminism I was trying so hard to model for my daughter. If only I could have known I was not alone, had been able to hear the voices of Muslim and other feminists of color like myself waging frontline struggles against terror, against religious obscurantism, and against patriarchal domination, but yet excluded from white feminist discourse.”\u003c/p>\u003c/blockquote>\n\u003cp>Although such personal anecdotes are included throughout, Zakaria’s aim is not to explore her own pain but to retrace the history of how white feminism has caused unending trauma through the centuries to many like her. What she wants is nothing less than transformational change that blows past tokenistic affirmative actions. The last chapter outlines four ways that white feminists need to change their mindset for this transformation to occur. These are not new suggestions but, given the state of things, they bear repeating.\u003c/p>\n\u003cp>More critically, let us all internalize these three ideas that Zakaria threads throughout the book. First, she reminds us of Kimberlé Crenshaw’s “war for narrative”, which asks feminists of color to reshape the story and course of the movement, make the role of whiteness visible, and recalibrate our experiences and politics into feminism. We must develop and honor our own genealogies by including the resilient women in our lives and histories who have not been considered feminist per the traditional Western model. Second, she cites Nancy Fraser’s philosophy of gender justice, which involves redistribution in the economic sphere beyond class hierarchies, recognition in the socio-cultural sphere beyond tokenism, and representation in the political sphere beyond identity politics. Third, she invokes Audre Lorde’s call for solidarity, where community does not mean compromise or competition but a space that accommodates and values different kinds of knowledge and expertise, particularly that which comes from lived experience.\u003c/p>\n\u003cp>[aside postid='arts_13897161']White feminism isn’t confined to the Western world; it has been exported and embedded all over the world. If the ongoing effects and implications of that haven’t made you want to bare your fangs yet, this steely, incisive critique deserves your attention.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://jennybhattwriter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenny Bhatt\u003c/a> is a writer, literary translator, book critic, and host of the \u003c/em>Desi Books \u003cem>podcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Against+White+Feminism%27+Is+An+Urgent+Call+To+Action+For+Solidarity+And+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Author Rafia Zakaria states her agenda for \u003cem>Against White Feminism \u003c/em>in a book trailer released by Al Jazeera’s AJPlus brand: “putting the fangs back in feminism is a very urgent project.”\u003c/p>\n\u003cp>She then reminds us that mainstream Western feminism is, and always has been, for white women and girls—and that this how it’s been embedded in popular and news media, our consumerist economy, wars, political discourses, and more.\u003c/p>\n\u003cfigure id=\"attachment_13901415\" class=\"wp-caption aligncenter\" style=\"max-width: 782px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg\" alt=\"'Against White Feminism: Notes on Disruption,' Rafia Zakaria\" width=\"782\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/whitefem_custom-7f5742be8ed64dd07daf8bd086f78ddece5f547d-768x1179.jpg 768w\" sizes=\"(max-width: 782px) 100vw, 782px\">\u003cfigcaption class=\"wp-caption-text\">‘Against White Feminism: Notes on Disruption,’ Rafia Zakaria \u003ccite>(W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first few lines of her book clarify exactly who she’s calling out as a white feminist: “. . . someone who refuses to consider the role that whiteness and the racial privilege attached to it have played and continue to play in universalizing white feminist concerns, agendas, and beliefs as being those of all feminism and all feminists.” This is about a set of entrenched assumptions and behaviors rather than racial identity. Although, of course, this kind of feminism is advanced mostly by white women.\u003c/p>\n\u003cp>As Zakaria, the civil rights attorney, sets up her case in \u003cem>Against White Feminism: Notes On Disruption, \u003c/em>we see that she is not on some earnest mission to educate the misinformed or enlighten the uninformed. This, as Tressie McMillan Cottom would say, \u003ca href=\"https://tressiemcphd.medium.com/breaking-up-with-white-supremacy-was-always-the-end-game-e7101f578363\" target=\"_blank\" rel=\"noopener noreferrer\">ain’t her row to hoe\u003c/a>. Instead, Zakaria presents, calmly and methodically, plenty of well-researched evidence for why white feminism is messed up and why it must be dismantled. Like the feminists of color she cites—Audre Lorde, Kimberlé Crenshaw, Gayatri Chakravorty Spivak, Lila Abu-Lughod, and more—Zakaria’s thesis is that we are dealing with systemic racism built over centuries into our cultures, institutions, socio-political movements, and everyday interactions and behaviors. And, like \u003ca href=\"https://www.npr.org/2020/02/27/802298200/in-minor-feelings-asian-american-racial-trauma-is-laid-bare\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Park Hong in \u003cem>Minor Feelings\u003c/em>\u003c/a>, Zakaria is not making any allowances for the myth of white innocence.\u003c/p>\n\u003cp>Through historical and contemporary examples from across the world, the book’s eight essays examine how imperialism, settler-colonialism, capitalism, neo-colonialism, and late capitalism have allowed for a white-centric feminism to evolve such that it speaks for all women everywhere. Regardless of their relative disadvantages, cultural differences, and lived experiences, women of color—especially in non-western countries—are only included in this feminist movement when they conform to its particular values. Zakaria illustrates how these values are in service of white supremacy and capitalism, leaving no room for any Black, brown, or Asian feminisms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s the extensive damage done by white women who traveled to colonized countries to civilize and save native women from their terrible conditions and, particularly, from native men. And the centering of whiteness by women who traveled to war-ravaged countries to bring attention to the difficulties of the local women. Instead, those local women were often othered, objectified, or exoticized and coerced to follow the Western feminism model, Zakaria writes. When Western neoliberalism and capitalism became the engines driving large-scale foreign aid and development projects, women’s “empowerment” (a term originally introduced by Indian feminists in a more holistic context) became a “fuzzword that could be pinned to numerous motives,” Zakaria says. All of this is not news to those who’ve been keeping score. But Zakaria goes further to quantify how many such white savior initiatives failed precisely because of their harmful, oppressive approaches.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This fuzzy kind of empowerment is also part of the securofeminism that emerged during the war on terror. Discussing the hypocrisies and ironies that not only caused initiatives and programs in those countries to run aground, Zakaria reveals the appalling cruelties they inflicted on local women in the name of freedom.\u003c/p>\n\u003cp>Similarly, Zakaria says, sex-positive feminism has become a stand-in for total liberation and empowerment and led to the commodification of sexual identities. She relates a particularly moving incident from her law school days. As a brown Muslim immigrant, a divorced, single mother, and a survivor of domestic abuse, she felt forced to perform her sexuality or be reduced to the usual stereotypes associated with her cultural identity. The ending of this chapter speaks to so many women like her (and me):\u003c/p>\n\u003cblockquote>\u003cp>“I had broken every gender norm I had been raised with, had chosen education and independence—and all the struggles that came with it—with little support. The seminar’s preoccupation with sexual pleasure instead of sexual politics seemed so disconnected from the feminism I was trying so hard to model for my daughter. If only I could have known I was not alone, had been able to hear the voices of Muslim and other feminists of color like myself waging frontline struggles against terror, against religious obscurantism, and against patriarchal domination, but yet excluded from white feminist discourse.”\u003c/p>\u003c/blockquote>\n\u003cp>Although such personal anecdotes are included throughout, Zakaria’s aim is not to explore her own pain but to retrace the history of how white feminism has caused unending trauma through the centuries to many like her. What she wants is nothing less than transformational change that blows past tokenistic affirmative actions. The last chapter outlines four ways that white feminists need to change their mindset for this transformation to occur. These are not new suggestions but, given the state of things, they bear repeating.\u003c/p>\n\u003cp>More critically, let us all internalize these three ideas that Zakaria threads throughout the book. First, she reminds us of Kimberlé Crenshaw’s “war for narrative”, which asks feminists of color to reshape the story and course of the movement, make the role of whiteness visible, and recalibrate our experiences and politics into feminism. We must develop and honor our own genealogies by including the resilient women in our lives and histories who have not been considered feminist per the traditional Western model. Second, she cites Nancy Fraser’s philosophy of gender justice, which involves redistribution in the economic sphere beyond class hierarchies, recognition in the socio-cultural sphere beyond tokenism, and representation in the political sphere beyond identity politics. Third, she invokes Audre Lorde’s call for solidarity, where community does not mean compromise or competition but a space that accommodates and values different kinds of knowledge and expertise, particularly that which comes from lived experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>White feminism isn’t confined to the Western world; it has been exported and embedded all over the world. If the ongoing effects and implications of that haven’t made you want to bare your fangs yet, this steely, incisive critique deserves your attention.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Call it fate or an unfortunate coincidence that Dr. Seuss’ \u003cem>The Lorax\u003c/em> celebrates its 50th anniversary the same week the United Nations releases an urgent report on the \u003ca href=\"https://www.npr.org/2021/08/09/1025898341/major-report-warns-climate-change-is-accelerating-and-humans-must-cut-emissions-\" target=\"_blank\" rel=\"noopener noreferrer\">dire consequences of human-induced climate change.\u003c/a> The conflict between the industrious, polluting Once-ler and the feisty Lorax, who “speaks for the trees,” feels more prescient than ever.\u003c/p>\n\u003cblockquote>\u003cp>“Once-ler!” he cried with a cruffulous croak.\u003cbr>\n“Once-ler! You’re making such smogulous smoke!\u003cbr>\nMy poor Swomee-Swans… why, they can’t sing a note!\u003cbr>\nNo one can sing who has smog in his throat.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13865507']“He wanted a book that captured the effects of pollution on ecosystems and I would say it was really ahead of its time,” says anthropologist and evolutionary biologist Nathaniel Dominy, who teaches at Dartmouth. “The different species disappear from the narrative in succession,” he notes. “The Bar-ba-loots leave because they run out of food. The Swomee-Swans leave because the air is polluted. The humming fish leave because the water’s polluted. He’s describing what we would now call a ‘\u003ca href=\"https://www.nature.com/scitable/knowledge/library/trophic-cascades-across-diverse-plant-ecosystems-80060347/\" target=\"_blank\" rel=\"noopener noreferrer\">trophic cascade\u003c/a>,’ and for me, as a scientist, I just find that genius that he anticipated that concept by a decade or more.”\u003c/p>\n\u003cp>While it might be a children’s book, \u003cem>The Lorax\u003c/em>‘s ominous message of what happens when you harvest nature to death made it an icon of the environmental movement, spawning \u003ca href=\"https://www.npr.org/2009/07/29/111287573/the-next-dr-seuss-movie-the-lorax\" target=\"_blank\" rel=\"noopener noreferrer\">movie\u003c/a> and stage adaptations not to mention a gazillion school \u003ca href=\"https://www.sustainabilitysuperheroes.org/meet-the-lorax.html\" target=\"_blank\" rel=\"noopener noreferrer\">projects\u003c/a>.\u003c/p>\n\u003cp>With its mostly gray, scrappy, barren images, the story stood in sharp contrast to other books by Theodor Geisel (aka Dr. Seuss) such as \u003cem>The Cat in the Hat \u003c/em>and \u003cem>Green Eggs and Ham\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13901164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg\" alt=\"'The Lorax' by Dr. Seuss.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1020x1383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1133x1536.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1511x2048.jpg 1511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1920x2603.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-scaled.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lorax’ by Dr. Seuss. \u003ccite>(Random House Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The environmental movement takes root\u003c/h3>\n\u003cp>Geisel began writing \u003cem>The Lorax\u003c/em> at a time of growing concern about the environment. \u003ca href=\"https://www.smithsonianmag.com/history/cuyahoga-river-caught-fire-least-dozen-times-no-one-cared-until-1969-180972444/\" target=\"_blank\" rel=\"noopener noreferrer\">Images\u003c/a> of an oil-slicked river in Cleveland catching fire in 1969, the first \u003ca href=\"https://www.npr.org/2020/04/22/840542049/earth-day-at-50-climate-activists-go-digital-amid-pandemic-shutdown\" target=\"_blank\" rel=\"noopener noreferrer\">Earth Day\u003c/a> in 1970 and other events helped build the movement and put it front and center. According to Geisel biographer Donald Pease, the author believed in the movement but didn’t care for its rhetoric. He thought it was “preachy and bossy,” says Pease.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Geisel was also furious about construction going on in his La Jolla, Calif., neighborhood. “They were destroying quite beautiful eucalyptus trees, and he wanted to do something about this, and he had to find a way to transform what he understood to be a propaganda-oriented perspective on these matters into a fable that even children could understand.” But, Pease explains, “he also was confronted with writer’s block.”\u003c/p>\n\u003ch3>Inspiration strikes during a trip to Kenya\u003c/h3>\n\u003cp>His wife, Audrey Geisel, suggested they go on a trip to the \u003ca href=\"https://www.fairmont.com/mount-kenya-safari/?goto=fiche_hotel&code_hotel=A5F4&merchantid=seo-maps-KE-A5F4&sourceid=aw-cen&utm_medium=seo+maps&utm_source=google+Maps&utm_campaign=seo+maps&y_source=1_MTIzNjE0MzUtNzE1LWxvY2F0aW9uLmdvb2dsZV93ZWJzaXRlX292ZXJyaWRl\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Kenya Safari Club\u003c/a>. While they were there, “he caught a view in the mountains of elephants crossing,” says Pease. “He said afterward ‘the logjam broke’ and he was able to write 90% of \u003cem>The Lorax\u003c/em> that afternoon.”\u003c/p>\n\u003cp>“It is built on one of the most beautiful landscapes with a spectacular view of Mount Kenya so I’m not surprised Dr. Seuss was inspired by that,” says Wanjira Mathai, vice president and regional director for Africa at The World Resources Institute.\u003c/p>\n\u003cp>What can happen to that beauty is made vividly clear by the end of the story. The greedy Once-ler ravages the land by chopping down Truffula Trees. He needs them to make his “thneed” garment.\u003c/p>\n\u003cp>The Lorax is apoplectic.\u003c/p>\n\u003cblockquote>\u003cp>“I speak for the trees, for the trees have no tongues.\u003cbr>\nAnd I’m asking you, sir, at the top of my lungs” —\u003cbr>\nhe was very upset as he shouted and puffed —\u003cbr>\n\u003cem>“What’s that THING you’ve made out of my Truffula tuft?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Spoiler alert: the land where once upon a time, “the grass was still green and the pond was still wet and the clouds were still clean” is destroyed by the Once-ler’s insatiable appetite to sell more “thneeds.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8V06ZOQuo0k\u003c/p>\n\u003ch3>“Unless someone like you cares a whole awful lot …”\u003c/h3>\n\u003cp>The parallels with this week’s U.N. climate report are stark. “The report paints a very sobering picture of the unforgiving, unimaginable world we have in store if our addiction to burning fossil fuels and destroying forests continues,” says Mathai. She says Dr. Seuss’ eco-parable is a “powerful depiction” of this point, despite being written so many years ago. “The Thneed—read fossil fuels—is something ‘everyone needs.’ And sadly with the Lorax, the damage was done and the environment that was bustling with life, destroyed.”\u003c/p>\n\u003cp>\u003cem>The Lorax\u003c/em> ends with a kind of challenge.\u003c/p>\n\u003cblockquote>\u003cp>UNLESS someone like you\u003cbr>\ncares a whole awful lot,\u003cbr>\nnothing’s going to get better.\u003cbr>\nIt’s not.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13893468']“He kind of says ‘I told you so,’ like, I told you this was going to be bad and now it’s bad,” says Mark Gozonsky, a writer and high school English teacher in Los Angeles whose students have \u003ca href=\"https://lithub.com/teaching-climate-change-with-the-lorax-and-the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed\u003c/a> \u003cem>The Lorax\u003c/em> in the context of global warming. Like Mathai, Gozonsky is struck by the parallels with this week’s report. “The book ends on a question mark … ‘Well, what are you going to do about it?’ And that’s the very question mark that we land on today,” he says. So many years later scientists are still warning, “You’ve got … a couple of years to make a difference … Time, as we all know, is ticking away.”\u003c/p>\n\u003ch3>Finding hope in the last seed left\u003c/h3>\n\u003cp>Mathai still believes it’s important to be hopeful. Her mother was a little like the Lorax of Kenya, the very place that so inspired Geisel’s story. Nobel Peace Prize winner \u003ca href=\"https://www.npr.org/sections/thetwo-way/2011/09/26/140808866/nobel-laureate-wangari-maathai-a-global-icon-of-conservation\" target=\"_blank\" rel=\"noopener noreferrer\">Wangari Maathai\u003c/a> founded The Green Belt movement, which is credited with planting more than 51 million trees across the country, part of a campaign to end poverty.\u003c/p>\n\u003cp>“My mother … always talked about trees as a symbol of hope and so \u003cem>The Lorax\u003c/em> in many ways was that and remains that for me. That each of us can be such a potent agent of change. We can be custodians of hope.”\u003c/p>\n\u003cp>Just as she read \u003cem>The Lorax\u003c/em> when she was a girl, Mathai reads it to her two daughters today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The Once-ler saved that one seed and waited for someone who cared to come along. It will take each of us doing our part to reverse what is coming. The latest report indicates we have even less time to turn things around,” she says. Mathai takes heart that “we have a number of ‘Loraxes’ spreading the word and sounding the alarm.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lorax%27+Warned+Us+50+Years+Ago%2C+But+We+Didn%27t+Listen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call it fate or an unfortunate coincidence that Dr. Seuss’ \u003cem>The Lorax\u003c/em> celebrates its 50th anniversary the same week the United Nations releases an urgent report on the \u003ca href=\"https://www.npr.org/2021/08/09/1025898341/major-report-warns-climate-change-is-accelerating-and-humans-must-cut-emissions-\" target=\"_blank\" rel=\"noopener noreferrer\">dire consequences of human-induced climate change.\u003c/a> The conflict between the industrious, polluting Once-ler and the feisty Lorax, who “speaks for the trees,” feels more prescient than ever.\u003c/p>\n\u003cblockquote>\u003cp>“Once-ler!” he cried with a cruffulous croak.\u003cbr>\n“Once-ler! You’re making such smogulous smoke!\u003cbr>\nMy poor Swomee-Swans… why, they can’t sing a note!\u003cbr>\nNo one can sing who has smog in his throat.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He wanted a book that captured the effects of pollution on ecosystems and I would say it was really ahead of its time,” says anthropologist and evolutionary biologist Nathaniel Dominy, who teaches at Dartmouth. “The different species disappear from the narrative in succession,” he notes. “The Bar-ba-loots leave because they run out of food. The Swomee-Swans leave because the air is polluted. The humming fish leave because the water’s polluted. He’s describing what we would now call a ‘\u003ca href=\"https://www.nature.com/scitable/knowledge/library/trophic-cascades-across-diverse-plant-ecosystems-80060347/\" target=\"_blank\" rel=\"noopener noreferrer\">trophic cascade\u003c/a>,’ and for me, as a scientist, I just find that genius that he anticipated that concept by a decade or more.”\u003c/p>\n\u003cp>While it might be a children’s book, \u003cem>The Lorax\u003c/em>‘s ominous message of what happens when you harvest nature to death made it an icon of the environmental movement, spawning \u003ca href=\"https://www.npr.org/2009/07/29/111287573/the-next-dr-seuss-movie-the-lorax\" target=\"_blank\" rel=\"noopener noreferrer\">movie\u003c/a> and stage adaptations not to mention a gazillion school \u003ca href=\"https://www.sustainabilitysuperheroes.org/meet-the-lorax.html\" target=\"_blank\" rel=\"noopener noreferrer\">projects\u003c/a>.\u003c/p>\n\u003cp>With its mostly gray, scrappy, barren images, the story stood in sharp contrast to other books by Theodor Geisel (aka Dr. Seuss) such as \u003cem>The Cat in the Hat \u003c/em>and \u003cem>Green Eggs and Ham\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13901164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg\" alt=\"'The Lorax' by Dr. Seuss.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1020x1383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1133x1536.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1511x2048.jpg 1511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1920x2603.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-scaled.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lorax’ by Dr. Seuss. \u003ccite>(Random House Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The environmental movement takes root\u003c/h3>\n\u003cp>Geisel began writing \u003cem>The Lorax\u003c/em> at a time of growing concern about the environment. \u003ca href=\"https://www.smithsonianmag.com/history/cuyahoga-river-caught-fire-least-dozen-times-no-one-cared-until-1969-180972444/\" target=\"_blank\" rel=\"noopener noreferrer\">Images\u003c/a> of an oil-slicked river in Cleveland catching fire in 1969, the first \u003ca href=\"https://www.npr.org/2020/04/22/840542049/earth-day-at-50-climate-activists-go-digital-amid-pandemic-shutdown\" target=\"_blank\" rel=\"noopener noreferrer\">Earth Day\u003c/a> in 1970 and other events helped build the movement and put it front and center. According to Geisel biographer Donald Pease, the author believed in the movement but didn’t care for its rhetoric. He thought it was “preachy and bossy,” says Pease.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Geisel was also furious about construction going on in his La Jolla, Calif., neighborhood. “They were destroying quite beautiful eucalyptus trees, and he wanted to do something about this, and he had to find a way to transform what he understood to be a propaganda-oriented perspective on these matters into a fable that even children could understand.” But, Pease explains, “he also was confronted with writer’s block.”\u003c/p>\n\u003ch3>Inspiration strikes during a trip to Kenya\u003c/h3>\n\u003cp>His wife, Audrey Geisel, suggested they go on a trip to the \u003ca href=\"https://www.fairmont.com/mount-kenya-safari/?goto=fiche_hotel&code_hotel=A5F4&merchantid=seo-maps-KE-A5F4&sourceid=aw-cen&utm_medium=seo+maps&utm_source=google+Maps&utm_campaign=seo+maps&y_source=1_MTIzNjE0MzUtNzE1LWxvY2F0aW9uLmdvb2dsZV93ZWJzaXRlX292ZXJyaWRl\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Kenya Safari Club\u003c/a>. While they were there, “he caught a view in the mountains of elephants crossing,” says Pease. “He said afterward ‘the logjam broke’ and he was able to write 90% of \u003cem>The Lorax\u003c/em> that afternoon.”\u003c/p>\n\u003cp>“It is built on one of the most beautiful landscapes with a spectacular view of Mount Kenya so I’m not surprised Dr. Seuss was inspired by that,” says Wanjira Mathai, vice president and regional director for Africa at The World Resources Institute.\u003c/p>\n\u003cp>What can happen to that beauty is made vividly clear by the end of the story. The greedy Once-ler ravages the land by chopping down Truffula Trees. He needs them to make his “thneed” garment.\u003c/p>\n\u003cp>The Lorax is apoplectic.\u003c/p>\n\u003cblockquote>\u003cp>“I speak for the trees, for the trees have no tongues.\u003cbr>\nAnd I’m asking you, sir, at the top of my lungs” —\u003cbr>\nhe was very upset as he shouted and puffed —\u003cbr>\n\u003cem>“What’s that THING you’ve made out of my Truffula tuft?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Spoiler alert: the land where once upon a time, “the grass was still green and the pond was still wet and the clouds were still clean” is destroyed by the Once-ler’s insatiable appetite to sell more “thneeds.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8V06ZOQuo0k'\n title='//www.youtube.com/embed/8V06ZOQuo0k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>“Unless someone like you cares a whole awful lot …”\u003c/h3>\n\u003cp>The parallels with this week’s U.N. climate report are stark. “The report paints a very sobering picture of the unforgiving, unimaginable world we have in store if our addiction to burning fossil fuels and destroying forests continues,” says Mathai. She says Dr. Seuss’ eco-parable is a “powerful depiction” of this point, despite being written so many years ago. “The Thneed—read fossil fuels—is something ‘everyone needs.’ And sadly with the Lorax, the damage was done and the environment that was bustling with life, destroyed.”\u003c/p>\n\u003cp>\u003cem>The Lorax\u003c/em> ends with a kind of challenge.\u003c/p>\n\u003cblockquote>\u003cp>UNLESS someone like you\u003cbr>\ncares a whole awful lot,\u003cbr>\nnothing’s going to get better.\u003cbr>\nIt’s not.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He kind of says ‘I told you so,’ like, I told you this was going to be bad and now it’s bad,” says Mark Gozonsky, a writer and high school English teacher in Los Angeles whose students have \u003ca href=\"https://lithub.com/teaching-climate-change-with-the-lorax-and-the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed\u003c/a> \u003cem>The Lorax\u003c/em> in the context of global warming. Like Mathai, Gozonsky is struck by the parallels with this week’s report. “The book ends on a question mark … ‘Well, what are you going to do about it?’ And that’s the very question mark that we land on today,” he says. So many years later scientists are still warning, “You’ve got … a couple of years to make a difference … Time, as we all know, is ticking away.”\u003c/p>\n\u003ch3>Finding hope in the last seed left\u003c/h3>\n\u003cp>Mathai still believes it’s important to be hopeful. Her mother was a little like the Lorax of Kenya, the very place that so inspired Geisel’s story. Nobel Peace Prize winner \u003ca href=\"https://www.npr.org/sections/thetwo-way/2011/09/26/140808866/nobel-laureate-wangari-maathai-a-global-icon-of-conservation\" target=\"_blank\" rel=\"noopener noreferrer\">Wangari Maathai\u003c/a> founded The Green Belt movement, which is credited with planting more than 51 million trees across the country, part of a campaign to end poverty.\u003c/p>\n\u003cp>“My mother … always talked about trees as a symbol of hope and so \u003cem>The Lorax\u003c/em> in many ways was that and remains that for me. That each of us can be such a potent agent of change. We can be custodians of hope.”\u003c/p>\n\u003cp>Just as she read \u003cem>The Lorax\u003c/em> when she was a girl, Mathai reads it to her two daughters today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Once-ler saved that one seed and waited for someone who cared to come along. It will take each of us doing our part to reverse what is coming. The latest report indicates we have even less time to turn things around,” she says. Mathai takes heart that “we have a number of ‘Loraxes’ spreading the word and sounding the alarm.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lorax%27+Warned+Us+50+Years+Ago%2C+But+We+Didn%27t+Listen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13900704\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13900704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/DeMareonGipson.CRED_.AmirAziz-1020x1529.jpg\" alt=\"Writer DeMareon Gipson wears a tan hat and a blue jean jacket as he poses with his book, Annalise's Cough.\" width=\"640\" height=\"959\">\u003cfigcaption class=\"wp-caption-text\">Vallejo author DeMareon Gipson helps children understand environmental racism with his new book, ‘Annalise’s Cough.’\u003c/figcaption>\u003c/figure>\n\u003cp>In the children’s book \u003cem>\u003ca href=\"http://www.forwardpublishinghouse.com/new-products/annalises-cough-physical-copy\">Annalise’s Cough\u003c/a>\u003c/em>, two young girls grow to understand the impacts of environmental racism and its connections to their personal health.\u003c/p>\n\u003cp>Although the story has touches of fantasy and references to African spirituality, the book speaks to real local issues—like toxic waste in San Francisco’s Hunters Point, harmful chemicals near Mare Island in Vallejo and the pollution of refineries in Richmond.\u003c/p>\n\u003cp>The book, illustrated by \u003ca href=\"https://www.instagram.com/gocosmicninja/\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Jones\u003c/a>, is written by \u003ca href=\"https://www.instagram.com/brother_gipson/\" target=\"_blank\" rel=\"noopener noreferrer\">DeMareon Gipson\u003c/a>. This weekend, Gipson appears at a \u003ca href=\"https://oaklandlibrary.org/events/online-program/afternoon-demareon-gipson\" target=\"_blank\" rel=\"noopener noreferrer\">virtual presentation of his work\u003c/a> as a part of the Oakland Public Library’s series highlighting local authors.\u003c/p>\n\u003cp>Gipson, a multifaceted writer from Vallejo, says the online event will have something for people of all ages.\u003c/p>\n\u003cp>Along with reading from \u003cem>Annalise’s Cough\u003c/em>, Gipson plans to recite poetry, participate in a question-and-answer session and screen his short film,\u003cem> \u003ca href=\"https://www.instagram.com/tv/CQUDFN_AwF-/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">The Heraldist\u003c/a>,\u003c/em> which he debuted on Juneteenth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel like creativity has no bounds,” says Gipson, rejecting the idea of a creative person being confined to one title or “box.” Gipson, who works for the Oakland Unified School District’s African American Male Achievement Department, says, “I can write a children’s book. I can help people with music. I can do whatever. I think that’s the main thing… to showcase of the range of the work that I’m able to create.”\u003c/p>\n\u003cp>The notion of boundless creativity is what Gipson hopes attendees take away from his presentation, no matter their age.\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>\u003c/p>\n\u003cp>\u003cem>DeMareon Gipson presents ‘Annalise’s Cough’ in a free online event on Saturday, Aug. 7, from 2:30pm–4:00pm. \u003ca href=\"https://oaklandlibrary.org/events/online-program/afternoon-demareon-gipson\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13900704\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13900704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/DeMareonGipson.CRED_.AmirAziz-1020x1529.jpg\" alt=\"Writer DeMareon Gipson wears a tan hat and a blue jean jacket as he poses with his book, Annalise's Cough.\" width=\"640\" height=\"959\">\u003cfigcaption class=\"wp-caption-text\">Vallejo author DeMareon Gipson helps children understand environmental racism with his new book, ‘Annalise’s Cough.’\u003c/figcaption>\u003c/figure>\n\u003cp>In the children’s book \u003cem>\u003ca href=\"http://www.forwardpublishinghouse.com/new-products/annalises-cough-physical-copy\">Annalise’s Cough\u003c/a>\u003c/em>, two young girls grow to understand the impacts of environmental racism and its connections to their personal health.\u003c/p>\n\u003cp>Although the story has touches of fantasy and references to African spirituality, the book speaks to real local issues—like toxic waste in San Francisco’s Hunters Point, harmful chemicals near Mare Island in Vallejo and the pollution of refineries in Richmond.\u003c/p>\n\u003cp>The book, illustrated by \u003ca href=\"https://www.instagram.com/gocosmicninja/\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Jones\u003c/a>, is written by \u003ca href=\"https://www.instagram.com/brother_gipson/\" target=\"_blank\" rel=\"noopener noreferrer\">DeMareon Gipson\u003c/a>. This weekend, Gipson appears at a \u003ca href=\"https://oaklandlibrary.org/events/online-program/afternoon-demareon-gipson\" target=\"_blank\" rel=\"noopener noreferrer\">virtual presentation of his work\u003c/a> as a part of the Oakland Public Library’s series highlighting local authors.\u003c/p>\n\u003cp>Gipson, a multifaceted writer from Vallejo, says the online event will have something for people of all ages.\u003c/p>\n\u003cp>Along with reading from \u003cem>Annalise’s Cough\u003c/em>, Gipson plans to recite poetry, participate in a question-and-answer session and screen his short film,\u003cem> \u003ca href=\"https://www.instagram.com/tv/CQUDFN_AwF-/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">The Heraldist\u003c/a>,\u003c/em> which he debuted on Juneteenth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel like creativity has no bounds,” says Gipson, rejecting the idea of a creative person being confined to one title or “box.” Gipson, who works for the Oakland Unified School District’s African American Male Achievement Department, says, “I can write a children’s book. I can help people with music. I can do whatever. I think that’s the main thing… to showcase of the range of the work that I’m able to create.”\u003c/p>\n\u003cp>The notion of boundless creativity is what Gipson hopes attendees take away from his presentation, no matter their age.\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>\u003c/p>\n\u003cp>\u003cem>DeMareon Gipson presents ‘Annalise’s Cough’ in a free online event on Saturday, Aug. 7, from 2:30pm–4:00pm. \u003ca href=\"https://oaklandlibrary.org/events/online-program/afternoon-demareon-gipson\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Young Literary Star Makes His Posthumous Debut With 'Afterparties'",
"headTitle": "A Young Literary Star Makes His Posthumous Debut With ‘Afterparties’ | KQED",
"content": "\u003cp>“‘Would we even \u003cem>know \u003c/em>English without Judge Judy?'” asks a character from the new short story collection \u003cem>Afterparties. \u003c/em>It happens during a scene where two Cambodian American cousins, Maly and Ves, are hiding out from a boring and stuffy family function. Instead, they decide to break into a closed video store, smoke weed and chill out, eventually sliding into those types of conversations you get into with certain family members that bounce between talking trash and accidentally unpacking some deep baggage. “‘Guess it’s the only way we survived,'” the other replies.\u003c/p>\n\u003cp>\u003cem>Afterparties \u003c/em>is the highly anticipated debut book by writer Anthony Veasna So, who died in December, at the age of 28, of a drug overdose. As a young, queer Cambodian American writer, So wrote about the big questions of his ethnic identity, Khmer: How do you live in the aftermath of the Cambodian Genocide? How do you bridge the gap between a generation fine with just surviving and one that wants more? What does it even mean to \u003cem>be\u003c/em> Khmer?\u003c/p>\n\u003cp>“He doesn’t give us an easy answer, but he does ask the questions which reflect some kind of truth,” says Monica Sok, a fellow Cambodian American writer and a friend of So’s. But he didn’t ask these questions for the sake of suffocating everything else there is about living. “\u003cem>Afterparties\u003c/em> is probably our first celebrated queer Khmer American fiction that goes beyond survival literature,” she says—meaning writing whose main concern is: \u003cem>how do I make it through this alive?\u003c/em>\u003c/p>\n\u003cp>Instead, the characters in \u003cem>Afterparties\u003c/em> have other interests. In one story, a teacher navigates his new relationship with a more upwardly-mobile Cambodian American do-gooder tech type: “He spent his days….reading articles about diversifying Silicon Valley with more brown faces, as if that brown-ness could make the whole tech industry any less absurd, grotesque, and frivolous.” In another, a washed-up badminton star adjusts to being a low-level legend.\u003c/p>\n\u003cfigure id=\"attachment_13900582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-800x1209.jpg\" alt=\"'Afterparties' by Anthony Veasna So.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Afterparties’ by Anthony Veasna So. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the opening story, “Three Women of Chuck’s Donuts,” two young sisters reminisce coldly about their father, who left them to start a new family: “‘He said marriage is like the show \u003cem>Survivor\u003c/em>, where you make alliances in order to live longer. He thought \u003cem>Survivor\u003c/em> was actually the most Khmer thing possible, and he would definitely win it, because the genocide was the best training he could’ve got'”.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a bleak humor to the way So mixes the serious and frivolous. The writer Dana Spiotta taught So at Syracuse University, where he got his MFA. She says this was key to his writing. It was its own colloquial language—”a way to talk about the generational difference and the tension there, and also the burden of it and the responsibility,” she says.\u003c/p>\n\u003cp>Sometimes, these big ideas would be too much. The writer Jonathan Dee, another teacher of So’s at Syracuse University, got to read the first 75 pages of the novel So was working on. “And my note on those pages was a note that I frequently gave him, which is every idea in this is great. There are just too many ideas,” he says. “And, of course, I can’t help but feel pretty wistful about that advice now, like, don’t worry—you’re going to have lots more novels.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There will, however, be more works by So coming out soon. His publisher, Ecco, is planning on publishing a collection currently titled \u003cem>Songs on Endless Repeat\u003c/em>, which will compile chapters from the unfinished novel as well as non-fiction pieces.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Young+Literary+Star+Makes+His+Posthumous+Debut+With+%27Afterparties%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“‘Would we even \u003cem>know \u003c/em>English without Judge Judy?'” asks a character from the new short story collection \u003cem>Afterparties. \u003c/em>It happens during a scene where two Cambodian American cousins, Maly and Ves, are hiding out from a boring and stuffy family function. Instead, they decide to break into a closed video store, smoke weed and chill out, eventually sliding into those types of conversations you get into with certain family members that bounce between talking trash and accidentally unpacking some deep baggage. “‘Guess it’s the only way we survived,'” the other replies.\u003c/p>\n\u003cp>\u003cem>Afterparties \u003c/em>is the highly anticipated debut book by writer Anthony Veasna So, who died in December, at the age of 28, of a drug overdose. As a young, queer Cambodian American writer, So wrote about the big questions of his ethnic identity, Khmer: How do you live in the aftermath of the Cambodian Genocide? How do you bridge the gap between a generation fine with just surviving and one that wants more? What does it even mean to \u003cem>be\u003c/em> Khmer?\u003c/p>\n\u003cp>“He doesn’t give us an easy answer, but he does ask the questions which reflect some kind of truth,” says Monica Sok, a fellow Cambodian American writer and a friend of So’s. But he didn’t ask these questions for the sake of suffocating everything else there is about living. “\u003cem>Afterparties\u003c/em> is probably our first celebrated queer Khmer American fiction that goes beyond survival literature,” she says—meaning writing whose main concern is: \u003cem>how do I make it through this alive?\u003c/em>\u003c/p>\n\u003cp>Instead, the characters in \u003cem>Afterparties\u003c/em> have other interests. In one story, a teacher navigates his new relationship with a more upwardly-mobile Cambodian American do-gooder tech type: “He spent his days….reading articles about diversifying Silicon Valley with more brown faces, as if that brown-ness could make the whole tech industry any less absurd, grotesque, and frivolous.” In another, a washed-up badminton star adjusts to being a low-level legend.\u003c/p>\n\u003cfigure id=\"attachment_13900582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-800x1209.jpg\" alt=\"'Afterparties' by Anthony Veasna So.\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/afterparties-c-hc_custom-106db98463046c0f2f34fed28d4a31d262db98b4.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Afterparties’ by Anthony Veasna So. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the opening story, “Three Women of Chuck’s Donuts,” two young sisters reminisce coldly about their father, who left them to start a new family: “‘He said marriage is like the show \u003cem>Survivor\u003c/em>, where you make alliances in order to live longer. He thought \u003cem>Survivor\u003c/em> was actually the most Khmer thing possible, and he would definitely win it, because the genocide was the best training he could’ve got'”.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a bleak humor to the way So mixes the serious and frivolous. The writer Dana Spiotta taught So at Syracuse University, where he got his MFA. She says this was key to his writing. It was its own colloquial language—”a way to talk about the generational difference and the tension there, and also the burden of it and the responsibility,” she says.\u003c/p>\n\u003cp>Sometimes, these big ideas would be too much. The writer Jonathan Dee, another teacher of So’s at Syracuse University, got to read the first 75 pages of the novel So was working on. “And my note on those pages was a note that I frequently gave him, which is every idea in this is great. There are just too many ideas,” he says. “And, of course, I can’t help but feel pretty wistful about that advice now, like, don’t worry—you’re going to have lots more novels.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There will, however, be more works by So coming out soon. His publisher, Ecco, is planning on publishing a collection currently titled \u003cem>Songs on Endless Repeat\u003c/em>, which will compile chapters from the unfinished novel as well as non-fiction pieces.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Young+Literary+Star+Makes+His+Posthumous+Debut+With+%27Afterparties%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "These 3 Books Will Help Your Kids Get Over Their Summer Reading Blues",
"headTitle": "These 3 Books Will Help Your Kids Get Over Their Summer Reading Blues | KQED",
"content": "\u003cp>Ah, how well I remember wanting to be Mary Lou Retton. So what if I had no gymnastics experience? So what if I didn’t know a round-off from a back handspring? My father had welded two bars for me, and I spent every day outside swinging on them and flipping over them on my stomach. I was SURE I was the next Mary Lou. Like thousands of other little girls, during the 1984 Olympics, I cried because my parents wouldn’t send me to Texas to train.\u003c/p>\n\u003cp>[aside postid='arts_13891275']Watching Simone Biles be so brave about her own struggles with pressure has turned my young tears into gratitude, and my wishes into empathy. Though I have never been an Olympic gymnast, I have learned you don’t need to be an elite athlete to hit a wall.\u003c/p>\n\u003cp>And boy, have we hit it.\u003c/p>\n\u003cp>As summer marches on, and the new school year gets closer, the blow-up pool no longer holds any charm for my kids, using the weed-eater no longer makes them feel grown up, just tired of chores, summer math on the iPad isn’t a novelty anymore, just tedious—and reading, well, that has started to seem like a chore too.\u003c/p>\n\u003cp>To be fair, it’s reading new books that seem like a chore. The super-hot and humid days we’ve had this summer seem to have sapped every bit of energy from my kids, so it’s a constant battle to get them to read something new. When it’s reading time, it’s the well-worn pages of \u003cem>Diary of a Wimpy Kid\u003c/em> or \u003cem>New Kid \u003c/em>that make an appearance. Only my youngest, who is just entering a new level of reading, is tearing her way through her unread \u003cem>The Boxcar Children\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The wall: a very real phenomenon. And there is lots of advice on how to conquer it.\u003c/p>\n\u003ch3>Don’t Start Too Fast\u003c/h3>\n\u003cp>Okay, I’ve got that. I’ll admit, I’m guilty of throwing new books at my kids they aren’t excited about reading because I think they SHOULD be reading them. Bad strategy. I must start slower, and luckily there are some new books I KNOW my kids will be excited to read.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clash\u003c/em> by Kayla Miller\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900516 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg\" alt=\"\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">This fourth installment of Miller’s graphic novel series (\u003cem>Click, Act, Camp\u003c/em>) finds Olive, still in the sixth grade, but with a new problem, a new problem whose name is “Natasha.”\u003c/p>\n\u003cp>\u003cem>Clash\u003c/em> hits home for me and my oldest daughter because both of us have experienced having a new kid in class who breezed in and took our friends away. Nat does all she can to exclude Olive and makes an extra effort to make Olive feel bad about herself. Oh, the memories! Honestly, Olive does a much better job of handling the situation than I did when I was in middle school, and \u003cem>Clash\u003c/em> is sure to be a new favorite in my house.\u003c/p>\n\u003ch3>Set Achievable Goals\u003c/h3>\n\u003cp>Marathon runners are not the only people who have to build up their endurance. Readers do as well, and sometimes a fast-paced novel that makes you forget you’re reading a novel can get you in the right frame of mind for a longer run.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maya and the Robot\u003c/em> by Eve. L. Ewing, illustrated by Christine Almeda\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900517 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This debut middle grade book from essayist, poet, and comic book writer Eve L. Ewing, is the perfect read for kids who need a push to pick up a chapter book. Highly illustrated and easily relatable, \u003cem>Maya and the Robot\u003c/em> combines friendship struggles, teacher problems, and yes, science, to tell the story of how fifth-grade Maya finds ways to adapt and thrive when everything seems wrong.\u003c/p>\n\u003cp>For someone who remembers the struggles of one’s younger years, there can never be enough books about handling what can be a tough time. \u003cem>Maya and the Robot\u003c/em> is a fantastic addition to the genre and has the bonus of not just being about the internal struggles of the main character but offering fully formed familial relationships and community as well.\u003c/p>\n\u003ch3>Take Walking Breaks During Your Marathon\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Something Stinks\u003c/em>! by Jonathan Fenske\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900518 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">Every night I read chapter books to my kids. I sit down in the rocking chair while they all pile on the bed, and I read one (or two, maybe sometimes three depending on whether teeth-brushing time went smoothly) chapter of a book that I have chosen. While most nights my kids are happy to hear the next installment of what happens to Anne Shirley or Cassie Logan, there are nights when I read the room and see that my kids need a break, they need something fun and dare I say it, something with a bit of “yick.”\u003c/p>\n\u003cp>Enter \u003cem>Something Stinks!\u003c/em>.\u003c/p>\n\u003cp>Let me say that my kids, no matter how old they get, never tire of \u003cem>Walter the Farting Dog\u003c/em>. Nothing makes them laugh like gas, whether real or literary, and sometimes we just have to end the day with a laugh. \u003cem>Something Stinks!\u003c/em> offers a much-needed break in the Gilbert Blythe saga, and the skunk at the center of the story is so misled, so clueless, that my kids can’t help but scream with laughter.\u003c/p>\n\u003cp>There are all kinds of walls to hit, and as parents or caregivers, we will surely hit a lot of them. Just when we think we’ve gotten things under control, something happens to stop us in our tracks. Fatigue, boredom, stress, pressure, overachieving, all those things throw up walls in front of us, even as children, and even as readers. Sometimes we fight through it, and sometimes we take a breather, and that’s not a bad thing.\u003c/p>\n\u003cp>Not for Simone Biles and not for the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+3+Books+Will+Help+Your+Kids+Get+Over+Their+Summer+Reading+Blues&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, how well I remember wanting to be Mary Lou Retton. So what if I had no gymnastics experience? So what if I didn’t know a round-off from a back handspring? My father had welded two bars for me, and I spent every day outside swinging on them and flipping over them on my stomach. I was SURE I was the next Mary Lou. Like thousands of other little girls, during the 1984 Olympics, I cried because my parents wouldn’t send me to Texas to train.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Watching Simone Biles be so brave about her own struggles with pressure has turned my young tears into gratitude, and my wishes into empathy. Though I have never been an Olympic gymnast, I have learned you don’t need to be an elite athlete to hit a wall.\u003c/p>\n\u003cp>And boy, have we hit it.\u003c/p>\n\u003cp>As summer marches on, and the new school year gets closer, the blow-up pool no longer holds any charm for my kids, using the weed-eater no longer makes them feel grown up, just tired of chores, summer math on the iPad isn’t a novelty anymore, just tedious—and reading, well, that has started to seem like a chore too.\u003c/p>\n\u003cp>To be fair, it’s reading new books that seem like a chore. The super-hot and humid days we’ve had this summer seem to have sapped every bit of energy from my kids, so it’s a constant battle to get them to read something new. When it’s reading time, it’s the well-worn pages of \u003cem>Diary of a Wimpy Kid\u003c/em> or \u003cem>New Kid \u003c/em>that make an appearance. Only my youngest, who is just entering a new level of reading, is tearing her way through her unread \u003cem>The Boxcar Children\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The wall: a very real phenomenon. And there is lots of advice on how to conquer it.\u003c/p>\n\u003ch3>Don’t Start Too Fast\u003c/h3>\n\u003cp>Okay, I’ve got that. I’ll admit, I’m guilty of throwing new books at my kids they aren’t excited about reading because I think they SHOULD be reading them. Bad strategy. I must start slower, and luckily there are some new books I KNOW my kids will be excited to read.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clash\u003c/em> by Kayla Miller\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900516 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg\" alt=\"\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/712r4gqsjxl_custom-28afcffad8d537923cad9c824da7240fa4101e0f-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">This fourth installment of Miller’s graphic novel series (\u003cem>Click, Act, Camp\u003c/em>) finds Olive, still in the sixth grade, but with a new problem, a new problem whose name is “Natasha.”\u003c/p>\n\u003cp>\u003cem>Clash\u003c/em> hits home for me and my oldest daughter because both of us have experienced having a new kid in class who breezed in and took our friends away. Nat does all she can to exclude Olive and makes an extra effort to make Olive feel bad about herself. Oh, the memories! Honestly, Olive does a much better job of handling the situation than I did when I was in middle school, and \u003cem>Clash\u003c/em> is sure to be a new favorite in my house.\u003c/p>\n\u003ch3>Set Achievable Goals\u003c/h3>\n\u003cp>Marathon runners are not the only people who have to build up their endurance. Readers do as well, and sometimes a fast-paced novel that makes you forget you’re reading a novel can get you in the right frame of mind for a longer run.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maya and the Robot\u003c/em> by Eve. L. Ewing, illustrated by Christine Almeda\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900517 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/91u1e5qp0ml_custom-5b8d1439fbd655f9c44bb476d9d0215a109d863e.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This debut middle grade book from essayist, poet, and comic book writer Eve L. Ewing, is the perfect read for kids who need a push to pick up a chapter book. Highly illustrated and easily relatable, \u003cem>Maya and the Robot\u003c/em> combines friendship struggles, teacher problems, and yes, science, to tell the story of how fifth-grade Maya finds ways to adapt and thrive when everything seems wrong.\u003c/p>\n\u003cp>For someone who remembers the struggles of one’s younger years, there can never be enough books about handling what can be a tough time. \u003cem>Maya and the Robot\u003c/em> is a fantastic addition to the genre and has the bonus of not just being about the internal struggles of the main character but offering fully formed familial relationships and community as well.\u003c/p>\n\u003ch3>Take Walking Breaks During Your Marathon\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Something Stinks\u003c/em>! by Jonathan Fenske\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900518 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/81nef4kob8l_custom-69e6f9e9203f509fe790ce3ce20eaafa7e4c087c-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">Every night I read chapter books to my kids. I sit down in the rocking chair while they all pile on the bed, and I read one (or two, maybe sometimes three depending on whether teeth-brushing time went smoothly) chapter of a book that I have chosen. While most nights my kids are happy to hear the next installment of what happens to Anne Shirley or Cassie Logan, there are nights when I read the room and see that my kids need a break, they need something fun and dare I say it, something with a bit of “yick.”\u003c/p>\n\u003cp>Enter \u003cem>Something Stinks!\u003c/em>.\u003c/p>\n\u003cp>Let me say that my kids, no matter how old they get, never tire of \u003cem>Walter the Farting Dog\u003c/em>. Nothing makes them laugh like gas, whether real or literary, and sometimes we just have to end the day with a laugh. \u003cem>Something Stinks!\u003c/em> offers a much-needed break in the Gilbert Blythe saga, and the skunk at the center of the story is so misled, so clueless, that my kids can’t help but scream with laughter.\u003c/p>\n\u003cp>There are all kinds of walls to hit, and as parents or caregivers, we will surely hit a lot of them. Just when we think we’ve gotten things under control, something happens to stop us in our tracks. Fatigue, boredom, stress, pressure, overachieving, all those things throw up walls in front of us, even as children, and even as readers. Sometimes we fight through it, and sometimes we take a breather, and that’s not a bad thing.\u003c/p>\n\u003cp>Not for Simone Biles and not for the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+3+Books+Will+Help+Your+Kids+Get+Over+Their+Summer+Reading+Blues&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: ‘Harry Potter and the Cursed Child’ Returns to the Curran Theatre",
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"content": "\u003cp>In some ways, the Wizarding world isn’t so different from its Muggle counterpart. All the divination professors in the world couldn’t foresee the COVID-19 pandemic—and, during the lockdown, Hogwarts shuttered its campus just like any other Muggle school. At least that’s what happened when the cast and crew of \u003cem>Harry Potter and the Cursed Child\u003c/em> found themselves locked out of their magical castle of the Curran Theatre just months after the play’s \u003ca href=\"https://www.kqed.org/forum/2010101874957/harry-potter-onstage\" rel=\"noopener noreferrer\" target=\"_blank\">2019 San Francisco premiere\u003c/a>. \u003c/p>\n\u003cp>Also, just like regular schools, later and later dates were announced for the play’s reopening. First May 30, then Nov. 28—and now, finally, Jan. 11, 2022, when witches and wizards will take to the Quidditch fields once again as \u003cem>Harry Potter and the Cursed Child\u003c/em> reopens. Tickets to the general public \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">go on sale\u003c/a> at 10am on Wednesday, July 21, and judging from the play’s packed houses of cosplaying Potter fans pre-pandemic, they’re sure to disappear quickly. \u003c/p>\n\u003cp>[aside postID='arts_13870645']Things aren’t going completely back to normal just yet: this version of \u003cem>Harry Potter and the Cursed Child\u003c/em> is modified to comply with pandemic safety protocol. The original \u003cem>Cursed Child\u003c/em> was a two-part, five-hour long epic with a dinner break in between, while the new staging of the play condenses the plot into one intermission-less evening production.\u003c/p>\n\u003cp>The eighth “book” in the Harry Potter series, \u003cem>Cursed Child\u003c/em> takes place more than a decade after the first seven books. The familiar faces from the Second Wizarding War like Harry and Draco Malfroy are now middle-aged, and preparing to send their children off to their alma mater. Albus Potter and Scorpius Malfoy, however, take after their parents with their talent for sniffing out trouble, and begin messing with time-turners to undo one of the great tragedies from the original series—the death of Cedric Diggory during the events of \u003cem>Goblet of Fire\u003c/em>. \u003c/p>\n\u003cp>The meaty, canon-altering plot of \u003cem>Cursed Child\u003c/em> drove fans wild when the play \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">premiered two years ago\u003c/a>, and their zeal is not to be underestimated. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In some ways, the Wizarding world isn’t so different from its Muggle counterpart. All the divination professors in the world couldn’t foresee the COVID-19 pandemic—and, during the lockdown, Hogwarts shuttered its campus just like any other Muggle school. At least that’s what happened when the cast and crew of \u003cem>Harry Potter and the Cursed Child\u003c/em> found themselves locked out of their magical castle of the Curran Theatre just months after the play’s \u003ca href=\"https://www.kqed.org/forum/2010101874957/harry-potter-onstage\" rel=\"noopener noreferrer\" target=\"_blank\">2019 San Francisco premiere\u003c/a>. \u003c/p>\n\u003cp>Also, just like regular schools, later and later dates were announced for the play’s reopening. First May 30, then Nov. 28—and now, finally, Jan. 11, 2022, when witches and wizards will take to the Quidditch fields once again as \u003cem>Harry Potter and the Cursed Child\u003c/em> reopens. Tickets to the general public \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">go on sale\u003c/a> at 10am on Wednesday, July 21, and judging from the play’s packed houses of cosplaying Potter fans pre-pandemic, they’re sure to disappear quickly. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Things aren’t going completely back to normal just yet: this version of \u003cem>Harry Potter and the Cursed Child\u003c/em> is modified to comply with pandemic safety protocol. The original \u003cem>Cursed Child\u003c/em> was a two-part, five-hour long epic with a dinner break in between, while the new staging of the play condenses the plot into one intermission-less evening production.\u003c/p>\n\u003cp>The eighth “book” in the Harry Potter series, \u003cem>Cursed Child\u003c/em> takes place more than a decade after the first seven books. The familiar faces from the Second Wizarding War like Harry and Draco Malfroy are now middle-aged, and preparing to send their children off to their alma mater. Albus Potter and Scorpius Malfoy, however, take after their parents with their talent for sniffing out trouble, and begin messing with time-turners to undo one of the great tragedies from the original series—the death of Cedric Diggory during the events of \u003cem>Goblet of Fire\u003c/em>. \u003c/p>\n\u003cp>The meaty, canon-altering plot of \u003cem>Cursed Child\u003c/em> drove fans wild when the play \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">premiered two years ago\u003c/a>, and their zeal is not to be underestimated. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Eugene Smith, Jonestown Survivor, on Coming 'Back to the World'",
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"content": "\u003cp>Originally based in San Francisco, the People’s Temple Agricultural Project aimed to practice “apostolic socialism” following the guidance of their leader, Jim Jones. Instead, in 1978 and in one of the largest losses of American civilian life, 909 people died in Guyana under Jones’ direction in what he called a “revolutionary suicide.” The handful of survivors returned to a firestorm of U.S. media coverage that, among other things, declared Jonestown a “cult of death.”\u003c/p>\n\u003cp>\u003cem>Back to the World: A Life After Jonestown\u003c/em> (Texas A&M University Press; $24.95) is the side of the story that sensational headlines and previous historical records have not shown. After years of silence, Bay Area author Eugene Smith recounts his path to Guyana and the course of his life after returning to the United States. With the kind of reflection that only time can bring, he describes moving to Jonestown with the hopes of joining a politically innovative community—only to lose his mother, wife, and infant son a year later, when he was only 21.\u003c/p>\n\u003cp>[aside postID='news_11705963']Like many Americans, I learned of Jonestown as a historical event retold and magnified so many times it had become almost mythical. I didn’t expect to see myself in Smith’s descriptions of his life in my hometown of Oakland, or to hear my thoughts echoed in his concerns about revolution in the social media age. Throughout our conversation, I was struck by how similar we were. Listening to him speak felt like speaking to a version of myself from a different time and circumstance.\u003c/p>\n\u003cp>Eugene Smith is a survivor, yes, but that is hardly the most interesting thing about him. After building a life again from scratch, dedicating years to public service, and overcoming some of the most arduous obstacles life has to offer, he has a wisdom that we can all learn from. \u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13899654\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ExaminerJones.jpg\" alt=\"The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \" width=\"600\" height=\"545\" class=\"size-full wp-image-13899654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones-160x145.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \u003ccite>(Newspaper File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What you want a person with only a casual knowledge of Jonestown to really understand after reading your book?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I want them to understand that Jonestown, in a very unique way, was a microcosm of society. It wasn’t homogenous. Not everybody agreed with everything. The people at Jonestown were described by the media as zombies, to a certain extent. And that’s not the truth. \u003c/p>\n\u003cp>Hopefully my book will bring that forth, because I’m describing intelligent individuals that made a choice to join People’s Temple, but made that choice based on the idea that People’s Temple was helping change the world, or at least the United States, into a better environment than it was at that particular time.\u003c/p>\n\u003cp>\u003cstrong>Since 1978, you’ve been a very private person. In the book you talk about your desire to avoid being identified by this one event for the rest of your life, writing that you were “tasked with being a survivor.” Why come forward now? What changed for you?\u003c/strong>\u003c/p>\n\u003cp>Time. Time changed. It has been 40-plus years since “the incident,” as I call it. I have lived a lifetime in between then and now. It’s also allowed me time to look back at it as a matured senior versus a very young man at 21 years of age. And being able to look back at things that you’ve lived through, that you survived, allows you to have a clearer grasp on the rest of your life. \u003c/p>\n\u003cp>As survivors, we’ve all been fairly secretive. There’s been a couple of books that came out about Jonestown, but as far as I know, I’m the first African-American male to write about it. I want people to know that we were individuals. We didn’t all have collective thoughts, as we’ve been described.\u003c/p>\n\u003cfigure id=\"attachment_13899646\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI1.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many people don’t know that the majority of people at Jonestown, over 70%, were black.\u003c/strong>\u003c/p>\n\u003cp>The majority of people there were black for multiple reasons. \u003c/p>\n\u003cp>People were there because they thought he was going to give America an example of what a interracial community could look like, and what a very intelligent political community could look like. I think the thing that enticed black people to join was the fact that Jones could get away with saying many things that a black minister could not get away with saying. And it can be attractive when you find a spokesman who represents your point of view, who says things the way you want them said. \u003c/p>\n\u003cp>\u003cstrong>You write about how People’s Temple was the first place where you felt like you were allowed to be a revolutionary. We live in a current period of a lot of political frustration, and there are a lot of very politically angry young people who are seeking outlets for that anger. Do you think that there are better outlets now for that political frustration than there were back then? \u003c/strong>\u003c/p>\n\u003cp>The first revolution that you have is when you change your mind. When you change your mind about something, whether it’s an individual or a cause or a purpose, that is revolutionary. \u003c/p>\n\u003cp>The second revolution is what you do once you’ve changed your mind. Are you going to spread the word? Are you going to become involved in terms of marching, in terms of protesting? Are you going to write letters? Are you going to try to influence people to do the same? Revolution can mean multiple things. For me, revolution was becoming as intelligent as I possibly could, knowing as much about the world as I possibly could. \u003c/p>\n\u003cp>Now we have more information, but I think in some sense that young people, especially those that are computer-savvy and into social media, might be getting overwhelmed because there are so many points of view that are being thrown at them. But nothing replaces researching, so you can come up with your own conclusion. It’s difficult, but it’s worth it. And I think people want things to be easy, so they don’t research what they hear. \u003c/p>\n\u003cfigure id=\"attachment_13899645\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI2.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With the COVID 19 pandemic, so much of life as people knew it vanished before their very eyes. For a lot of people, this has been an especially powerful lesson in accepting and dealing with loss and change. You wrote about how in one day, with one event, the entire world that you knew vanished. How do you think this impacted your experience of the pandemic?\u003c/strong>\u003c/p>\n\u003cp>It definitely affected me. And I was speaking to some fellow survivors about this in the midst of the pandemic. They told me they had the same feeling that they had the day after “the incident,” and the month after. When we had to come back to the US not knowing what we were facing, our whole world was changing. The people we knew were gone. The people we cared about were gone. The businesses that we used to go to are gone. Things that were normal are no longer normal. This pandemic was stressful in that sense, but it also brought out the coping mechanisms of some survivors and myself as well in terms of dealing with this. \u003c/p>\n\u003cp>[aside postID='news_11706669']The difference was this was a disease that you could catch, versus when we came back, the change was because of a hatred of us. People called us programmed, they called us murderers. \u003c/p>\n\u003cp>And being like that, you had no one to depend on but yourself, so you self-isolated, such as during the pandemic. For people who have never had to isolate on their own, for any reason, the pandemic was a shock to the heart because it took away everything that they knew, that comforted them. So this pandemic was stressful in that sense, but the difference was that this time, with this emergency, I already had coping mechanisms.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Back to the World: A Life After Jonestown’ is available now. \u003ca href=\"https://www.tamupress.com/book/9780875657783/back-to-the-world/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Originally based in San Francisco, the People’s Temple Agricultural Project aimed to practice “apostolic socialism” following the guidance of their leader, Jim Jones. Instead, in 1978 and in one of the largest losses of American civilian life, 909 people died in Guyana under Jones’ direction in what he called a “revolutionary suicide.” The handful of survivors returned to a firestorm of U.S. media coverage that, among other things, declared Jonestown a “cult of death.”\u003c/p>\n\u003cp>\u003cem>Back to the World: A Life After Jonestown\u003c/em> (Texas A&M University Press; $24.95) is the side of the story that sensational headlines and previous historical records have not shown. After years of silence, Bay Area author Eugene Smith recounts his path to Guyana and the course of his life after returning to the United States. With the kind of reflection that only time can bring, he describes moving to Jonestown with the hopes of joining a politically innovative community—only to lose his mother, wife, and infant son a year later, when he was only 21.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like many Americans, I learned of Jonestown as a historical event retold and magnified so many times it had become almost mythical. I didn’t expect to see myself in Smith’s descriptions of his life in my hometown of Oakland, or to hear my thoughts echoed in his concerns about revolution in the social media age. Throughout our conversation, I was struck by how similar we were. Listening to him speak felt like speaking to a version of myself from a different time and circumstance.\u003c/p>\n\u003cp>Eugene Smith is a survivor, yes, but that is hardly the most interesting thing about him. After building a life again from scratch, dedicating years to public service, and overcoming some of the most arduous obstacles life has to offer, he has a wisdom that we can all learn from. \u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13899654\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ExaminerJones.jpg\" alt=\"The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \" width=\"600\" height=\"545\" class=\"size-full wp-image-13899654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones-160x145.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \u003ccite>(Newspaper File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What you want a person with only a casual knowledge of Jonestown to really understand after reading your book?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I want them to understand that Jonestown, in a very unique way, was a microcosm of society. It wasn’t homogenous. Not everybody agreed with everything. The people at Jonestown were described by the media as zombies, to a certain extent. And that’s not the truth. \u003c/p>\n\u003cp>Hopefully my book will bring that forth, because I’m describing intelligent individuals that made a choice to join People’s Temple, but made that choice based on the idea that People’s Temple was helping change the world, or at least the United States, into a better environment than it was at that particular time.\u003c/p>\n\u003cp>\u003cstrong>Since 1978, you’ve been a very private person. In the book you talk about your desire to avoid being identified by this one event for the rest of your life, writing that you were “tasked with being a survivor.” Why come forward now? What changed for you?\u003c/strong>\u003c/p>\n\u003cp>Time. Time changed. It has been 40-plus years since “the incident,” as I call it. I have lived a lifetime in between then and now. It’s also allowed me time to look back at it as a matured senior versus a very young man at 21 years of age. And being able to look back at things that you’ve lived through, that you survived, allows you to have a clearer grasp on the rest of your life. \u003c/p>\n\u003cp>As survivors, we’ve all been fairly secretive. There’s been a couple of books that came out about Jonestown, but as far as I know, I’m the first African-American male to write about it. I want people to know that we were individuals. We didn’t all have collective thoughts, as we’ve been described.\u003c/p>\n\u003cfigure id=\"attachment_13899646\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI1.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many people don’t know that the majority of people at Jonestown, over 70%, were black.\u003c/strong>\u003c/p>\n\u003cp>The majority of people there were black for multiple reasons. \u003c/p>\n\u003cp>People were there because they thought he was going to give America an example of what a interracial community could look like, and what a very intelligent political community could look like. I think the thing that enticed black people to join was the fact that Jones could get away with saying many things that a black minister could not get away with saying. And it can be attractive when you find a spokesman who represents your point of view, who says things the way you want them said. \u003c/p>\n\u003cp>\u003cstrong>You write about how People’s Temple was the first place where you felt like you were allowed to be a revolutionary. We live in a current period of a lot of political frustration, and there are a lot of very politically angry young people who are seeking outlets for that anger. Do you think that there are better outlets now for that political frustration than there were back then? \u003c/strong>\u003c/p>\n\u003cp>The first revolution that you have is when you change your mind. When you change your mind about something, whether it’s an individual or a cause or a purpose, that is revolutionary. \u003c/p>\n\u003cp>The second revolution is what you do once you’ve changed your mind. Are you going to spread the word? Are you going to become involved in terms of marching, in terms of protesting? Are you going to write letters? Are you going to try to influence people to do the same? Revolution can mean multiple things. For me, revolution was becoming as intelligent as I possibly could, knowing as much about the world as I possibly could. \u003c/p>\n\u003cp>Now we have more information, but I think in some sense that young people, especially those that are computer-savvy and into social media, might be getting overwhelmed because there are so many points of view that are being thrown at them. But nothing replaces researching, so you can come up with your own conclusion. It’s difficult, but it’s worth it. And I think people want things to be easy, so they don’t research what they hear. \u003c/p>\n\u003cfigure id=\"attachment_13899645\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI2.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With the COVID 19 pandemic, so much of life as people knew it vanished before their very eyes. For a lot of people, this has been an especially powerful lesson in accepting and dealing with loss and change. You wrote about how in one day, with one event, the entire world that you knew vanished. How do you think this impacted your experience of the pandemic?\u003c/strong>\u003c/p>\n\u003cp>It definitely affected me. And I was speaking to some fellow survivors about this in the midst of the pandemic. They told me they had the same feeling that they had the day after “the incident,” and the month after. When we had to come back to the US not knowing what we were facing, our whole world was changing. The people we knew were gone. The people we cared about were gone. The businesses that we used to go to are gone. Things that were normal are no longer normal. This pandemic was stressful in that sense, but it also brought out the coping mechanisms of some survivors and myself as well in terms of dealing with this. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The difference was this was a disease that you could catch, versus when we came back, the change was because of a hatred of us. People called us programmed, they called us murderers. \u003c/p>\n\u003cp>And being like that, you had no one to depend on but yourself, so you self-isolated, such as during the pandemic. For people who have never had to isolate on their own, for any reason, the pandemic was a shock to the heart because it took away everything that they knew, that comforted them. So this pandemic was stressful in that sense, but the difference was that this time, with this emergency, I already had coping mechanisms.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to the World: A Life After Jonestown’ is available now. \u003ca href=\"https://www.tamupress.com/book/9780875657783/back-to-the-world/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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