window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13896657": {
"type": "attachments",
"id": "arts_13896657",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896657",
"found": true
},
"parent": 13896648,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445.jpg",
"width": 1920,
"height": 1081
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445-1536x865.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 865
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/05/20210503_122445-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1620071924,
"modified": 1620071966,
"caption": "The San Francisco Library's Main Branch opened May 3.",
"description": "The San Francisco Library's Main Branch opened May 3.",
"title": "20210503_122445",
"credit": "Carlos Cabrera-Lomelí",
"status": "inherit",
"altTag": "The San Francisco Library's Main Branch opened May 3.",
"isLoading": false,
"fetchFailed": false
},
"arts_13896393": {
"type": "attachments",
"id": "arts_13896393",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896393",
"found": true
},
"parent": 13896385,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-160x105.png",
"width": 160,
"mimeType": "image/png",
"height": 105
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM.png",
"width": 2020,
"height": 1324
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-1020x669.png",
"width": 1020,
"mimeType": "image/png",
"height": 669
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-1536x1007.png",
"width": 1536,
"mimeType": "image/png",
"height": 1007
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-1920x1258.png",
"width": 1920,
"mimeType": "image/png",
"height": 1258
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-800x524.png",
"width": 800,
"mimeType": "image/png",
"height": 524
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-27-at-12.10.49-PM-768x503.png",
"width": 768,
"mimeType": "image/png",
"height": 503
}
},
"publishDate": 1619551151,
"modified": 1619551212,
"caption": "Detail from the cover of 'Curb' by Divya Victor.",
"description": "Detail from the cover of 'Curb' by Divya Victor.",
"title": "Detail from the cover of 'Curb' by Divya Victor.",
"credit": "Nightboat Books",
"status": "inherit",
"altTag": "An illustration of a row of houses, all dark except for one upstairs window, from the cover of 'Curb' by Divya Victor.",
"isLoading": false,
"fetchFailed": false
},
"arts_13896165": {
"type": "attachments",
"id": "arts_13896165",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896165",
"found": true
},
"parent": 13896164,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-scaled-e1619117816219.jpg",
"width": 1920,
"height": 1439
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/gettyimages-1313817559-54f2e44cedb6469028567993fe8e5cd25a3103f5-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1619116301,
"modified": 1619117926,
"caption": "Children make an image of the Earth with green materials at a kindergarten on the 52nd Earth Day on April 22 in Changxing County, Zhejiang Province of China.",
"description": "Children make an image of the Earth with green materials at a kindergarten on the 52nd Earth Day on April 22 in Changxing County, Zhejiang Province of China.",
"title": "Children make an image of the Earth with green materials at a kindergarten on the 52nd Earth Day on April 22 in Changxing County, Zhejiang Province of China.",
"credit": "VCG via Getty Images",
"status": "inherit",
"altTag": "Children make an image of the Earth with green materials at a kindergarten on the 52nd Earth Day on April 22 in Changxing County, Zhejiang Province of China.",
"isLoading": false,
"fetchFailed": false
},
"arts_13896122": {
"type": "attachments",
"id": "arts_13896122",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896122",
"found": true
},
"parent": 13896116,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-scaled.jpg",
"width": 2560,
"height": 1708
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-2048x1366.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1366
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-1536x1025.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1025
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-1920x1281.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1281
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-98581043-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1619048335,
"modified": 1619048426,
"caption": "Anthony Bourdain at the 8th Annual Can-Do Awards Dinner, April 20, 2010. ",
"description": "Anthony Bourdain at the 8th Annual Can-Do Awards Dinner, April 20, 2010. ",
"title": "Anthony Bourdain at the 8th Annual Can-Do Awards Dinner, April 20, 2010.",
"credit": "Neilson Barnard/Getty Images",
"status": "inherit",
"altTag": "Anthony Bourdain at the 8th Annual Can-Do Awards Dinner, April 20, 2010.",
"isLoading": false,
"fetchFailed": false
},
"arts_13895777": {
"type": "attachments",
"id": "arts_13895777",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13895777",
"found": true
},
"parent": 13895771,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/LakeMerritt_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/LakeMerritt_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/LakeMerritt_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/LakeMerritt_COVER.jpg",
"width": 1334,
"height": 750
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/LakeMerritt_COVER-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/LakeMerritt_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/LakeMerritt_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1618443904,
"modified": 1618443945,
"caption": "Oakland's new program is part of a national wave of interest and engagement with poetry.",
"description": "Oakland's new program is part of a national wave of interest and engagement with poetry.",
"title": "LakeMerritt_COVER",
"credit": "Greg Linhares, City of Oakland",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13896079": {
"type": "attachments",
"id": "arts_13896079",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896079",
"found": true
},
"parent": 13896077,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ddo7y-YU8AA43NK-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ddo7y-YU8AA43NK-160x91.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 91
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ddo7y-YU8AA43NK-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ddo7y-YU8AA43NK.jpg",
"width": 1286,
"height": 732
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ddo7y-YU8AA43NK-1020x581.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 581
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ddo7y-YU8AA43NK-800x455.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 455
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ddo7y-YU8AA43NK-768x437.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 437
}
},
"publishDate": 1618961462,
"modified": 1618961462,
"caption": null,
"description": null,
"title": "Ddo7y-YU8AA43NK",
"credit": null,
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13896059": {
"type": "attachments",
"id": "arts_13896059",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896059",
"found": true
},
"parent": 13896050,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/CryingHMartMAIN-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/CryingHMartMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/CryingHMartMAIN.jpg",
"width": 1020,
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/CryingHMartMAIN-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/CryingHMartMAIN-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1618945814,
"modified": 1618945814,
"caption": null,
"description": null,
"title": "CryingHMartMAIN",
"credit": null,
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13895836": {
"type": "attachments",
"id": "arts_13895836",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13895836",
"found": true
},
"parent": 13895831,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-160x96.png",
"width": 160,
"mimeType": "image/png",
"height": 96
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM.png",
"width": 2468,
"height": 1480
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-2048x1228.png",
"width": 2048,
"mimeType": "image/png",
"height": 1228
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-1020x612.png",
"width": 1020,
"mimeType": "image/png",
"height": 612
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-1536x921.png",
"width": 1536,
"mimeType": "image/png",
"height": 921
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-1920x1151.png",
"width": 1920,
"mimeType": "image/png",
"height": 1151
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-800x480.png",
"width": 800,
"mimeType": "image/png",
"height": 480
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-15-at-11.51.11-AM-768x461.png",
"width": 768,
"mimeType": "image/png",
"height": 461
}
},
"publishDate": 1618512692,
"modified": 1618512865,
"caption": null,
"description": null,
"title": "Screen Shot 2021-04-15 at 11.51.11 AM",
"credit": "Vintage",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13895173": {
"type": "attachments",
"id": "arts_13895173",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13895173",
"found": true
},
"parent": 13895169,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-160x101.png",
"width": 160,
"mimeType": "image/png",
"height": 101
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM.png",
"width": 2088,
"height": 1314
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-2048x1289.png",
"width": 2048,
"mimeType": "image/png",
"height": 1289
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-1020x642.png",
"width": 1020,
"mimeType": "image/png",
"height": 642
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-1536x967.png",
"width": 1536,
"mimeType": "image/png",
"height": 967
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-1920x1208.png",
"width": 1920,
"mimeType": "image/png",
"height": 1208
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-800x503.png",
"width": 800,
"mimeType": "image/png",
"height": 503
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-04-at-10.48.13-AM-768x483.png",
"width": 768,
"mimeType": "image/png",
"height": 483
}
},
"publishDate": 1617558537,
"modified": 1617642851,
"caption": "Chapter 510 invites Oakland writers of all ages to participate in a community poem. ",
"description": "Chapter 510 invites Oakland writers of all ages to participate in a community poem. ",
"title": "Chapter 510 invites Oakland writers of all ages to participate in a community poem.",
"credit": "Robbie Sweeny",
"status": "inherit",
"altTag": "A young reader wears glasses as they hold the book Light Made the Storm Blind up to their face.",
"isLoading": false,
"fetchFailed": false
},
"arts_13895136": {
"type": "attachments",
"id": "arts_13895136",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13895136",
"found": true
},
"parent": 13895040,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Writing.Poetry-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Writing.Poetry-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Writing.Poetry-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Writing.Poetry.jpg",
"width": 1257,
"height": 835
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Writing.Poetry-1020x678.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 678
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Writing.Poetry-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Writing.Poetry-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
}
},
"publishDate": 1617391537,
"modified": 1617391618,
"caption": "Santa Clara County launches its Youth Poet Laureate Program this year.",
"description": "Santa Clara County launches its Youth Poet Laureate Program this year.",
"title": "A hand holding a pen writing in a notebook",
"credit": "iStock",
"status": "inherit",
"altTag": "Santa Clara County launches its Youth Poet Laureate Program this year.",
"isLoading": false,
"fetchFailed": false
},
"arts_13895083": {
"type": "attachments",
"id": "arts_13895083",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13895083",
"found": true
},
"parent": 13895078,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-scaled.jpg",
"width": 2560,
"height": 1703
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-2048x1363.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1363
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-1536x1022.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1022
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-1920x1277.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1277
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/GettyImages-139913053-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1617341882,
"modified": 1617341982,
"caption": "Actress Michelle Williams arrives at the 2012 Independent Spirit Awards clutching a 'Catcher in the Rye' accessory.",
"description": "Actress Michelle Williams arrives at the 2012 Independent Spirit Awards clutching a 'Catcher in the Rye' accessory.",
"title": "Actress Michelle Williams arrives at the 2012 Independent Spirit Awards clutching a 'Catcher in the Rye' accessory.",
"credit": "Photo by Frazer Harrison/Getty Images",
"status": "inherit",
"altTag": "Actress Michelle Williams arrives at the 2012 Independent Spirit Awards clutching a 'Catcher in the Rye' accessory.",
"isLoading": false,
"fetchFailed": false
},
"arts_13894973": {
"type": "attachments",
"id": "arts_13894973",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13894973",
"found": true
},
"parent": 13894965,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-160x100.png",
"width": 160,
"mimeType": "image/png",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-e1617303145177.png",
"width": 1920,
"height": 1197
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-2048x1277.png",
"width": 2048,
"mimeType": "image/png",
"height": 1277
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-1020x636.png",
"width": 1020,
"mimeType": "image/png",
"height": 636
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-1536x958.png",
"width": 1536,
"mimeType": "image/png",
"height": 958
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-1920x1197.png",
"width": 1920,
"mimeType": "image/png",
"height": 1197
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-800x499.png",
"width": 800,
"mimeType": "image/png",
"height": 499
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-01-at-11.51.30-AM-768x479.png",
"width": 768,
"mimeType": "image/png",
"height": 479
}
},
"publishDate": 1617303119,
"modified": 1617303195,
"caption": "The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.",
"description": "The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.",
"title": "The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.",
"credit": "Gallery Books",
"status": "inherit",
"altTag": "The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13896385": {
"type": "authors",
"id": "byline_arts_13896385",
"meta": {
"override": true
},
"slug": "byline_arts_13896385",
"name": "Jenny Bhatt",
"isLoading": false
},
"byline_arts_13896164": {
"type": "authors",
"id": "byline_arts_13896164",
"meta": {
"override": true
},
"slug": "byline_arts_13896164",
"name": "NPR Staff",
"isLoading": false
},
"byline_arts_13896116": {
"type": "authors",
"id": "byline_arts_13896116",
"meta": {
"override": true
},
"slug": "byline_arts_13896116",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13896050": {
"type": "authors",
"id": "byline_arts_13896050",
"meta": {
"override": true
},
"slug": "byline_arts_13896050",
"name": "Kristen Martin",
"isLoading": false
},
"byline_arts_13895831": {
"type": "authors",
"id": "byline_arts_13895831",
"meta": {
"override": true
},
"slug": "byline_arts_13895831",
"name": "Ilana Masad",
"isLoading": false
},
"byline_arts_13894965": {
"type": "authors",
"id": "byline_arts_13894965",
"meta": {
"override": true
},
"slug": "byline_arts_13894965",
"name": "Ron Elving",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"sgetachew": {
"type": "authors",
"id": "11734",
"meta": {
"index": "authors_1716337520",
"id": "11734",
"found": true
},
"name": "Samuel Getachew",
"firstName": "Samuel",
"lastName": "Getachew",
"slug": "sgetachew",
"email": "sgetachew@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "\u003cspan style=\"font-weight: 400;\">Samuel Getachew is an 18-year-old poet and writer from Oakland, California. He is the 2019 Oakland Youth Poet Laureate, a 2020 Finalist for National Youth Poet Laureate, and a 4-time YoungArts Winner. His writing has been published in Teen Vogue, the New York Times, the Washington Post, and more. He will attend Yale University in the fall of 2021.\u003c/span>",
"avatar": "https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Samuel Getachew | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sgetachew"
}
},
"pagesReducer": {
"arts_category_literature": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"score": 12.793592
},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"title": "Books",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 45
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=literature",
"seeMore": false,
"paginated": true,
"page": 45
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13896648": {
"type": "posts",
"id": "arts_13896648",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896648",
"score": null,
"sort": [
1620072184000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1620072184,
"format": "standard",
"title": "San Francisco Public Library Main Branch Reopens to Cheers",
"headTitle": "San Francisco Public Library Main Branch Reopens to Cheers | KQED",
"content": "\u003cp>The San Francisco Main Library opened its doors to \u003ca href=\"https://www.facebook.com/sfpl.org/posts/10158892804730609\" rel=\"noopener noreferrer\" target=\"_blank\">cheering patrons\u003c/a> today for the first time since March 13, 2020.\u003c/p>\n\u003cp>The reopening kicks off a new program called “Browse and Bounce,” offering limited indoor service on the library’s first floor, Monday–Saturday, 10:00am–5:30pm and Sunday, noon–5:30pm. Additional branches in Chinatown (May 17); Mission Bay (May 18); Ortega, Richmond, and Visitacion Valley (June 21); and Excelsior (June 22) will reopen within the “Browse and Bounce” program in the coming weeks.\u003c/p>\n\u003cp>For the time being, patrons can browse library books, music, movies and more, and access the public computers for 50-minute sessions, as well as use the printers and photocopiers. Visits are limited to 60 minutes each. The library will continue to offer SFPL To-Go, which lets people pick up holds at the front door.\u003c/p>\n\u003cp>Additional floors of the Main Library will reopen as soon as staffing allows, but history buffs, long denied access to the \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco History Center\u003c/a> on the Main Library’s 6th floor, can visit that collection by appointment.\u003c/p>\n\u003cp>Capacity will be limited and patrons must maintain safety protocols, including social distancing and wearing masks. But even with these limitations (including no chairs for reading or study), today’s reopening was a joyous one for both library patrons and staff.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 235,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705019086,
"excerpt": "Additional branches in will reopen within the “Browse and Bounce” program in the coming weeks.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Additional branches in will reopen within the “Browse and Bounce” program in the coming weeks.",
"title": "San Francisco Public Library Main Branch Reopens to Cheers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Francisco Public Library Main Branch Reopens to Cheers",
"datePublished": "2021-05-03T13:03:04-07:00",
"dateModified": "2024-01-11T16:24:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "san-francisco-public-library-main-branch-reopens-to-cheers",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"justInHeadline": "The main branch of the San Francisco library has reopened for in-person use",
"sticky": false,
"path": "/arts/13896648/san-francisco-public-library-main-branch-reopens-to-cheers",
"redirect": {
"type": "internal",
"url": "/coronavirusliveupdates/arts/13896648/san-francisco-public-library-main-branch-reopens-to-cheers"
},
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Main Library opened its doors to \u003ca href=\"https://www.facebook.com/sfpl.org/posts/10158892804730609\" rel=\"noopener noreferrer\" target=\"_blank\">cheering patrons\u003c/a> today for the first time since March 13, 2020.\u003c/p>\n\u003cp>The reopening kicks off a new program called “Browse and Bounce,” offering limited indoor service on the library’s first floor, Monday–Saturday, 10:00am–5:30pm and Sunday, noon–5:30pm. Additional branches in Chinatown (May 17); Mission Bay (May 18); Ortega, Richmond, and Visitacion Valley (June 21); and Excelsior (June 22) will reopen within the “Browse and Bounce” program in the coming weeks.\u003c/p>\n\u003cp>For the time being, patrons can browse library books, music, movies and more, and access the public computers for 50-minute sessions, as well as use the printers and photocopiers. Visits are limited to 60 minutes each. The library will continue to offer SFPL To-Go, which lets people pick up holds at the front door.\u003c/p>\n\u003cp>Additional floors of the Main Library will reopen as soon as staffing allows, but history buffs, long denied access to the \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco History Center\u003c/a> on the Main Library’s 6th floor, can visit that collection by appointment.\u003c/p>\n\u003cp>Capacity will be limited and patrons must maintain safety protocols, including social distancing and wearing masks. But even with these limitations (including no chairs for reading or study), today’s reopening was a joyous one for both library patrons and staff.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/coronavirusliveupdates/arts/13896648/san-francisco-public-library-main-branch-reopens-to-cheers",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_73",
"arts_235"
],
"tags": [
"arts_9646",
"arts_10651",
"arts_10902",
"arts_3573"
],
"featImg": "arts_13896657",
"label": "arts"
},
"arts_13896385": {
"type": "posts",
"id": "arts_13896385",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896385",
"score": null,
"sort": [
1619551251000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1619551251,
"format": "standard",
"title": "'Curb' Uses Poetry to Scrub at the Wounds of Anti-Asian Racism",
"headTitle": "‘Curb’ Uses Poetry to Scrub at the Wounds of Anti-Asian Racism | KQED",
"content": "\u003cp>The recent wave of anti-Asian violence this year reminds us all again of our vulnerability and our long, fraught, and relatively under-explored history in this country. Just like their European counterparts, South Asian immigrant laborers, students, merchants, religious leaders, and professionals came to American shores filled with hopes for a better life, only to be faced with hostile government policies and anti-immigrant sentiment rooted in racism and xenophobia. And since the events of September 11, 2001, there has been more visible violence against South Asian immigrants in the U.S—yet many cases go unreported because of fears of deportation.\u003c/p>\n\u003cp>Divya Victor’s new book, \u003cem>Curb\u003c/em>, considers post 9/11 domestic terrorism against South Asians across America. Like her previous book, \u003cem>Kith\u003c/em>, this is also a hybrid collection of verse and prose, memoir and history, reflections and imaginings, cultural criticism and what writer Cathy Park Hong has called “minor feelings.”\u003c/p>\n\u003cp>The opening piece is a brief, heartbreaking statement made by Victor’s mother during a casual walk:\u003c/p>\n\u003cblockquote>\u003cp>yes; I am // afraid all // the time; all // the places are all // the same to me; all // of us are the same to all // of them; this is all // that matters; all // of us don’t matter at all.\u003c/p>\u003c/blockquote>\n\u003cp>In her endnotes Victor says that confession, from a mother fearful of everything and everyone in a foreign country helped her cross an emotional threshold to begin the book. Like blood blooming from that open wound, Victor’s words spill onto page after page with an unstanchable urgency. In addition to exploring her own modes of survival, belonging, and displacement, she meditates on the deaths of five South Asian men—\u003ca href=\"https://storycorps.org/stories/remembering-balbir-singh-sodhi-sikh-man-killed-in-post-911-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">Balbir Singh Sodhi\u003c/a>; \u003ca href=\"https://www.tandfonline.com/doi/abs/10.17953/amer.22.2.5383143vq7222t92?journalCode=ramj20\" target=\"_blank\" rel=\"noopener noreferrer\">Navroze Mody\u003c/a>; \u003ca href=\"http://divyendusinha.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Divyendu Sinha\u003c/a>; \u003ca href=\"https://www.nydailynews.com/new-york/subway-shove-victim-mourned-article-1.1230475\" target=\"_blank\" rel=\"noopener noreferrer\">Sunando Sen\u003c/a>; \u003ca href=\"https://www.nytimes.com/2017/07/08/us/he-became-a-hate-crime-victim-she-became-a-widow.html\" target=\"_blank\" rel=\"noopener noreferrer\">Srinivas Kuchibhotla\u003c/a>—killed by white supremacists and nationalists.\u003c/p>\n\u003cp>[aside postid='arts_13877013']Victor’s painfully vivid and sharp fragments of prose and poetry are loaded with kinesthetic and synesthetic images as well as multilingual alliterations and repetitions. Many of these pages have geographic coordinates at their top-right corners to locate the specific sites of the events being described, and to remind us that reading is a physical act that leaves traces. The carefully-constructed white spaces on Victor’s pages are not merely aesthetic flourishes but much-needed pauses to allow the language, emotions, and thoughts to flow into us and pool in those places that 24/7 news and social media have left numb.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are experimental pieces where Victor takes formal legal documents like immigration petitions and turns them into deeply personal accounts of sensations and perceptions: “I am filing a petition for her eyes & her tendency to leave jars open, & the way a nape turning away from me is a bride walking towards me …” And a series of conversations with South Asian immigrant Uber drivers that reveal casteism, internalized racism and colonialism, but also kinship:\u003c/p>\n\u003cblockquote>\u003cp>… what he wants to say // & cannot // is that my eyes // are the color // of shade, a dark // oval left on the earth // by a fig tree // from his hometown …\u003c/p>\u003c/blockquote>\n\u003cp>Even the more traditional pieces, with scenes familiar to most immigrants, are unsettling. For example, the block party where Victor’s Indian first name becomes prolonged, agonizing small talk, like the weather or a local business:\u003c/p>\n\u003cblockquote>\u003cp>They face her, head cocked. Olivia? Vivian? Vivia? Diva? Tibia? “It’s Teeveeya”, one offers […] She is laughing the same laugh that she has heard her father laugh at so many all white office parties, cheering their attempts, playing surrogate to their embarrassment, comforting them into peace in their mouths …\u003c/p>\u003c/blockquote>\n\u003cp>And the gardening scene, when:\u003c/p>\n\u003cblockquote>\u003cp>Do you have stones, someone is asking me. Where you are from, do you have stones, like these. We have purple sunbirds, I am saying, & their hearts have four rooms, one for every answer to questions like these.\u003c/p>\u003c/blockquote>\n\u003cp>This book is not only for South Asians or immigrants. The treasure trove of metaphorical, literary, and cultural symbols and allusions goes beyond South Asia and America. Victor, a professor of creative writing and transnational poetry and poetics, brings together rich strands from other geographies, mythologies, and timespaces too. In doing so, she helps us all recontextualize, reconstruct, and recharge our own memories. Her goal is to have us interrogate what we remember, feel, think, and know about South Asia’s place in the world, its immigrant diaspora, and the losses of these five men in particular.\u003c/p>\n\u003cp>[aside postid='arts_13880441']In a \u003ca href=\"https://aaww.org/sugar-on-the-gash/\" target=\"_blank\" rel=\"noopener noreferrer\">2018 essay\u003c/a>, Victor writes about witnessing a childhood incident in India where a mother presses sugar into a young girl’s cut lip to stop the bleeding. Sugar on the gash. Describing how this facilitates debridement—”the removal of dead tissue and foreign objects from the site of a wound”—Victor asserts that poetic acts of debridement can occur at the woundings in our histories, so that “the scene of recitation becomes the scene of wounding, and subsequently, and importantly, the scene of rescue.”\u003c/p>\n\u003cp>\u003cem>Curb \u003c/em>is more than a personal poetics of loss and identity. It is even more than a well-written eulogy of five murdered South Asian Americans. It is a profound act of poetic debridement for the South Asian American diaspora, and an insistent plea to resist erasure by first acknowledging, absorbing, processing, and remembering our own communal histories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jenny Bhatt is a writer, literary translator, book critic, and host of the \u003c/em>Desi Books \u003cem>podcast. \u003c/em>\u003ca href=\"https://jennybhattwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">https://jennybhattwriter.com\u003c/a>.\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=%27Curb%27+Uses+Poetry+To+Scrub+At+The+Wounds+Of+Anti-Asian+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 941,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019109,
"excerpt": "Divya Victor's new book is a compilation of poems, memories, histories and essays that spill out on the page like blood.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Divya Victor's new book is a compilation of poems, memories, histories and essays that spill out on the page like blood.",
"title": "'Curb' Uses Poetry to Scrub at the Wounds of Anti-Asian Racism | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Curb' Uses Poetry to Scrub at the Wounds of Anti-Asian Racism",
"datePublished": "2021-04-27T12:20:51-07:00",
"dateModified": "2024-01-11T16:25:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "curb-uses-poetry-to-scrub-at-the-wounds-of-anti-asian-racism",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=985926080&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Jenny Bhatt",
"nprStoryDate": "Sun, 25 Apr 2021 07:00:23 -0400",
"nprLastModifiedDate": "Sun, 25 Apr 2021 07:00:23 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/04/25/985926080/curb-uses-poetry-to-scrub-at-the-wounds-of-anti-asian-racism?ft=nprml&f=985926080",
"nprImageAgency": "Nightboat Books",
"nprStoryId": "985926080",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 25 Apr 2021 07:00:00 -0400",
"path": "/arts/13896385/curb-uses-poetry-to-scrub-at-the-wounds-of-anti-asian-racism",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recent wave of anti-Asian violence this year reminds us all again of our vulnerability and our long, fraught, and relatively under-explored history in this country. Just like their European counterparts, South Asian immigrant laborers, students, merchants, religious leaders, and professionals came to American shores filled with hopes for a better life, only to be faced with hostile government policies and anti-immigrant sentiment rooted in racism and xenophobia. And since the events of September 11, 2001, there has been more visible violence against South Asian immigrants in the U.S—yet many cases go unreported because of fears of deportation.\u003c/p>\n\u003cp>Divya Victor’s new book, \u003cem>Curb\u003c/em>, considers post 9/11 domestic terrorism against South Asians across America. Like her previous book, \u003cem>Kith\u003c/em>, this is also a hybrid collection of verse and prose, memoir and history, reflections and imaginings, cultural criticism and what writer Cathy Park Hong has called “minor feelings.”\u003c/p>\n\u003cp>The opening piece is a brief, heartbreaking statement made by Victor’s mother during a casual walk:\u003c/p>\n\u003cblockquote>\u003cp>yes; I am // afraid all // the time; all // the places are all // the same to me; all // of us are the same to all // of them; this is all // that matters; all // of us don’t matter at all.\u003c/p>\u003c/blockquote>\n\u003cp>In her endnotes Victor says that confession, from a mother fearful of everything and everyone in a foreign country helped her cross an emotional threshold to begin the book. Like blood blooming from that open wound, Victor’s words spill onto page after page with an unstanchable urgency. In addition to exploring her own modes of survival, belonging, and displacement, she meditates on the deaths of five South Asian men—\u003ca href=\"https://storycorps.org/stories/remembering-balbir-singh-sodhi-sikh-man-killed-in-post-911-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">Balbir Singh Sodhi\u003c/a>; \u003ca href=\"https://www.tandfonline.com/doi/abs/10.17953/amer.22.2.5383143vq7222t92?journalCode=ramj20\" target=\"_blank\" rel=\"noopener noreferrer\">Navroze Mody\u003c/a>; \u003ca href=\"http://divyendusinha.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Divyendu Sinha\u003c/a>; \u003ca href=\"https://www.nydailynews.com/new-york/subway-shove-victim-mourned-article-1.1230475\" target=\"_blank\" rel=\"noopener noreferrer\">Sunando Sen\u003c/a>; \u003ca href=\"https://www.nytimes.com/2017/07/08/us/he-became-a-hate-crime-victim-she-became-a-widow.html\" target=\"_blank\" rel=\"noopener noreferrer\">Srinivas Kuchibhotla\u003c/a>—killed by white supremacists and nationalists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13877013",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Victor’s painfully vivid and sharp fragments of prose and poetry are loaded with kinesthetic and synesthetic images as well as multilingual alliterations and repetitions. Many of these pages have geographic coordinates at their top-right corners to locate the specific sites of the events being described, and to remind us that reading is a physical act that leaves traces. The carefully-constructed white spaces on Victor’s pages are not merely aesthetic flourishes but much-needed pauses to allow the language, emotions, and thoughts to flow into us and pool in those places that 24/7 news and social media have left numb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are experimental pieces where Victor takes formal legal documents like immigration petitions and turns them into deeply personal accounts of sensations and perceptions: “I am filing a petition for her eyes & her tendency to leave jars open, & the way a nape turning away from me is a bride walking towards me …” And a series of conversations with South Asian immigrant Uber drivers that reveal casteism, internalized racism and colonialism, but also kinship:\u003c/p>\n\u003cblockquote>\u003cp>… what he wants to say // & cannot // is that my eyes // are the color // of shade, a dark // oval left on the earth // by a fig tree // from his hometown …\u003c/p>\u003c/blockquote>\n\u003cp>Even the more traditional pieces, with scenes familiar to most immigrants, are unsettling. For example, the block party where Victor’s Indian first name becomes prolonged, agonizing small talk, like the weather or a local business:\u003c/p>\n\u003cblockquote>\u003cp>They face her, head cocked. Olivia? Vivian? Vivia? Diva? Tibia? “It’s Teeveeya”, one offers […] She is laughing the same laugh that she has heard her father laugh at so many all white office parties, cheering their attempts, playing surrogate to their embarrassment, comforting them into peace in their mouths …\u003c/p>\u003c/blockquote>\n\u003cp>And the gardening scene, when:\u003c/p>\n\u003cblockquote>\u003cp>Do you have stones, someone is asking me. Where you are from, do you have stones, like these. We have purple sunbirds, I am saying, & their hearts have four rooms, one for every answer to questions like these.\u003c/p>\u003c/blockquote>\n\u003cp>This book is not only for South Asians or immigrants. The treasure trove of metaphorical, literary, and cultural symbols and allusions goes beyond South Asia and America. Victor, a professor of creative writing and transnational poetry and poetics, brings together rich strands from other geographies, mythologies, and timespaces too. In doing so, she helps us all recontextualize, reconstruct, and recharge our own memories. Her goal is to have us interrogate what we remember, feel, think, and know about South Asia’s place in the world, its immigrant diaspora, and the losses of these five men in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13880441",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://aaww.org/sugar-on-the-gash/\" target=\"_blank\" rel=\"noopener noreferrer\">2018 essay\u003c/a>, Victor writes about witnessing a childhood incident in India where a mother presses sugar into a young girl’s cut lip to stop the bleeding. Sugar on the gash. Describing how this facilitates debridement—”the removal of dead tissue and foreign objects from the site of a wound”—Victor asserts that poetic acts of debridement can occur at the woundings in our histories, so that “the scene of recitation becomes the scene of wounding, and subsequently, and importantly, the scene of rescue.”\u003c/p>\n\u003cp>\u003cem>Curb \u003c/em>is more than a personal poetics of loss and identity. It is even more than a well-written eulogy of five murdered South Asian Americans. It is a profound act of poetic debridement for the South Asian American diaspora, and an insistent plea to resist erasure by first acknowledging, absorbing, processing, and remembering our own communal histories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jenny Bhatt is a writer, literary translator, book critic, and host of the \u003c/em>Desi Books \u003cem>podcast. \u003c/em>\u003ca href=\"https://jennybhattwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">https://jennybhattwriter.com\u003c/a>.\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=%27Curb%27+Uses+Poetry+To+Scrub+At+The+Wounds+Of+Anti-Asian+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896385/curb-uses-poetry-to-scrub-at-the-wounds-of-anti-asian-racism",
"authors": [
"byline_arts_13896385"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_1496",
"arts_3652"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13896393",
"label": "arts_137"
},
"arts_13896164": {
"type": "posts",
"id": "arts_13896164",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896164",
"score": null,
"sort": [
1619118078000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1619118078,
"format": "standard",
"title": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More",
"headTitle": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More | KQED",
"content": "\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p69lEMn0I8k\u003c/p>\n\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H9ePdk29rVI\u003c/p>\n\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9pyBKj5-jVk\u003c/p>\n\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WYj-7IrjC4c\u003c/p>\n\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAK8Cd4t0WA\u003c/p>\n\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vCzaxunme7I\u003c/p>\n\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3s0LTDhqe5A\u003c/p>\n\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\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=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1364,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705019133,
"excerpt": "A watch/read/listen list for when you're back inside after celebrating Earth with a walk or by planting some trees.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A watch/read/listen list for when you're back inside after celebrating Earth with a walk or by planting some trees.",
"title": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More",
"datePublished": "2021-04-22T12:01:18-07:00",
"dateModified": "2024-01-11T16:25:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "looking-for-a-way-to-mark-earth-day-try-these-movies-songs-books-and-more",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=989741021&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "NPR Staff",
"nprStoryDate": "Thu, 22 Apr 2021 13:51:00 -0400",
"nprLastModifiedDate": "Thu, 22 Apr 2021 14:20:17 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/04/22/989741021/looking-for-a-way-to-mark-earth-day-here-are-our-suggestions?ft=nprml&f=989741021",
"nprImageAgency": "VCG via Getty Images",
"nprStoryId": "989741021",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 22 Apr 2021 14:20:00 -0400",
"path": "/arts/13896164/looking-for-a-way-to-mark-earth-day-try-these-movies-songs-books-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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/p69lEMn0I8k'\n title='//www.youtube.com/embed/p69lEMn0I8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\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/H9ePdk29rVI'\n title='//www.youtube.com/embed/H9ePdk29rVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\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/9pyBKj5-jVk'\n title='//www.youtube.com/embed/9pyBKj5-jVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\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/WYj-7IrjC4c'\n title='//www.youtube.com/embed/WYj-7IrjC4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\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/OAK8Cd4t0WA'\n title='//www.youtube.com/embed/OAK8Cd4t0WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\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/vCzaxunme7I'\n title='//www.youtube.com/embed/vCzaxunme7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\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/3s0LTDhqe5A'\n title='//www.youtube.com/embed/3s0LTDhqe5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\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=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896164/looking-for-a-way-to-mark-earth-day-try-these-movies-songs-books-and-more",
"authors": [
"byline_arts_13896164"
],
"categories": [
"arts_1",
"arts_73",
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_7215"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13896165",
"label": "arts_137"
},
"arts_13896116": {
"type": "posts",
"id": "arts_13896116",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896116",
"score": null,
"sort": [
1619048561000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1619048561,
"format": "standard",
"title": "Missing Travel? This 'Irreverent Guide' Visits Anthony Bourdain's Favorite Places",
"headTitle": "Missing Travel? This ‘Irreverent Guide’ Visits Anthony Bourdain’s Favorite Places | KQED",
"content": "\u003cp>The new book \u003cem>World Travel: An Irreverent Guide\u003c/em> is credited to Anthony Bourdain. But it was not really written by the bestselling author, chef and TV personality who \u003ca href=\"https://www.npr.org/sections/thesalt/2018/06/08/618185381/anthony-bourdain-chef-and-television-host-has-died-at-61\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2018.\u003c/a>\u003c/p>\n\u003cp>\u003cem>World Travel: An Irreverent Guide\u003c/em> was assembled by one of Bourdain’s associates, Laurie Woolever, based entirely on his previous writings and an hourlong interview conducted shortly before his death. Bourdain had collaborated with Woolever on 2016’s \u003cem>\u003ca href=\"https://www.npr.org/sections/thesalt/2016/10/27/499308031/in-appetites-bourdain-pleases-the-toughest-food-critic-his-9-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">Appetites: A Cookbook\u003c/a>\u003c/em>, and this project was conceived of shortly thereafter, she says, with the intent to spotlight some of Bourdain’s favorite places around the globe.\u003c/p>\n\u003cp>Given the dearth of original writing by Bourdain himself, \u003cem>World Travel\u003c/em> contains a handful of tributary essays, by the likes of Bourdain’s brother Christopher, music producer Steve Albini, and Nari Kye, who worked as a production manager on Bourdain’s TV show, \u003cem>No Reservations\u003c/em>. She describes, in her essay, how her former boss profoundly changed her life.\u003c/p>\n\u003cfigure id=\"attachment_13896117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg\" alt=\"The cover of 'World Travel: An Irreverent Guide' by Anthony Bourdain and Laurie Woolever.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘World Travel: An Irreverent Guide’ by Anthony Bourdain and Laurie Woolever. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The South Korea episode of \u003cem>No Reservations\u003c/em> started as a joke,” she writes. “At the end of Season 1, I said, ‘We’re all going to eat Korean barbecue, and drink lots of \u003cem>soju\u003c/em>.’ I got us a huge table in Manhattan’s K-town, and Tony came. We went outside to smoke, and in my drunken \u003cem>soju\u003c/em> haze, I said, ‘Tony, you have to swear you’re going to Korea.’ And he said, ‘Of course. And you have to come with me.’ ”\u003c/p>\n\u003cp>What happened after that drunken conversation was not a joke, Kye says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s hard not to get emotional when I talk about Tony,” she says, wiping away tears during a Zoom call from her Brooklyn home. Kye explains she was surprised not just to come along for the South Korea episode, which aired in 2006, but also to be its focus, along with her family there.\u003c/p>\n\u003cp>The show follows Kye and Bourdain as they explore Seoul’s famous Noryangjin fish market, visit a village famous for its kimchee, peer at soldiers guarding the DMZ and drink copiously at a karaoke bar. (Off-camera, Kye says, Bourdain performed a Billy Idol number.) The two sat down with Kye’s grandfather over a bowl of spicy fish stew as part of the episode. He described the trauma of escaping from his home in what’s now North Korea in 1951.\u003c/p>\n\u003cp>[aside postid='news_11673893']“If I could go back there once before I die,” her grandfather explains in Korean, “I would have no other wish, if I could just see my parents’ graves and just cry my heart out. There’s nothing that can be done, though. That’s just the way it is. That’s my fate.”\u003c/p>\n\u003cp>Kye and Bourdain listen, rapt. “I might not have learned these things had it not been [for] Tony and the show,” Kye mused to NPR. “I was one person before I made the show. I was a different person afterwards.”\u003c/p>\n\u003cp>As she recounts in her essay, Kye did not grow up feeling proud of her family’s history or culture.\u003c/p>\n\u003cp>“I moved to the States when I was 5, from Korea, and after that, I lived in a predominantly white, Anglo-American community,” she writes. “As a kid who already looked different from everyone else, I was trying to fit in as an American and was mortified by my Korean heritage. My mom cooked only Korean food. My parents spoke only Korean to me … We basically lived in Korea in our house in a very American town.”\u003c/p>\n\u003cp>Before Kye’s friends would come over—”white, blond-haired girls named Jenny and Erin who would wear shoes inside their houses”—she would hide everything in her house that looked Korean. She was a recent college graduate, still in her early 20s, when she traveled to South Korea with Bourdain. His full-throated enthusiasm for Korea’s spectacular history, culture and food transformed her perspective about something she had dismissed and taken for granted—and ignited her own sense of creative potential. Now Kye works on a children’s television show for Korean American families, and she’s writing an autobiographical screenplay, including her travels with Bourdain, filtered through learning about food.\u003c/p>\n\u003cfigure id=\"attachment_13896118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg\" alt=\"Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3.jpg 1547w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \u003ccite>(CNN/Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know this had been so important to Nari until after [Bourdain] died, and we were talking about his impact on us,” Laurie Woolever told NPR. “Had Tony lived and written his own essay for the book—which was the original plan—I never would’ve gotten to hear from Nari. And I think it’s important, and I want people to understand how deep [Bourdain’s] legacy is.”\u003c/p>\n\u003cp>Part of that legacy, says Nari Kye, comes from how Bourdain reflexively stood up for underdogs, his embrace of those who get marginalized. “He always made people feel like they belonged,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And wherever he traveled, she says, Anthony Bourdain managed to belong as well.\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=Missing+Travel%3F+This+%27Irreverent+Guide%27+Visits+Anthony+Bourdain%27s+Favorite+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 912,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705019141,
"excerpt": "New book, 'World Travel: An Irreverent Guide' is based on the chef's writings and an interview conducted just before his death.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "New book, 'World Travel: An Irreverent Guide' is based on the chef's writings and an interview conducted just before his death.",
"title": "Missing Travel? This 'Irreverent Guide' Visits Anthony Bourdain's Favorite Places | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Missing Travel? This 'Irreverent Guide' Visits Anthony Bourdain's Favorite Places",
"datePublished": "2021-04-21T16:42:41-07:00",
"dateModified": "2024-01-11T16:25:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "missing-travel-this-irreverent-guide-visits-anthony-bourdains-favorite-places",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=988549801&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 20 Apr 2021 05:04:00 -0400",
"nprLastModifiedDate": "Tue, 20 Apr 2021 11:45:59 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/04/20/988549801/missing-travel-this-irreverent-guide-visits-anthony-bourdains-favorite-places?ft=nprml&f=988549801",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/04/20210420_me_missing_travel_this_irreverent_guide_visits_anthony_bourdains_favorite_places.mp3?orgId=1&topicId=1053&d=235&p=3&story=988549801&ft=nprml&f=988549801",
"nprImageAgency": "Ecco",
"nprAudioM3u": "http://api.npr.org/m3u/1989015684-dfb35d.m3u?orgId=1&topicId=1053&d=235&p=3&story=988549801&ft=nprml&f=988549801",
"nprStoryId": "988549801",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 20 Apr 2021 11:50:00 -0400",
"path": "/arts/13896116/missing-travel-this-irreverent-guide-visits-anthony-bourdains-favorite-places",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/04/20210420_me_missing_travel_this_irreverent_guide_visits_anthony_bourdains_favorite_places.mp3?orgId=1&topicId=1053&d=235&p=3&story=988549801&ft=nprml&f=988549801",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new book \u003cem>World Travel: An Irreverent Guide\u003c/em> is credited to Anthony Bourdain. But it was not really written by the bestselling author, chef and TV personality who \u003ca href=\"https://www.npr.org/sections/thesalt/2018/06/08/618185381/anthony-bourdain-chef-and-television-host-has-died-at-61\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2018.\u003c/a>\u003c/p>\n\u003cp>\u003cem>World Travel: An Irreverent Guide\u003c/em> was assembled by one of Bourdain’s associates, Laurie Woolever, based entirely on his previous writings and an hourlong interview conducted shortly before his death. Bourdain had collaborated with Woolever on 2016’s \u003cem>\u003ca href=\"https://www.npr.org/sections/thesalt/2016/10/27/499308031/in-appetites-bourdain-pleases-the-toughest-food-critic-his-9-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">Appetites: A Cookbook\u003c/a>\u003c/em>, and this project was conceived of shortly thereafter, she says, with the intent to spotlight some of Bourdain’s favorite places around the globe.\u003c/p>\n\u003cp>Given the dearth of original writing by Bourdain himself, \u003cem>World Travel\u003c/em> contains a handful of tributary essays, by the likes of Bourdain’s brother Christopher, music producer Steve Albini, and Nari Kye, who worked as a production manager on Bourdain’s TV show, \u003cem>No Reservations\u003c/em>. She describes, in her essay, how her former boss profoundly changed her life.\u003c/p>\n\u003cfigure id=\"attachment_13896117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg\" alt=\"The cover of 'World Travel: An Irreverent Guide' by Anthony Bourdain and Laurie Woolever.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘World Travel: An Irreverent Guide’ by Anthony Bourdain and Laurie Woolever. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The South Korea episode of \u003cem>No Reservations\u003c/em> started as a joke,” she writes. “At the end of Season 1, I said, ‘We’re all going to eat Korean barbecue, and drink lots of \u003cem>soju\u003c/em>.’ I got us a huge table in Manhattan’s K-town, and Tony came. We went outside to smoke, and in my drunken \u003cem>soju\u003c/em> haze, I said, ‘Tony, you have to swear you’re going to Korea.’ And he said, ‘Of course. And you have to come with me.’ ”\u003c/p>\n\u003cp>What happened after that drunken conversation was not a joke, Kye says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s hard not to get emotional when I talk about Tony,” she says, wiping away tears during a Zoom call from her Brooklyn home. Kye explains she was surprised not just to come along for the South Korea episode, which aired in 2006, but also to be its focus, along with her family there.\u003c/p>\n\u003cp>The show follows Kye and Bourdain as they explore Seoul’s famous Noryangjin fish market, visit a village famous for its kimchee, peer at soldiers guarding the DMZ and drink copiously at a karaoke bar. (Off-camera, Kye says, Bourdain performed a Billy Idol number.) The two sat down with Kye’s grandfather over a bowl of spicy fish stew as part of the episode. He described the trauma of escaping from his home in what’s now North Korea in 1951.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11673893",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“If I could go back there once before I die,” her grandfather explains in Korean, “I would have no other wish, if I could just see my parents’ graves and just cry my heart out. There’s nothing that can be done, though. That’s just the way it is. That’s my fate.”\u003c/p>\n\u003cp>Kye and Bourdain listen, rapt. “I might not have learned these things had it not been [for] Tony and the show,” Kye mused to NPR. “I was one person before I made the show. I was a different person afterwards.”\u003c/p>\n\u003cp>As she recounts in her essay, Kye did not grow up feeling proud of her family’s history or culture.\u003c/p>\n\u003cp>“I moved to the States when I was 5, from Korea, and after that, I lived in a predominantly white, Anglo-American community,” she writes. “As a kid who already looked different from everyone else, I was trying to fit in as an American and was mortified by my Korean heritage. My mom cooked only Korean food. My parents spoke only Korean to me … We basically lived in Korea in our house in a very American town.”\u003c/p>\n\u003cp>Before Kye’s friends would come over—”white, blond-haired girls named Jenny and Erin who would wear shoes inside their houses”—she would hide everything in her house that looked Korean. She was a recent college graduate, still in her early 20s, when she traveled to South Korea with Bourdain. His full-throated enthusiasm for Korea’s spectacular history, culture and food transformed her perspective about something she had dismissed and taken for granted—and ignited her own sense of creative potential. Now Kye works on a children’s television show for Korean American families, and she’s writing an autobiographical screenplay, including her travels with Bourdain, filtered through learning about food.\u003c/p>\n\u003cfigure id=\"attachment_13896118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg\" alt=\"Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3.jpg 1547w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \u003ccite>(CNN/Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know this had been so important to Nari until after [Bourdain] died, and we were talking about his impact on us,” Laurie Woolever told NPR. “Had Tony lived and written his own essay for the book—which was the original plan—I never would’ve gotten to hear from Nari. And I think it’s important, and I want people to understand how deep [Bourdain’s] legacy is.”\u003c/p>\n\u003cp>Part of that legacy, says Nari Kye, comes from how Bourdain reflexively stood up for underdogs, his embrace of those who get marginalized. “He always made people feel like they belonged,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And wherever he traveled, she says, Anthony Bourdain managed to belong as well.\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=Missing+Travel%3F+This+%27Irreverent+Guide%27+Visits+Anthony+Bourdain%27s+Favorite+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896116/missing-travel-this-irreverent-guide-visits-anthony-bourdains-favorite-places",
"authors": [
"byline_arts_13896116"
],
"categories": [
"arts_1",
"arts_73",
"arts_12276",
"arts_990"
],
"tags": [
"arts_1297"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13896122",
"label": "arts"
},
"arts_13895771": {
"type": "posts",
"id": "arts_13895771",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13895771",
"score": null,
"sort": [
1618963235000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1618963235,
"format": "standard",
"title": "Oakland Launches Search for First-Ever Poet Laureate",
"headTitle": "Oakland Launches Search for First-Ever Poet Laureate | KQED",
"content": "\u003cp>Oakland is now accepting nominations for its first-ever Oakland Poet Laureate Program. \u003c/p>\n\u003cp>Oakland’s Cultural Affairs Commission approved the creation of the Oakland Poet Laureate position at a Jan. 25 meeting, and the program will be modeled after similar ones in the Bay Area and across the nation. Uniquely, the city has had a Youth Poet Laureate since 2012 through a program run by the Oakland Public Library—but not a similar role for poets over 18. \u003c/p>\n\u003cp>The inaugural Oakland Poet Laureate will receive a $5,000 honorarium and serve a two-year term beginning in June 2021. During their tenure, the selected poet will deliver an inaugural address, partner with the Oakland Youth Poet Laureate on a collaborative reading series, write one poem commemorating the city, and deliver four readings at various city-owned locations throughout Oakland. \u003c/p>\n\u003cp>[aside postID='news_11856157']Oakland’s new program joins \u003ca href=\"https://aclibrary.org/blogs/post/calling-all-teen-poets/\" rel=\"noopener noreferrer\" target=\"_blank\">Alameda County\u003c/a> and \u003ca href=\"https://www.sccyouthlaureate.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Clara\u003c/a> County programs as the latest in a national wave of interest and engagement with poetry, in part sparked by inaugural National Youth Poet Laureate Amanda Gorman’s performance at the presidential inauguration in January.\u003c/p>\n\u003cp>To be eligible, nominees must be current Oakland residents who have lived in Oakland consistently for at least five years, and must be over the age of 18 with at least two previous works published. They also must have a track record of engagement with Oakland’s creative community. The program aims to “make poetry more accessible across Oakland, while promoting an understanding of the transformative power of this art form.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">nomination form\u003c/a> is open through May 19, and nominees must submit a resume and writing sample. The oversight committee will evaluate nominees based on their command of craft, community engagement, understanding of Oakland’s distinctions and other criteria.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To learn more about the program, visit \u003ca href=\"http://oaklandca.gov/poetlaureate\" rel=\"noopener noreferrer\" target=\"_blank\">oaklandca.gov/poetlaureate\u003c/a> or email \u003ca href=\"mailto:OakPoetLaureate@oaklandca.gov\">OakPoetLaureate@oaklandca.gov\u003c/a>. The nomination form can be found \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 328,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705019144,
"excerpt": "The inaugural poet to hold the position will serve a two-year term and receive a $5,000 honorarium.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The inaugural poet to hold the position will serve a two-year term and receive a $5,000 honorarium.",
"title": "Oakland Launches Search for First-Ever Poet Laureate | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Launches Search for First-Ever Poet Laureate",
"datePublished": "2021-04-20T17:00:35-07:00",
"dateModified": "2024-01-11T16:25:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oakland-launches-search-for-first-ever-poet-laureate",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13895771/oakland-launches-search-for-first-ever-poet-laureate",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland is now accepting nominations for its first-ever Oakland Poet Laureate Program. \u003c/p>\n\u003cp>Oakland’s Cultural Affairs Commission approved the creation of the Oakland Poet Laureate position at a Jan. 25 meeting, and the program will be modeled after similar ones in the Bay Area and across the nation. Uniquely, the city has had a Youth Poet Laureate since 2012 through a program run by the Oakland Public Library—but not a similar role for poets over 18. \u003c/p>\n\u003cp>The inaugural Oakland Poet Laureate will receive a $5,000 honorarium and serve a two-year term beginning in June 2021. During their tenure, the selected poet will deliver an inaugural address, partner with the Oakland Youth Poet Laureate on a collaborative reading series, write one poem commemorating the city, and deliver four readings at various city-owned locations throughout Oakland. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11856157",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Oakland’s new program joins \u003ca href=\"https://aclibrary.org/blogs/post/calling-all-teen-poets/\" rel=\"noopener noreferrer\" target=\"_blank\">Alameda County\u003c/a> and \u003ca href=\"https://www.sccyouthlaureate.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Clara\u003c/a> County programs as the latest in a national wave of interest and engagement with poetry, in part sparked by inaugural National Youth Poet Laureate Amanda Gorman’s performance at the presidential inauguration in January.\u003c/p>\n\u003cp>To be eligible, nominees must be current Oakland residents who have lived in Oakland consistently for at least five years, and must be over the age of 18 with at least two previous works published. They also must have a track record of engagement with Oakland’s creative community. The program aims to “make poetry more accessible across Oakland, while promoting an understanding of the transformative power of this art form.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">nomination form\u003c/a> is open through May 19, and nominees must submit a resume and writing sample. The oversight committee will evaluate nominees based on their command of craft, community engagement, understanding of Oakland’s distinctions and other criteria.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To learn more about the program, visit \u003ca href=\"http://oaklandca.gov/poetlaureate\" rel=\"noopener noreferrer\" target=\"_blank\">oaklandca.gov/poetlaureate\u003c/a> or email \u003ca href=\"mailto:OakPoetLaureate@oaklandca.gov\">OakPoetLaureate@oaklandca.gov\u003c/a>. The nomination form can be found \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13895771/oakland-launches-search-for-first-ever-poet-laureate",
"authors": [
"11734"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_1143",
"arts_1496"
],
"featImg": "arts_13895777",
"label": "arts"
},
"arts_13896077": {
"type": "posts",
"id": "arts_13896077",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896077",
"score": null,
"sort": [
1618962166000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1618962166,
"format": "audio",
"title": "Al Young, Former California Poet Laureate, Dies at 81",
"headTitle": "Al Young, Former California Poet Laureate, Dies at 81 | KQED",
"content": "\u003cfigure id=\"attachment_13896078\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/AlYoung_0.jpg\" alt=\"Al Young.\" width=\"400\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Al Young. \u003ccite>(Joseph Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Celebrated poet and former California Poet Laureate Al Young has passed away at the age of 81, according to \u003ca href=\"https://bookhaven.stanford.edu/2021/04/al-young-is-dead-at-81/\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> from Stanford University. Young, known for his passion for jazz and his warm and friendly presence, lectured at the college for many years, and in 2005 was appointed the Poet Laureate of California by then-Governor Arnold Schwarznegger.\u003c/p>\n\u003cp>“Al Young represented the best in literary life. He was enormously talented in both fiction and poetry, though as he got older poetry came to be his natural means of expression,” Dana Gioia, the 2015–2019 California Poet Laureate, told \u003ca href=\"https://bookhaven.stanford.edu/2021/04/al-young-is-dead-at-81/\" target=\"_blank\" rel=\"noopener noreferrer\">The Book Haven\u003c/a>. “He was one of the most gracious writers I ever met… Not many writers have a gift for public service. The role came naturally for Al.”\u003c/p>\n\u003cp>Young was born in Ocean Springs, Miss., and raised in Detroit and throughout the rural South. He attended the University of Michigan before moving to the Bay Area in 1961 and graduating from U.C. Berkeley.\u003c/p>\n\u003cp>Young later taught poetry, American literature and fiction writing at U.C. Berkeley, U.C. Santa Cruz, and U.C. Davis, as well as Foothill College, Bowling Green State University, Rice University, the Colorado College, the University of Michigan, the University of Washington, and the University of Arkansas. Young became a lecturer in creative writing at Stanford University in 1969, and went on to live and work in Palo Alto for three decades.\u003c/p>\n\u003cp>In 2012, Young pitched KQED on the idea of airing a monthly poem on \u003cem>\u003ca href=\"https://www.kqed.org/news/7174/al-youngs-poem-of-the-month-says-goodbye-to-2012\" target=\"_blank\" rel=\"noopener noreferrer\">The California Report Magazine\u003c/a>\u003c/em>. For each month of the year, he wrote, recited and recorded a poem, often referencing California towns, figures and history, along with personal reflections.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was such a joy to work with Al on the poetry series for The California Report Magazine. He was just so warm and funny and absolute joy to work with,” said KQED Bay Curious producer Suzie Racho. “He was a poet whose voice was made for radio. Oftentimes he’d do two takes in the studio before heading backing to BART.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Young received two American Book Awards in 1982 and 2002, as well as Guggenheim, Fulbright, and Wallace Stegner fellowships, the Pushcart Prize, and others.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 381,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705019145,
"excerpt": "The Mississippi-born, Bay Area-based, jazz-loving poet had a long association with Stanford University. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Mississippi-born, Bay Area-based, jazz-loving poet had a long association with Stanford University. ",
"title": "Al Young, Former California Poet Laureate, Dies at 81 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Al Young, Former California Poet Laureate, Dies at 81",
"datePublished": "2021-04-20T16:42:46-07:00",
"dateModified": "2024-01-11T16:25:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "al-young-former-california-poet-laureate-dies-at-81",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/deccdd55-8e92-47c9-8e60-ad1301890cc0/audio.mp3",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13896077/al-young-former-california-poet-laureate-dies-at-81",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13896078\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/AlYoung_0.jpg\" alt=\"Al Young.\" width=\"400\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Al Young. \u003ccite>(Joseph Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Celebrated poet and former California Poet Laureate Al Young has passed away at the age of 81, according to \u003ca href=\"https://bookhaven.stanford.edu/2021/04/al-young-is-dead-at-81/\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> from Stanford University. Young, known for his passion for jazz and his warm and friendly presence, lectured at the college for many years, and in 2005 was appointed the Poet Laureate of California by then-Governor Arnold Schwarznegger.\u003c/p>\n\u003cp>“Al Young represented the best in literary life. He was enormously talented in both fiction and poetry, though as he got older poetry came to be his natural means of expression,” Dana Gioia, the 2015–2019 California Poet Laureate, told \u003ca href=\"https://bookhaven.stanford.edu/2021/04/al-young-is-dead-at-81/\" target=\"_blank\" rel=\"noopener noreferrer\">The Book Haven\u003c/a>. “He was one of the most gracious writers I ever met… Not many writers have a gift for public service. The role came naturally for Al.”\u003c/p>\n\u003cp>Young was born in Ocean Springs, Miss., and raised in Detroit and throughout the rural South. He attended the University of Michigan before moving to the Bay Area in 1961 and graduating from U.C. Berkeley.\u003c/p>\n\u003cp>Young later taught poetry, American literature and fiction writing at U.C. Berkeley, U.C. Santa Cruz, and U.C. Davis, as well as Foothill College, Bowling Green State University, Rice University, the Colorado College, the University of Michigan, the University of Washington, and the University of Arkansas. Young became a lecturer in creative writing at Stanford University in 1969, and went on to live and work in Palo Alto for three decades.\u003c/p>\n\u003cp>In 2012, Young pitched KQED on the idea of airing a monthly poem on \u003cem>\u003ca href=\"https://www.kqed.org/news/7174/al-youngs-poem-of-the-month-says-goodbye-to-2012\" target=\"_blank\" rel=\"noopener noreferrer\">The California Report Magazine\u003c/a>\u003c/em>. For each month of the year, he wrote, recited and recorded a poem, often referencing California towns, figures and history, along with personal reflections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was such a joy to work with Al on the poetry series for The California Report Magazine. He was just so warm and funny and absolute joy to work with,” said KQED Bay Curious producer Suzie Racho. “He was a poet whose voice was made for radio. Oftentimes he’d do two takes in the studio before heading backing to BART.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Young received two American Book Awards in 1982 and 2002, as well as Guggenheim, Fulbright, and Wallace Stegner fellowships, the Pushcart Prize, and others.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896077/al-young-former-california-poet-laureate-dies-at-81",
"authors": [
"11734"
],
"categories": [
"arts_1",
"arts_73",
"arts_235",
"arts_1564"
],
"tags": [
"arts_7669",
"arts_1496",
"arts_2309"
],
"featImg": "arts_13896079",
"label": "arts"
},
"arts_13896050": {
"type": "posts",
"id": "arts_13896050",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896050",
"score": null,
"sort": [
1618946073000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1618946073,
"format": "aside",
"title": "A Daughter Grieves Her Mom, And Finds Herself, In 'Crying In H Mart'",
"headTitle": "A Daughter Grieves Her Mom, And Finds Herself, In ‘Crying In H Mart’ | KQED",
"content": "\u003cfigure id=\"attachment_13896051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg\" alt=\"Crying in H Mart book cover\" width=\"640\" height=\"942\" class=\"size-large wp-image-13896051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-800x1178.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-768x1131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1043x1536.jpg 1043w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1391x2048.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761.jpg 1718w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Crying in H Mart’ is a memoir by Michelle Zauner, who performs as Japanese Breakfast.\u003c/figcaption>\u003c/figure>\n\u003cp>By the time I came to know Michelle Zauner as a writer, when \u003cem>The New Yorker \u003c/em>published her personal essay “Crying in H Mart” in August 2018, I had been following her as a musician for five years.\u003c/p>\n\u003cp>I first saw her perform in Philadelphia as the frontwoman of emo band Little Big League in 2013; when she emerged with her poppy shoegaze solo project Japanese Breakfast\u003cem> \u003c/em>in 2016, I recognized Zauner only in her soaring, searching voice.\u003c/p>\n\u003cp>\u003cem>Psychopomp, \u003c/em>the first record Zauner released as Japanese Breakfast,\u003cem> \u003c/em>hinted at where she had been in between: escorting her mother from the world of the living to that of the dead. The first track “In Heaven” tells some of the story of the aftermath of her mother’s death of cancer in 2014: “The dog’s confused / She just paces around all day / sniffing at your empty room / I’m trying to believe / When I sleep it’s really you / Visiting my dreams / like they say that angels do.” Those lyrics break me a little each time I hear them, reminding me of my own grief, of my own sweet childhood dog who looked for my mother and father after they both died of cancer when I was a teenager.\u003c/p>\n\u003cp>But where \u003cem>Psychopomp \u003c/em>and her 2017 record \u003cem>Soft Sounds from Another Planet \u003c/em>explore death and grief in sparse lyrics over upbeat synths, in “Crying in H Mart” Zauner digs much deeper. The essay meditates on how shopping at the Korean American supermarket H Mart brought her mother back to her but still made her loss sting. At H Mart, Zauner writes, “you’ll likely find me crying by the \u003cem>banchan\u003c/em> refrigerators, remembering the taste of my mom’s soy-sauce eggs.”\u003c/p>\n\u003cp>“Crying in H Mart,” stood out to me as a representation of grief that I could relate to — one that doesn’t reach for silver linings, but illuminates the unending nature of loss: “Every time I remember that my mother is dead, it feels like I’m colliding into a wall that won’t give…a reminder of the immutable reality that I will never see her again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That essay became the first chapter of Zauner’s new memoir, also titled \u003cem>Crying in H Mart, \u003c/em>which powerfully maps a complicated mother-daughter relationship cut much too short. Stories of Korean food serve as the backbone of the book, as Zauner plumbs the connections between food and identity. That search takes on new urgency after her mother’s death — in losing her mother, she also lost her strongest tether to Korean culture.\u003c/p>\n\u003cp>Zauner was born in Seoul, the daughter of Chongmi, a native of the city, and Joel, a white American. When she was a year old, the family relocated to Eugene, Oregon, where her mother ruled with an exacting nature. Chongmi was a woman in pursuit of perfection in everything, and of course this prodding extended to her only child. At a young age, Zauner realized that one way she could get her mother’s approval was demonstrating an adventurous appetite. On trips to Seoul, they bonded over midnight snacks on jet-lagged nights, when they “ate \u003cem>ganjang gejang\u003c/em>…sucking salty, rich, custardy raw crab from its shell.”\u003c/p>\n\u003cp>Zauner’s food descriptions transport us to the table alongside her. On a college break, when her mother prepares \u003cem>galbi ssam\u003c/em>, the relief of being cared for with a meal attuned to one’s tastes radiates off the page: “Blissfully I laid my palm flat, blanketed it with a piece of lettuce, and dressed it just the way I liked — a piece of glistening short rib, a spoonful of warm rice, a dredge of \u003cem>ssamjang\u003c/em>, and a thin slice of raw garlic…I closed my eyes and savored the first few chews, my taste buds and stomach having been deprived of a home-cooked meal.”\u003c/p>\n\u003cp>It is this kind of care that Zauner attempts to repay for her mother when she is diagnosed with stage IV squamous-cell carcinoma in her stomach at age 56. After her mother’s diagnosis in May 2014, Zauner, then 25, moves home, ready to bolster Chongmi through chemotherapy with Korean cooking.\u003c/p>\n\u003cp>But chemo wrecks the appetite — I recall my mother being plagued with everything tasting as though it were laced with metal. During the first round of chemo, her mother can’t keep food down; during the second round, she develops mouth sores that make eating painful. When the chemo fails to shrink her tumor, Chongmi decides to forgo further treatment, having learned a lesson from her younger sister Eunmi, who died of colon cancer following 24 chemo treatments. In this, \u003cem>Crying in H Mart\u003c/em> is a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength.\u003c/p>\n\u003cp>Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis. One chapter recounts her mother’s last days, unconscious at home, her breathing “a horrible sucking like the last sputtering of a coffeepot.” It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.\u003c/p>\n\u003cp>Also notable is that Chongmi’s death does not fall at the end of the book. It comes just past halfway through, allowing Zauner ample space to grapple with the immensity of her loss. One balm that emerges is reconnecting with her Korean identity through finally learning to cook the dishes she longed to make for her mother.\u003c/p>\n\u003cp>As a teen, Zauner drifted away from her Koreanness, effacing that side of her heritage for fear of being seen as other. In those same years, she shrunk from her mother’s need for control and constant wheedling. Just as they established their adult relationship — just as Zauner begun to embrace her mother’s culture — her mother died: “What would have been the most fruitful years of understanding were cut violently short, and I was left alone to decipher the secrets of inheritance without its key.”\u003c/p>\n\u003cp>Cooking becomes the key. Her teacher is Maangchi, described by \u003cem>The New York Times \u003c/em>as “YouTube’s Korean Julia Child.” In cooking, Zauner conjures ghosts: her aunt Eunmi munching on Korean fried chicken, her mother ordering more kimchi to go with knife-cut noodle soup in Seoul, her grandmother slurping black-bean noodles.\u003c/p>\n\u003cp>Near the end of the book, Zauner meditates on the process of fermenting kimchi, and how it allows cabbage to “enjoy a new life altogether.” She realizes that she needs to tend to her memories and heritage in the same way: “The culture that we shared was active, effervescent in my gut and in my genes, and I had to seize it, foster it so it did not die in me…If I could not be with my mother, I would be her.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What \u003cem>Crying in H Mart \u003c/em>reveals, though, is that in losing her mother and cooking to bring her back to life, Zauner became herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Daughter+Grieves+Her+Mom%2C+And+Finds+Herself%2C+In+%27Crying+In+H+Mart%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1270,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019153,
"excerpt": "Michelle Zauner's new memoir powerfully maps a complicated mother-daughter relationship cut much too short, with Korean food as a guide.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Michelle Zauner's new memoir powerfully maps a complicated mother-daughter relationship cut much too short, with Korean food as a guide.",
"title": "A Daughter Grieves Her Mom, And Finds Herself, In 'Crying In H Mart' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Daughter Grieves Her Mom, And Finds Herself, In 'Crying In H Mart'",
"datePublished": "2021-04-20T12:14:33-07:00",
"dateModified": "2024-01-11T16:25:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-daughter-grieves-her-mom-and-finds-herself-in-crying-in-h-mart",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=988665726&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Kristen Martin",
"nprStoryDate": "Tue, 20 Apr 2021 05:00:00 -0400",
"nprLastModifiedDate": "Tue, 20 Apr 2021 09:41:50 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/04/20/988665726/a-daughter-grieves-her-mom-and-finds-herself-in-crying-in-h-mart?ft=nprml&f=988665726",
"nprImageAgency": "Knopf",
"nprStoryId": "988665726",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 20 Apr 2021 09:41:00 -0400",
"path": "/arts/13896050/a-daughter-grieves-her-mom-and-finds-herself-in-crying-in-h-mart",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13896051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg\" alt=\"Crying in H Mart book cover\" width=\"640\" height=\"942\" class=\"size-large wp-image-13896051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-800x1178.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-768x1131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1043x1536.jpg 1043w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1391x2048.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761.jpg 1718w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Crying in H Mart’ is a memoir by Michelle Zauner, who performs as Japanese Breakfast.\u003c/figcaption>\u003c/figure>\n\u003cp>By the time I came to know Michelle Zauner as a writer, when \u003cem>The New Yorker \u003c/em>published her personal essay “Crying in H Mart” in August 2018, I had been following her as a musician for five years.\u003c/p>\n\u003cp>I first saw her perform in Philadelphia as the frontwoman of emo band Little Big League in 2013; when she emerged with her poppy shoegaze solo project Japanese Breakfast\u003cem> \u003c/em>in 2016, I recognized Zauner only in her soaring, searching voice.\u003c/p>\n\u003cp>\u003cem>Psychopomp, \u003c/em>the first record Zauner released as Japanese Breakfast,\u003cem> \u003c/em>hinted at where she had been in between: escorting her mother from the world of the living to that of the dead. The first track “In Heaven” tells some of the story of the aftermath of her mother’s death of cancer in 2014: “The dog’s confused / She just paces around all day / sniffing at your empty room / I’m trying to believe / When I sleep it’s really you / Visiting my dreams / like they say that angels do.” Those lyrics break me a little each time I hear them, reminding me of my own grief, of my own sweet childhood dog who looked for my mother and father after they both died of cancer when I was a teenager.\u003c/p>\n\u003cp>But where \u003cem>Psychopomp \u003c/em>and her 2017 record \u003cem>Soft Sounds from Another Planet \u003c/em>explore death and grief in sparse lyrics over upbeat synths, in “Crying in H Mart” Zauner digs much deeper. The essay meditates on how shopping at the Korean American supermarket H Mart brought her mother back to her but still made her loss sting. At H Mart, Zauner writes, “you’ll likely find me crying by the \u003cem>banchan\u003c/em> refrigerators, remembering the taste of my mom’s soy-sauce eggs.”\u003c/p>\n\u003cp>“Crying in H Mart,” stood out to me as a representation of grief that I could relate to — one that doesn’t reach for silver linings, but illuminates the unending nature of loss: “Every time I remember that my mother is dead, it feels like I’m colliding into a wall that won’t give…a reminder of the immutable reality that I will never see her again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That essay became the first chapter of Zauner’s new memoir, also titled \u003cem>Crying in H Mart, \u003c/em>which powerfully maps a complicated mother-daughter relationship cut much too short. Stories of Korean food serve as the backbone of the book, as Zauner plumbs the connections between food and identity. That search takes on new urgency after her mother’s death — in losing her mother, she also lost her strongest tether to Korean culture.\u003c/p>\n\u003cp>Zauner was born in Seoul, the daughter of Chongmi, a native of the city, and Joel, a white American. When she was a year old, the family relocated to Eugene, Oregon, where her mother ruled with an exacting nature. Chongmi was a woman in pursuit of perfection in everything, and of course this prodding extended to her only child. At a young age, Zauner realized that one way she could get her mother’s approval was demonstrating an adventurous appetite. On trips to Seoul, they bonded over midnight snacks on jet-lagged nights, when they “ate \u003cem>ganjang gejang\u003c/em>…sucking salty, rich, custardy raw crab from its shell.”\u003c/p>\n\u003cp>Zauner’s food descriptions transport us to the table alongside her. On a college break, when her mother prepares \u003cem>galbi ssam\u003c/em>, the relief of being cared for with a meal attuned to one’s tastes radiates off the page: “Blissfully I laid my palm flat, blanketed it with a piece of lettuce, and dressed it just the way I liked — a piece of glistening short rib, a spoonful of warm rice, a dredge of \u003cem>ssamjang\u003c/em>, and a thin slice of raw garlic…I closed my eyes and savored the first few chews, my taste buds and stomach having been deprived of a home-cooked meal.”\u003c/p>\n\u003cp>It is this kind of care that Zauner attempts to repay for her mother when she is diagnosed with stage IV squamous-cell carcinoma in her stomach at age 56. After her mother’s diagnosis in May 2014, Zauner, then 25, moves home, ready to bolster Chongmi through chemotherapy with Korean cooking.\u003c/p>\n\u003cp>But chemo wrecks the appetite — I recall my mother being plagued with everything tasting as though it were laced with metal. During the first round of chemo, her mother can’t keep food down; during the second round, she develops mouth sores that make eating painful. When the chemo fails to shrink her tumor, Chongmi decides to forgo further treatment, having learned a lesson from her younger sister Eunmi, who died of colon cancer following 24 chemo treatments. In this, \u003cem>Crying in H Mart\u003c/em> is a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength.\u003c/p>\n\u003cp>Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis. One chapter recounts her mother’s last days, unconscious at home, her breathing “a horrible sucking like the last sputtering of a coffeepot.” It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.\u003c/p>\n\u003cp>Also notable is that Chongmi’s death does not fall at the end of the book. It comes just past halfway through, allowing Zauner ample space to grapple with the immensity of her loss. One balm that emerges is reconnecting with her Korean identity through finally learning to cook the dishes she longed to make for her mother.\u003c/p>\n\u003cp>As a teen, Zauner drifted away from her Koreanness, effacing that side of her heritage for fear of being seen as other. In those same years, she shrunk from her mother’s need for control and constant wheedling. Just as they established their adult relationship — just as Zauner begun to embrace her mother’s culture — her mother died: “What would have been the most fruitful years of understanding were cut violently short, and I was left alone to decipher the secrets of inheritance without its key.”\u003c/p>\n\u003cp>Cooking becomes the key. Her teacher is Maangchi, described by \u003cem>The New York Times \u003c/em>as “YouTube’s Korean Julia Child.” In cooking, Zauner conjures ghosts: her aunt Eunmi munching on Korean fried chicken, her mother ordering more kimchi to go with knife-cut noodle soup in Seoul, her grandmother slurping black-bean noodles.\u003c/p>\n\u003cp>Near the end of the book, Zauner meditates on the process of fermenting kimchi, and how it allows cabbage to “enjoy a new life altogether.” She realizes that she needs to tend to her memories and heritage in the same way: “The culture that we shared was active, effervescent in my gut and in my genes, and I had to seize it, foster it so it did not die in me…If I could not be with my mother, I would be her.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What \u003cem>Crying in H Mart \u003c/em>reveals, though, is that in losing her mother and cooking to bring her back to life, Zauner became herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Daughter+Grieves+Her+Mom%2C+And+Finds+Herself%2C+In+%27Crying+In+H+Mart%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896050/a-daughter-grieves-her-mom-and-finds-herself-in-crying-in-h-mart",
"authors": [
"byline_arts_13896050"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_7446",
"arts_21788"
],
"featImg": "arts_13896059",
"label": "arts_140"
},
"arts_13895831": {
"type": "posts",
"id": "arts_13895831",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13895831",
"score": null,
"sort": [
1618512952000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1618512952,
"format": "standard",
"title": "'Leaving Isn't the Hardest Thing' is More Than Just a Cult Memoir",
"headTitle": "‘Leaving Isn’t the Hardest Thing’ is More Than Just a Cult Memoir | KQED",
"content": "\u003cp>A couple months after Lauren Hough’s essay \u003ca href=\"https://www.huffpost.com/entry/cable-tech-dick-cheney-sex-dungeon_n_5c0ea571e4b06484c9fd4c21\" target=\"_blank\" rel=\"noopener noreferrer\">“I Was a Cable Guy. I Saw the Worst of America”\u003c/a> went viral at the tail-end of 2018, I assigned it to my creative writing students in a unit on “character.”\u003c/p>\n\u003cp>Hough’s essay had a distinct narrative voice—and she was capable of giving so much information about the people she encountered through a few quick details, like one of those cartoonists who can sketch out four lines and suddenly you see your face in them.\u003c/p>\n\u003cp>Hough’s first book, \u003cem>Leaving Isn’t the Hardest Thing\u003c/em>, includes “Cable Guy” and 10 more essays, each of them more revealing and honest than the next.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895832 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg\" alt=\"\" width=\"800\" height=\"1231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1020x1569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-998x1536.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1331x2048.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c.jpg 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hough was raised in a cult known alternately as the Family, the Family of Love, the Children of God, or, if you go back far enough, Teens for Christ. I was startled to learn that the whole “Jesus was a socialist hippie” line is not necessarily the progressive talking point I’d believed it was. (Look, I’m Jewish, I first learned about this kind of Jesus from the Buddy Christ in \u003cem>Dogma.\u003c/em>) Instead, this version of Jesus (along with the term Jesus Freaks) seems to have originated around the same time as David Berg “tested his new brand of Gospel” on disenchanted youth in Huntington Beach in the late 1960s: “Jesus was a long-haired hippie like them. Jesus was a socialist. Jesus was the biggest radical ever.” People wanted to find something to believe in—this was mid-Vietnam War—and they followed him, and his cult grew and changed. Hough’s parents joined up separately, met each other, married on a whim, and had Hough and her three siblings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A cult,” writes Hough, “is your textbook abusive relationship—love-bomb, isolate, create dependence, and your victim won’t have the power to leave, even if staying in the relationship means buying into the new Gospel of David Berg.” This theme comes up over and over again throughout the essays, and how could it not? We all want to believe that growing up in a cult must be a particular kind of awful; nearly unfathomable, affecting a person’s whole life—and in many ways it \u003cem>was \u003c/em>like that for Hough. [aside postid='pop_4982']\u003c/p>\n\u003cp>In “Badlands,” she writes about the constant vigilance she had as a child, how she knew to expect violence, and how she learned to enact it on those smaller than her—in particular her little brother—because what other models did she have for how to deal with her anger and hurt and upset at the time? In “Speaking in Tongues,” she lists some of the cult’s rituals, the fasting and sleep deprivation used in the name of practicing its spirituality according to their leader, but which really served to make everyone too tired and hungry to see clearly what they were doing. The Family was also a sex cult, and in “Boys on the Side,” Hough details the encouragement children got to “express themselves sexually,” how when “an adult groped a preteen girl, she might freeze; she might be called unloving and told to be more receptive. She’d learn, eventually, to only freeze on the outside.”\u003c/p>\n\u003cp>But Hough’s book isn’t really a cult memoir—it’s about so much more than that (and it’s also quite funny, although you’ll have to take my word on that because most of the funny bits include expletives I can’t quote here). Slowly, essay after essay, it becomes clear that she’s drawing parallels between the Family and good ol’ fashioned American Exceptionalism in all its various facets, from rah-rah-‘Merica attitudes surrounding freedom, to the worship of individualism, to the demands of capitalism.\u003c/p>\n\u003cp>In “Solitaire,” the first essay, she’s gaslighted by her superiors in the Air Force after her car is torched in what is clearly a hate crime—Hough is gay, and she’d been getting death threats for some time—and instead of trying to find out who did it, they try to pin it on her. “I knew I wasn’t guilty,” she writes. “But guilt or innocence had never mattered all that much in my experience.” In the Family, after all, she was punished simply for being tired or not being upbeat enough.\u003c/p>\n\u003cp>In “The Slide,” Hough describes her days living out of her car in Washington, D.C., trying to find work and a room to rent. It was her first time encountering a gayborhood, in the form of Dupont Circle of the early aughts, but that didn’t make it home, because “both cultures—the religious cult and the white-teeth gays—share a rule about smiling. Both believe in the power of positive thinking to keep things like homelessness at bay. This way, when you fall, you have only yourself to blame. There has to be a reason because no one wants to think it could happen to them.”\u003c/p>\n\u003cp>The United States is a nation full of people to whom it has already happened; people who are one paycheck, accident, or unexpected bill away from it happening; and people who are so astronomically far away from it happening to them that they can only imagine that those of us closer to the bottom of the financial safety rungs must be morally bankrupt, stupid, lazy, or all the above. There’s less space in between these tiers than we think.\u003c/p>\n\u003cp>At her cable guy job, Hough watched a man get an award for never taking a day off in ten years—not a sick day, a snow day, or even a vacation. He had a wife and kids. “In a sane society, he would be a cautionary tale. In our society, he got a plaque and a fifty-dollar gift card to Best Buy.” You can’t make this kind of thing up—it’s all too common, the praise Americans get for working hard, the way we’re obsessed with “efficiency” and “productivity hacking” and even “self-care,” that term that originated in Black activist circles and that has become another marketing tactic to sell us things. [aside postid='arts_13894648']\u003c/p>\n\u003cp>Which is not to say that Hough believes we’re all doomed, exactly. In “Everything That’s Beautiful Breaks My Heart,” she makes the ties between her own upbringing and the cultishness of American ideology explicit, but also opens up room for hope via small acts of resistance. One time she and a bunch of her fellow JETTS (Junior End Time Teens) went out to play in the snow after arriving at a new house in Switzerland after fleeing their last home because it was about to be raided. When a grownup came out to get them, he was ignored—a rarity. “We realized, if only for that one morning, they had no power. The same holds true now,” she adds, referring to the systems that surround us, that promise protection and care via personal responsibility and hard work but that fail more of us than not. “They only have power because we believe, because they’ve taught us to need them.”\u003c/p>\n\u003cp>Do we believe? There are many reasons we do: The lies are comforting; they give structure to our lives, something to strive for, goals to achieve; they make us feel safer, because they make us feel certain that we can see what’s going to happen next. Not knowing is far scarier. Thank goodness that Hough doesn’t claim to know either, that she isn’t trying to sell us a solution or asking us to join anything. She tells it like it is, and it’s heartbreaking—but to find our way out, we have to see things clearly first. Any survivor of a cult or an abusive relationship will tell you that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast The Other Stories. Her debut novel is \u003c/em>All My Mother’s Lovers\u003cem>.\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=%27Leaving+Isn%27t+The+Hardest+Thing%27+Isn%27t+Just+A+Cult+Memoir&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1450,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705019165,
"excerpt": "Lauren Hough's essays draw parallels between the cult she was raised in, and good ol' fashioned American Exceptionalism.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lauren Hough's essays draw parallels between the cult she was raised in, and good ol' fashioned American Exceptionalism.",
"title": "'Leaving Isn't the Hardest Thing' is More Than Just a Cult Memoir | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Leaving Isn't the Hardest Thing' is More Than Just a Cult Memoir",
"datePublished": "2021-04-15T11:55:52-07:00",
"dateModified": "2024-01-11T16:26:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "leaving-isnt-the-hardest-thing-is-more-than-just-a-cult-memoir",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=987127818&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Ilana Masad",
"nprStoryDate": "Thu, 15 Apr 2021 05:09:00 -0400",
"nprLastModifiedDate": "Thu, 15 Apr 2021 09:41:31 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/04/15/987127818/leaving-isn-t-the-hardest-thing?ft=nprml&f=987127818",
"nprImageAgency": "Vintage",
"nprStoryId": "987127818",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 15 Apr 2021 09:41:00 -0400",
"path": "/arts/13895831/leaving-isnt-the-hardest-thing-is-more-than-just-a-cult-memoir",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A couple months after Lauren Hough’s essay \u003ca href=\"https://www.huffpost.com/entry/cable-tech-dick-cheney-sex-dungeon_n_5c0ea571e4b06484c9fd4c21\" target=\"_blank\" rel=\"noopener noreferrer\">“I Was a Cable Guy. I Saw the Worst of America”\u003c/a> went viral at the tail-end of 2018, I assigned it to my creative writing students in a unit on “character.”\u003c/p>\n\u003cp>Hough’s essay had a distinct narrative voice—and she was capable of giving so much information about the people she encountered through a few quick details, like one of those cartoonists who can sketch out four lines and suddenly you see your face in them.\u003c/p>\n\u003cp>Hough’s first book, \u003cem>Leaving Isn’t the Hardest Thing\u003c/em>, includes “Cable Guy” and 10 more essays, each of them more revealing and honest than the next.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895832 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg\" alt=\"\" width=\"800\" height=\"1231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1020x1569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-998x1536.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1331x2048.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c.jpg 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hough was raised in a cult known alternately as the Family, the Family of Love, the Children of God, or, if you go back far enough, Teens for Christ. I was startled to learn that the whole “Jesus was a socialist hippie” line is not necessarily the progressive talking point I’d believed it was. (Look, I’m Jewish, I first learned about this kind of Jesus from the Buddy Christ in \u003cem>Dogma.\u003c/em>) Instead, this version of Jesus (along with the term Jesus Freaks) seems to have originated around the same time as David Berg “tested his new brand of Gospel” on disenchanted youth in Huntington Beach in the late 1960s: “Jesus was a long-haired hippie like them. Jesus was a socialist. Jesus was the biggest radical ever.” People wanted to find something to believe in—this was mid-Vietnam War—and they followed him, and his cult grew and changed. Hough’s parents joined up separately, met each other, married on a whim, and had Hough and her three siblings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A cult,” writes Hough, “is your textbook abusive relationship—love-bomb, isolate, create dependence, and your victim won’t have the power to leave, even if staying in the relationship means buying into the new Gospel of David Berg.” This theme comes up over and over again throughout the essays, and how could it not? We all want to believe that growing up in a cult must be a particular kind of awful; nearly unfathomable, affecting a person’s whole life—and in many ways it \u003cem>was \u003c/em>like that for Hough. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_4982",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “Badlands,” she writes about the constant vigilance she had as a child, how she knew to expect violence, and how she learned to enact it on those smaller than her—in particular her little brother—because what other models did she have for how to deal with her anger and hurt and upset at the time? In “Speaking in Tongues,” she lists some of the cult’s rituals, the fasting and sleep deprivation used in the name of practicing its spirituality according to their leader, but which really served to make everyone too tired and hungry to see clearly what they were doing. The Family was also a sex cult, and in “Boys on the Side,” Hough details the encouragement children got to “express themselves sexually,” how when “an adult groped a preteen girl, she might freeze; she might be called unloving and told to be more receptive. She’d learn, eventually, to only freeze on the outside.”\u003c/p>\n\u003cp>But Hough’s book isn’t really a cult memoir—it’s about so much more than that (and it’s also quite funny, although you’ll have to take my word on that because most of the funny bits include expletives I can’t quote here). Slowly, essay after essay, it becomes clear that she’s drawing parallels between the Family and good ol’ fashioned American Exceptionalism in all its various facets, from rah-rah-‘Merica attitudes surrounding freedom, to the worship of individualism, to the demands of capitalism.\u003c/p>\n\u003cp>In “Solitaire,” the first essay, she’s gaslighted by her superiors in the Air Force after her car is torched in what is clearly a hate crime—Hough is gay, and she’d been getting death threats for some time—and instead of trying to find out who did it, they try to pin it on her. “I knew I wasn’t guilty,” she writes. “But guilt or innocence had never mattered all that much in my experience.” In the Family, after all, she was punished simply for being tired or not being upbeat enough.\u003c/p>\n\u003cp>In “The Slide,” Hough describes her days living out of her car in Washington, D.C., trying to find work and a room to rent. It was her first time encountering a gayborhood, in the form of Dupont Circle of the early aughts, but that didn’t make it home, because “both cultures—the religious cult and the white-teeth gays—share a rule about smiling. Both believe in the power of positive thinking to keep things like homelessness at bay. This way, when you fall, you have only yourself to blame. There has to be a reason because no one wants to think it could happen to them.”\u003c/p>\n\u003cp>The United States is a nation full of people to whom it has already happened; people who are one paycheck, accident, or unexpected bill away from it happening; and people who are so astronomically far away from it happening to them that they can only imagine that those of us closer to the bottom of the financial safety rungs must be morally bankrupt, stupid, lazy, or all the above. There’s less space in between these tiers than we think.\u003c/p>\n\u003cp>At her cable guy job, Hough watched a man get an award for never taking a day off in ten years—not a sick day, a snow day, or even a vacation. He had a wife and kids. “In a sane society, he would be a cautionary tale. In our society, he got a plaque and a fifty-dollar gift card to Best Buy.” You can’t make this kind of thing up—it’s all too common, the praise Americans get for working hard, the way we’re obsessed with “efficiency” and “productivity hacking” and even “self-care,” that term that originated in Black activist circles and that has become another marketing tactic to sell us things. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894648",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is not to say that Hough believes we’re all doomed, exactly. In “Everything That’s Beautiful Breaks My Heart,” she makes the ties between her own upbringing and the cultishness of American ideology explicit, but also opens up room for hope via small acts of resistance. One time she and a bunch of her fellow JETTS (Junior End Time Teens) went out to play in the snow after arriving at a new house in Switzerland after fleeing their last home because it was about to be raided. When a grownup came out to get them, he was ignored—a rarity. “We realized, if only for that one morning, they had no power. The same holds true now,” she adds, referring to the systems that surround us, that promise protection and care via personal responsibility and hard work but that fail more of us than not. “They only have power because we believe, because they’ve taught us to need them.”\u003c/p>\n\u003cp>Do we believe? There are many reasons we do: The lies are comforting; they give structure to our lives, something to strive for, goals to achieve; they make us feel safer, because they make us feel certain that we can see what’s going to happen next. Not knowing is far scarier. Thank goodness that Hough doesn’t claim to know either, that she isn’t trying to sell us a solution or asking us to join anything. She tells it like it is, and it’s heartbreaking—but to find our way out, we have to see things clearly first. Any survivor of a cult or an abusive relationship will tell you that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast The Other Stories. Her debut novel is \u003c/em>All My Mother’s Lovers\u003cem>.\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=%27Leaving+Isn%27t+The+Hardest+Thing%27+Isn%27t+Just+A+Cult+Memoir&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13895831/leaving-isnt-the-hardest-thing-is-more-than-just-a-cult-memoir",
"authors": [
"byline_arts_13895831"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_8501"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13895836",
"label": "arts_137"
},
"arts_13895169": {
"type": "posts",
"id": "arts_13895169",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13895169",
"score": null,
"sort": [
1617642989000
]
},
"guestAuthors": [],
"slug": "a-collective-poem-written-by-oakland-residents-for-national-poetry-month",
"title": "A Collective Poem, Written by Oakland Residents, for National Poetry Month",
"publishDate": 1617642989,
"format": "standard",
"headTitle": "A Collective Poem, Written by Oakland Residents, for National Poetry Month | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>On Sunday morning, I woke up, gathered my superpowers, and added a couple lines to what’s sure to be one of the most Oakland-centric poems ever created.\u003c/p>\n\u003cp>But in order to achieve that status, it’ll take your poetic superpowers as well.\u003c/p>\n\u003cp>Oakland’s \u003ca href=\"http://www.chapter510.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chapter 510\u003c/a>, an organization that champions literacy—especially for marginalized youth—has partnered with the \u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> soccer club for the second annual “Write Your Roots” event series. It’s a part of the larger \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a> celebration.\u003c/p>\n\u003cp>Over the next four weeks, Oakland residents are invited to participate in the \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSc0jSuH8cychLCuA-R1KHVFMl9wyTR02ZxRDY3r9OEaA7cu9Q/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">All-Town Poem\u003c/a> (Spanish version\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSejZkADhUaTJhjfcuUbIkj0QX_usAchhnEai4K0dWDXpX2i0g/viewform\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>), where writers can submit an entry on the theme of power at any time. The entries will then be edited and arranged into poem form, with all submissions getting credit by name—or superhero/supershero/supertheyro name, if they so choose.\u003c/p>\n\u003cp>This year’s entries should be a strong follow-up to last year’s effort, which produced the epic poem “\u003ca href=\"https://chapter510.medium.com/because-this-city-english-12579f5fa3a5\" target=\"_blank\" rel=\"noopener noreferrer\">Because This City\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chapter 510 Program Manager and Teaching Artist Jahan Khalighi says the overall goal is to create a community-based exercise in creativity, imagination, and power-building. For Khalighi, it’s about looking at “access to inspiration as a basic human right.”\u003c/p>\n\u003cfigure id=\"attachment_13895177\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tongo-Elijah-800x533.jpg\" alt=\"San Francisco Poet Laureate Tongo Eisen-Martin stands in the middle of Elijah and Amaya at Oakland's Westlake Middle School\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Poet Laureate Tongo Eisen-Martin stands between students Elijah and Amaya at Oakland’s Westlake Middle School. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of that, each day in April Chapter 510 is posting writing prompts on \u003ca href=\"https://www.instagram.com/chapter510/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/chptr510\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/chapter510\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>. If so moved to share a poem, Chapter 510 encourages people to use the hashtag “\u003ca href=\"https://www.instagram.com/explore/tags/peda2021/\" target=\"_blank\" rel=\"noopener noreferrer\">#Peda2021\u003c/a>” to keep track of all the submissions.\u003c/p>\n\u003cp>In addition, Chapter 510 offers a \u003ca href=\"https://static1.squarespace.com/static/580fe27615d5db24ca661579/t/606655a20a81c439ea07796c/1617319330909/Write+Your+Roos+Lesson+Plans+2021+%283%29.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">poetry curriculum\u003c/a> for educators, optimized for both distanced and in-person classrooms.\u003c/p>\n\u003cp>Lastly, with entertainment venues and community gathering spaces around the Bay Area on the verge of reopening, Chapter 510’s newest location at Swan’s Market is scheduled for a grand opening on April 30.\u003c/p>\n\u003cp>Chapter 510 will culminate the month’s worth of writing with its first city-wide \u003ca href=\"https://www.instagram.com/p/CNGhWHuhgm7/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Write Your Roots Day\u003c/a>, which Mayor Libby Schaff officially proclaimed just last week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chapter 510 celebrates Write Your Roots Day on Friday, April 30, at 546 9th Street (at Swan’s Market) from 12pm-6pm. \u003ca href=\"http://www.chapter510.org/events-1/2021/4/30/write-your-roots-all-town-epic-poetry-day\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Chapter 510 invites all Oaklanders to contribute to the poem, focused on the theme of power. ",
"status": "publish",
"parent": 0,
"modified": 1742837930,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 402
},
"headData": {
"title": "A Collective Poem, Written by Oakland Residents, for National Poetry Month | KQED",
"description": "Chapter 510 invites all Oaklanders to contribute to the poem, focused on the theme of power. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Collective Poem, Written by Oakland Residents, for National Poetry Month",
"datePublished": "2021-04-05T10:16:29-07:00",
"dateModified": "2025-03-24T10:38:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13895169/a-collective-poem-written-by-oakland-residents-for-national-poetry-month",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday morning, I woke up, gathered my superpowers, and added a couple lines to what’s sure to be one of the most Oakland-centric poems ever created.\u003c/p>\n\u003cp>But in order to achieve that status, it’ll take your poetic superpowers as well.\u003c/p>\n\u003cp>Oakland’s \u003ca href=\"http://www.chapter510.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chapter 510\u003c/a>, an organization that champions literacy—especially for marginalized youth—has partnered with the \u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> soccer club for the second annual “Write Your Roots” event series. It’s a part of the larger \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a> celebration.\u003c/p>\n\u003cp>Over the next four weeks, Oakland residents are invited to participate in the \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSc0jSuH8cychLCuA-R1KHVFMl9wyTR02ZxRDY3r9OEaA7cu9Q/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">All-Town Poem\u003c/a> (Spanish version\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSejZkADhUaTJhjfcuUbIkj0QX_usAchhnEai4K0dWDXpX2i0g/viewform\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>), where writers can submit an entry on the theme of power at any time. The entries will then be edited and arranged into poem form, with all submissions getting credit by name—or superhero/supershero/supertheyro name, if they so choose.\u003c/p>\n\u003cp>This year’s entries should be a strong follow-up to last year’s effort, which produced the epic poem “\u003ca href=\"https://chapter510.medium.com/because-this-city-english-12579f5fa3a5\" target=\"_blank\" rel=\"noopener noreferrer\">Because This City\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chapter 510 Program Manager and Teaching Artist Jahan Khalighi says the overall goal is to create a community-based exercise in creativity, imagination, and power-building. For Khalighi, it’s about looking at “access to inspiration as a basic human right.”\u003c/p>\n\u003cfigure id=\"attachment_13895177\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tongo-Elijah-800x533.jpg\" alt=\"San Francisco Poet Laureate Tongo Eisen-Martin stands in the middle of Elijah and Amaya at Oakland's Westlake Middle School\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tongo-Elijah-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Poet Laureate Tongo Eisen-Martin stands between students Elijah and Amaya at Oakland’s Westlake Middle School. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of that, each day in April Chapter 510 is posting writing prompts on \u003ca href=\"https://www.instagram.com/chapter510/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/chptr510\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/chapter510\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>. If so moved to share a poem, Chapter 510 encourages people to use the hashtag “\u003ca href=\"https://www.instagram.com/explore/tags/peda2021/\" target=\"_blank\" rel=\"noopener noreferrer\">#Peda2021\u003c/a>” to keep track of all the submissions.\u003c/p>\n\u003cp>In addition, Chapter 510 offers a \u003ca href=\"https://static1.squarespace.com/static/580fe27615d5db24ca661579/t/606655a20a81c439ea07796c/1617319330909/Write+Your+Roos+Lesson+Plans+2021+%283%29.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">poetry curriculum\u003c/a> for educators, optimized for both distanced and in-person classrooms.\u003c/p>\n\u003cp>Lastly, with entertainment venues and community gathering spaces around the Bay Area on the verge of reopening, Chapter 510’s newest location at Swan’s Market is scheduled for a grand opening on April 30.\u003c/p>\n\u003cp>Chapter 510 will culminate the month’s worth of writing with its first city-wide \u003ca href=\"https://www.instagram.com/p/CNGhWHuhgm7/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Write Your Roots Day\u003c/a>, which Mayor Libby Schaff officially proclaimed just last week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chapter 510 celebrates Write Your Roots Day on Friday, April 30, at 546 9th Street (at Swan’s Market) from 12pm-6pm. \u003ca href=\"http://www.chapter510.org/events-1/2021/4/30/write-your-roots-all-town-epic-poetry-day\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13895169/a-collective-poem-written-by-oakland-residents-for-national-poetry-month",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_1331",
"arts_10278",
"arts_1630",
"arts_1143",
"arts_22450",
"arts_1496",
"arts_4506"
],
"featImg": "arts_13895173",
"label": "arts_140"
},
"arts_13895040": {
"type": "posts",
"id": "arts_13895040",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13895040",
"score": null,
"sort": [
1617391747000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1617391747,
"format": "standard",
"title": "Santa Clara County Announces Finalists for Youth Poet Laureate",
"headTitle": "Santa Clara County Announces Finalists for Youth Poet Laureate | KQED",
"content": "\u003cp>In the wake of national youth poet laureate Amanda Gorman making headlines at the Presidential Inauguration and the Super Bowl, Santa Clara County will announce its very first youth poet laureate on May 1st, 2021.\u003c/p>\n\u003cp>Current Santa Clara County Poet Laureate Janice Lobo Sapigao started the program last year as a chapter of Urban Word New York City. “The Santa Clara County Youth Poet Laureate program is honestly something I wished I had when I was growing up in San Jose and in the Bay Area,” says Sapigao, who was named one of the Bay Area’s “\u003ca href=\"https://www.kqed.org/arts/13661123/women-to-watch-janice-sapigao\" rel=\"noopener noreferrer\" target=\"_blank\">Women to Watch\u003c/a>” by KQED Arts in 2017. \u003c/p>\n\u003cp>The program kicked off last December with an event featuring local poets—including Oakland’s current Youth Poet Laureate, Greer Nakadagawa Lee—followed by the launch of five free youth writing workshops in January and February. “I was actually really surprised because I didn’t know how many youth would sign up, but we ended up having 25 students attending our first workshop, 40 students attending our second workshop, and we had 70 attending our third one,” Sapigao explains. “To me, that shows community interest and shows the necessity of youth poetry.” \u003c/p>\n\u003cp>This week, the ten finalists for Santa Clara County’s youth poet laureate were announced: Sarah Fathima Mohammed, Swasti Johri, Margaret Mei, Avalon Felice Lee, Trisha Iyer, Anouk Yeh, Mahder Aklilu, Anna Yang, Paula Escobar, and Jasmine Kapadia. Selected by a panel of \u003ca href=\"https://www.sccyouthlaureate.com/judges\" rel=\"noopener noreferrer\" target=\"_blank\">seven judges\u003c/a>, applicants were scored on the craft of their writing, the authenticity of their voice, their performance and their potential for leadership.\u003c/p>\n\u003cp>In addition to Urban Word, Sapigao and the Santa Clara County Youth Poet Laureate program are receiving support—and inspiration—from the San Jose Public Library, the Oakland Youth Poet Laureate program, and San Francisco-based poetry organization Youth Speaks. “Looking at the leadership and the work and the programs out of coming out of those organizations has definitely helped me formulate what our program could possibly look like,” says Sapigao. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 10 finalists will appear at a reading with the San Jose Public Library on Tuesday, April 20, online from 5-6pm. Details and registration \u003ca href=\"https://www.sccyouthlaureate.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>A full list of finalists, with bios provided by the Santa Clara County Youth Poet Laureate program, can be found below.\u003c/p>\n\u003cp>\u003cstrong>Mahder Aklilu\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Mahder_Aklilu-160x222.jpg\" alt=\"\" width=\"160\" height=\"222\" class=\"alignright size-thumbnail wp-image-13895124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu-800x1108.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu.jpg 924w\" sizes=\"(max-width: 160px) 100vw, 160px\">I am the daughter of so many people who have struggled and communicated through art. I am the daughter of parents who protested dictatorship and carried on their activist spirit into me. I am proud of my black identity and my identity as an immigrant. I am on Ohlone land also known as San Jose and I have lived here for the past 12 years. I’m a junior in high school excited and energized to use my voice for good!\u003c/p>\n\u003cp>\u003cstrong>Paula Escobar\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Paula_Escobar-160x226.jpg\" alt=\"\" width=\"160\" height=\"226\" class=\"alignright size-thumbnail wp-image-13895126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Paula_Escobar-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Paula_Escobar.jpg 335w\" sizes=\"(max-width: 160px) 100vw, 160px\">Born and raised in San Jose, Paula Escobar is a proud Bolivian-American and first generation student. Inspired by her mother and older sister, Paula is driven to catalyze change within her community and promote inclusivity. Seeing how impactful schooling has been to her family, she is an advocate for educational justice and wants all students to feel empowered in their communities. As secretary of the East Side Union High School District Student Governing Board and a Santa Clara County Juvenile Justice Commissioner, she hopes to amplify diverse student voices and advocate for restorative justice. Her current efforts involve planning the Ethnic Studies course in her school district and representing over 23,000 students on the ESUHSD Instructional Policy Committee. With poetry, Paula wants to carry forward the values that have inspired her and channel words of empowerment. As a candidate for the Youth Poet Laureate program, Paula hopes to explore different mediums of writing and create accessible outlets for youth to express themselves. When she is not writing, you can find her baking with her family, working on history homework, or listening to music. In the future, Paula hopes to attend law school and become a civil rights lawyer to protect the rights of youth of color.\u003c/p>\n\u003cp>\u003cstrong>Trisha Iyer\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Trisha_Iyer-160x177.jpg\" alt=\"\" width=\"160\" height=\"177\" class=\"alignright size-thumbnail wp-image-13895129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-800x883.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-1020x1126.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-768x848.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-1391x1536.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer.jpg 1739w\" sizes=\"(max-width: 160px) 100vw, 160px\">Hi, I’m Trisha Iyer and I live in Cupertino. My relationship with poetry began in first grade, when I wrote some questionably-rhymed odes to a future, imaginary pet in order to persuade my parents into adopting a dog. Since then, my work has evolved in skill and language, but has become no less purposeful. I draw inspiration from the carefully worded, stirring verses of Edna St. Vincent Millay, the sparse, precise language of William Blake, and the works of ancient poets like Catullus (e.g., his slyly-lampooning Carmen 9) and Horace. In my own poetry, I try to achieve what I so admire in the works of my favorite poets. Poetry is my chance to offer to my readers an unconventional, rarely-heard yet very necessary perspective—sometimes my own—on various topics in order to foster empathy. My poetry is very introspective, and I place special value on weaving rich word choice, strong sensory details, and notes of hope into my pieces. I delight, in particular, in writing meaning into everyday experiences in order to bridge the gap of understanding between my reader and myself—whether that analogy mentions how blurry the world looks to my nearsighted self sees without my glasses or why a chiffon dress imbues beauty and fearlessness on the wearer through its translucence. In my free time, I play with my dog (the poems I wrote at age seven were more effective than I expected), indulge my passion for fashion illustration, dance, and of course, read.\u003c/p>\n\u003cp>\u003cstrong>Swasti Johri\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Swasti_Johri-160x251.jpg\" alt=\"\" width=\"160\" height=\"251\" class=\"alignright size-thumbnail wp-image-13895128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri.jpg 828w\" sizes=\"(max-width: 160px) 100vw, 160px\">My name is Swasti Johri, and I’m currently a junior at Evergreen Valley High School. I love to explore my creativity through several different avenues, including drawing, pottery, and poetry. For the longest time, I didn’t think poetry was for me; I had no faith in my abilities as a writer, but over quarantine, my love for the art was reinvigorated after I expressed my frustration through it. Really, that’s what poetry is to me; relief from emotions difficult for me to comprehend. It’s something I use to cope with the anxiety I feel when I can’t control things, including my mental health and issues around the world. \u003c/p>\n\u003cp>I’ve now become passionate about spreading my new-found love for writing to others. Showing people that it’s more than just a boring class in school, and a mind-blowing, beautiful way to connect with others and buried parts of yourself. It’s a therapeutic coping mechanism that can save you from succumbing to societal pressures and problems. \u003c/p>\n\u003cp>\u003cstrong>Jasmine Kapadia\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Jasmine_Kapadia-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" class=\"alignright size-thumbnail wp-image-13895123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia.jpg 1278w\" sizes=\"(max-width: 160px) 100vw, 160px\">Jasmine Kapadia (she/her) is an Asian-American poet and activist. She is a 2021 Write the World Community Ambassador, the Mandarin Course Manager for Polyglot Perspectives and holds editorial roles with Indigo Lit and Polyphony Lit. Her poetry is unflinching in the face of a country that tells Asian-Americans to keep their heads down, to be quiet and not make trouble. She writes to claim back the labels that society has given her: Chinese-American, Indian-American, Girl. She writes to document the sacrifices of her elders and ancestors and to tell their stories. She has work in or forthcoming in Kissing Dynamite, The Bitchin’ Kitsch, the Eunoia Review, Malala Fund’s Assembly, All Guts No Glory, and elsewhere. When not writing, she can be found stanning Beyoncé, over-applying lipgloss, and (re)-binge-watching RuPaul’s Drag Race. Find her on Instagram: @jazzymoons\u003c/p>\n\u003cp>\u003cstrong>Avalon Felice Lee\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Avalon_Felice_Lee-160x189.jpg\" alt=\"\" width=\"160\" height=\"189\" class=\"alignright size-thumbnail wp-image-13895122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee.jpg 1625w\" sizes=\"(max-width: 160px) 100vw, 160px\">I am Avalon Felice Lee, an Asian American poet and proser. To me, poetry offers a way to live in the minutes that slip by, unnoticed. Simply the act of writing is a recipe of pointing out details that are felt but not explicitly seen, which is the difference between the atmosphere that we live in versus the planetary body we orbit. Perhaps this is why poetry is an art form necessary for progress, as necessary as galvanizing speeches and key legislation. Atrocity persists because they are not held at point-blank, not brought to light for all to witness. And what better way to expose our follies than by cocooning them in poetic verse? \u003c/p>\n\u003cp>\u003cstrong>Margaret Mei\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Margaret_Mei-160x208.jpg\" alt=\"\" width=\"160\" height=\"208\" class=\"alignright size-thumbnail wp-image-13895125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Margaret_Mei-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Margaret_Mei.jpg 750w\" sizes=\"(max-width: 160px) 100vw, 160px\">My name is Margaret Mei, and poetry is where I throw together ideas, emotions, and events that I come across in life. Sometimes it’s turns out to be a comedic poem, and it brings a smile to my face. Other times it’s a sad poem, and I feel relief from being able to see what the sad in me looks like from afar. Or it’s a simple story that I come up with on the spot. Poetry is a place for my experiences and my ideas. It’s a junkyard, except that junk is precious.\u003c/p>\n\u003cp>\u003cstrong>Sarah Fathima Mohammed\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Sarah_Fathima_Mohammed-160x213.jpg\" alt=\"\" width=\"160\" height=\"213\" class=\"alignright size-thumbnail wp-image-13895127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Sarah_Fathima_Mohammed-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Sarah_Fathima_Mohammed.jpg 360w\" sizes=\"(max-width: 160px) 100vw, 160px\">My name is Sarah Fathima Mohammed, and I am a first-generation Muslim-American and South-Asian poet from Santa Clara County. \u003c/p>\n\u003cp>As I navigated my identity over the years, I oscillated between inexplicable loneliness and grief: I felt so alone, surrounded by people who didn’t look like me. I struggled to find community in spaces where I was often the only Muslim girl. And as I scrolled through the New York Times and again caught sight of a headline detailing a mosque shooting, a heaviness washed over me, one that is deeper than the ground beneath us, a heaviness that, for so long, I kept lodged in the back of my throat. \u003c/p>\n\u003cp>When I began to foray into poetry, I found solace that there were poets who looked like me. I read Safia Elhillo, Aria Aber, and Fatimah Asghar at the library, I devoured them. They mentored me from a distance: through their books. I learned that literature was more than the Shakespeare I read in school. Poetry was dynamic, was full: my people belonged here. Yes, poetry was a space where I could bridge words and find solace in the space between them. \u003c/p>\n\u003cp>Poetry was a tradition I began to learn, one that was unabashed and heart-wrenching. I conversed with these poets as ancestors, inviting myself into this lineage in which I could be bold and unafraid in drawing from my emotions, from my grief. \u003c/p>\n\u003cp>I want my generation to understand poetry as a communal soil, as a ground for sharing. \u003c/p>\n\u003cp>\u003cstrong>Anna Yang\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Anna_Yang-160x192.jpg\" alt=\"\" width=\"160\" height=\"192\" class=\"alignright size-thumbnail wp-image-13895130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-800x962.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-768x924.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-1277x1536.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang.jpg 1596w\" sizes=\"(max-width: 160px) 100vw, 160px\">I originally found poetry in fourth grade, writing metaphors about owls and moons, lions and storms. Looking back on my first poem, I can feel the sparks in my fingers as I dragged a pink mechanical pencil across the paper, and the corners of my lips lifting up just thinking about a little girl in braids imagining a lion hunting in the rain. I can almost feel my legs, sore from standing on my toes for too long, trying to hang my poem up on my wall amongst the math certificates my mom had put up for me.\u003c/p>\n\u003cp>Growing up in Silicon Valley, I’ve always lived a fast-paced and structured life. When the world of 1’s and 0’s becomes overwhelming, I allow myself to be swallowed by poetry. My words form misshapen stanzas, engulf the page with spilling emotions, tell my stories that scream to be heard, create new paradises and dystopias.\u003c/p>\n\u003cp>Ever since my first poetry lesson, I continued to ponder the definition, the feeling, and the impact of each word in my writing. Not only does my poetry create a refuge for creative expression, it also yearns to incite thought within its readers. At times, my passion for social justice seeps between the lines, where it manifests as anger and hope for change. However, with six years of poetry experience, I’m still learning to tell the stories of other backgrounds and capture the pieces of myself that I have yet to express.\u003c/p>\n\u003cp>\u003cstrong>Anouk Yeh\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Anouk_Yeh-160x221.jpg\" alt=\"\" width=\"160\" height=\"221\" class=\"alignright size-thumbnail wp-image-13895121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anouk_Yeh-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anouk_Yeh.jpg 561w\" sizes=\"(max-width: 160px) 100vw, 160px\">Anouk Yeh is a 17 year old spoken word poet from Saratoga, California. She is a firm believer in Toni Cade Cambarayou’s words: “The role of the artist is to make the revolution irresistible” and is always looking for inventive ways to tackle current events in her poetry. Especially in politically polarizing times where opposing sides seem reluctant to foster authentic conversations with one another, she believes that poetry has the power to heal, move and connect. Yeh was the 2018 Cupertino City Youth Poetry Slam Champion and a 2020 National Student Poet Program semifinalist. Her work has been featured by Stanford University, Planned Parenthood and the Los Angeles Review of Books. She has spoken after prominent figures including Congresswoman Anna Eshoo, California State Controller Betty Yee and peace activist Ela Gandhi. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2165,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705019226,
"excerpt": "Meet the 10 finalists in the county's first-ever youth poet laureate program.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Meet the 10 finalists in the county's first-ever youth poet laureate program.",
"title": "Santa Clara County Announces Finalists for Youth Poet Laureate | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Santa Clara County Announces Finalists for Youth Poet Laureate",
"datePublished": "2021-04-02T12:29:07-07:00",
"dateModified": "2024-01-11T16:27:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "santa-clara-county-announces-finalists-for-youth-poet-laureate",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13895040/santa-clara-county-announces-finalists-for-youth-poet-laureate",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of national youth poet laureate Amanda Gorman making headlines at the Presidential Inauguration and the Super Bowl, Santa Clara County will announce its very first youth poet laureate on May 1st, 2021.\u003c/p>\n\u003cp>Current Santa Clara County Poet Laureate Janice Lobo Sapigao started the program last year as a chapter of Urban Word New York City. “The Santa Clara County Youth Poet Laureate program is honestly something I wished I had when I was growing up in San Jose and in the Bay Area,” says Sapigao, who was named one of the Bay Area’s “\u003ca href=\"https://www.kqed.org/arts/13661123/women-to-watch-janice-sapigao\" rel=\"noopener noreferrer\" target=\"_blank\">Women to Watch\u003c/a>” by KQED Arts in 2017. \u003c/p>\n\u003cp>The program kicked off last December with an event featuring local poets—including Oakland’s current Youth Poet Laureate, Greer Nakadagawa Lee—followed by the launch of five free youth writing workshops in January and February. “I was actually really surprised because I didn’t know how many youth would sign up, but we ended up having 25 students attending our first workshop, 40 students attending our second workshop, and we had 70 attending our third one,” Sapigao explains. “To me, that shows community interest and shows the necessity of youth poetry.” \u003c/p>\n\u003cp>This week, the ten finalists for Santa Clara County’s youth poet laureate were announced: Sarah Fathima Mohammed, Swasti Johri, Margaret Mei, Avalon Felice Lee, Trisha Iyer, Anouk Yeh, Mahder Aklilu, Anna Yang, Paula Escobar, and Jasmine Kapadia. Selected by a panel of \u003ca href=\"https://www.sccyouthlaureate.com/judges\" rel=\"noopener noreferrer\" target=\"_blank\">seven judges\u003c/a>, applicants were scored on the craft of their writing, the authenticity of their voice, their performance and their potential for leadership.\u003c/p>\n\u003cp>In addition to Urban Word, Sapigao and the Santa Clara County Youth Poet Laureate program are receiving support—and inspiration—from the San Jose Public Library, the Oakland Youth Poet Laureate program, and San Francisco-based poetry organization Youth Speaks. “Looking at the leadership and the work and the programs out of coming out of those organizations has definitely helped me formulate what our program could possibly look like,” says Sapigao. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 10 finalists will appear at a reading with the San Jose Public Library on Tuesday, April 20, online from 5-6pm. Details and registration \u003ca href=\"https://www.sccyouthlaureate.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>A full list of finalists, with bios provided by the Santa Clara County Youth Poet Laureate program, can be found below.\u003c/p>\n\u003cp>\u003cstrong>Mahder Aklilu\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Mahder_Aklilu-160x222.jpg\" alt=\"\" width=\"160\" height=\"222\" class=\"alignright size-thumbnail wp-image-13895124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu-800x1108.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Mahder_Aklilu.jpg 924w\" sizes=\"(max-width: 160px) 100vw, 160px\">I am the daughter of so many people who have struggled and communicated through art. I am the daughter of parents who protested dictatorship and carried on their activist spirit into me. I am proud of my black identity and my identity as an immigrant. I am on Ohlone land also known as San Jose and I have lived here for the past 12 years. I’m a junior in high school excited and energized to use my voice for good!\u003c/p>\n\u003cp>\u003cstrong>Paula Escobar\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Paula_Escobar-160x226.jpg\" alt=\"\" width=\"160\" height=\"226\" class=\"alignright size-thumbnail wp-image-13895126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Paula_Escobar-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Paula_Escobar.jpg 335w\" sizes=\"(max-width: 160px) 100vw, 160px\">Born and raised in San Jose, Paula Escobar is a proud Bolivian-American and first generation student. Inspired by her mother and older sister, Paula is driven to catalyze change within her community and promote inclusivity. Seeing how impactful schooling has been to her family, she is an advocate for educational justice and wants all students to feel empowered in their communities. As secretary of the East Side Union High School District Student Governing Board and a Santa Clara County Juvenile Justice Commissioner, she hopes to amplify diverse student voices and advocate for restorative justice. Her current efforts involve planning the Ethnic Studies course in her school district and representing over 23,000 students on the ESUHSD Instructional Policy Committee. With poetry, Paula wants to carry forward the values that have inspired her and channel words of empowerment. As a candidate for the Youth Poet Laureate program, Paula hopes to explore different mediums of writing and create accessible outlets for youth to express themselves. When she is not writing, you can find her baking with her family, working on history homework, or listening to music. In the future, Paula hopes to attend law school and become a civil rights lawyer to protect the rights of youth of color.\u003c/p>\n\u003cp>\u003cstrong>Trisha Iyer\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Trisha_Iyer-160x177.jpg\" alt=\"\" width=\"160\" height=\"177\" class=\"alignright size-thumbnail wp-image-13895129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-800x883.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-1020x1126.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-768x848.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer-1391x1536.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Trisha_Iyer.jpg 1739w\" sizes=\"(max-width: 160px) 100vw, 160px\">Hi, I’m Trisha Iyer and I live in Cupertino. My relationship with poetry began in first grade, when I wrote some questionably-rhymed odes to a future, imaginary pet in order to persuade my parents into adopting a dog. Since then, my work has evolved in skill and language, but has become no less purposeful. I draw inspiration from the carefully worded, stirring verses of Edna St. Vincent Millay, the sparse, precise language of William Blake, and the works of ancient poets like Catullus (e.g., his slyly-lampooning Carmen 9) and Horace. In my own poetry, I try to achieve what I so admire in the works of my favorite poets. Poetry is my chance to offer to my readers an unconventional, rarely-heard yet very necessary perspective—sometimes my own—on various topics in order to foster empathy. My poetry is very introspective, and I place special value on weaving rich word choice, strong sensory details, and notes of hope into my pieces. I delight, in particular, in writing meaning into everyday experiences in order to bridge the gap of understanding between my reader and myself—whether that analogy mentions how blurry the world looks to my nearsighted self sees without my glasses or why a chiffon dress imbues beauty and fearlessness on the wearer through its translucence. In my free time, I play with my dog (the poems I wrote at age seven were more effective than I expected), indulge my passion for fashion illustration, dance, and of course, read.\u003c/p>\n\u003cp>\u003cstrong>Swasti Johri\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Swasti_Johri-160x251.jpg\" alt=\"\" width=\"160\" height=\"251\" class=\"alignright size-thumbnail wp-image-13895128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Swasti_Johri.jpg 828w\" sizes=\"(max-width: 160px) 100vw, 160px\">My name is Swasti Johri, and I’m currently a junior at Evergreen Valley High School. I love to explore my creativity through several different avenues, including drawing, pottery, and poetry. For the longest time, I didn’t think poetry was for me; I had no faith in my abilities as a writer, but over quarantine, my love for the art was reinvigorated after I expressed my frustration through it. Really, that’s what poetry is to me; relief from emotions difficult for me to comprehend. It’s something I use to cope with the anxiety I feel when I can’t control things, including my mental health and issues around the world. \u003c/p>\n\u003cp>I’ve now become passionate about spreading my new-found love for writing to others. Showing people that it’s more than just a boring class in school, and a mind-blowing, beautiful way to connect with others and buried parts of yourself. It’s a therapeutic coping mechanism that can save you from succumbing to societal pressures and problems. \u003c/p>\n\u003cp>\u003cstrong>Jasmine Kapadia\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Jasmine_Kapadia-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" class=\"alignright size-thumbnail wp-image-13895123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jasmine_Kapadia.jpg 1278w\" sizes=\"(max-width: 160px) 100vw, 160px\">Jasmine Kapadia (she/her) is an Asian-American poet and activist. She is a 2021 Write the World Community Ambassador, the Mandarin Course Manager for Polyglot Perspectives and holds editorial roles with Indigo Lit and Polyphony Lit. Her poetry is unflinching in the face of a country that tells Asian-Americans to keep their heads down, to be quiet and not make trouble. She writes to claim back the labels that society has given her: Chinese-American, Indian-American, Girl. She writes to document the sacrifices of her elders and ancestors and to tell their stories. She has work in or forthcoming in Kissing Dynamite, The Bitchin’ Kitsch, the Eunoia Review, Malala Fund’s Assembly, All Guts No Glory, and elsewhere. When not writing, she can be found stanning Beyoncé, over-applying lipgloss, and (re)-binge-watching RuPaul’s Drag Race. Find her on Instagram: @jazzymoons\u003c/p>\n\u003cp>\u003cstrong>Avalon Felice Lee\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Avalon_Felice_Lee-160x189.jpg\" alt=\"\" width=\"160\" height=\"189\" class=\"alignright size-thumbnail wp-image-13895122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Avalon_Felice_Lee.jpg 1625w\" sizes=\"(max-width: 160px) 100vw, 160px\">I am Avalon Felice Lee, an Asian American poet and proser. To me, poetry offers a way to live in the minutes that slip by, unnoticed. Simply the act of writing is a recipe of pointing out details that are felt but not explicitly seen, which is the difference between the atmosphere that we live in versus the planetary body we orbit. Perhaps this is why poetry is an art form necessary for progress, as necessary as galvanizing speeches and key legislation. Atrocity persists because they are not held at point-blank, not brought to light for all to witness. And what better way to expose our follies than by cocooning them in poetic verse? \u003c/p>\n\u003cp>\u003cstrong>Margaret Mei\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Margaret_Mei-160x208.jpg\" alt=\"\" width=\"160\" height=\"208\" class=\"alignright size-thumbnail wp-image-13895125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Margaret_Mei-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Margaret_Mei.jpg 750w\" sizes=\"(max-width: 160px) 100vw, 160px\">My name is Margaret Mei, and poetry is where I throw together ideas, emotions, and events that I come across in life. Sometimes it’s turns out to be a comedic poem, and it brings a smile to my face. Other times it’s a sad poem, and I feel relief from being able to see what the sad in me looks like from afar. Or it’s a simple story that I come up with on the spot. Poetry is a place for my experiences and my ideas. It’s a junkyard, except that junk is precious.\u003c/p>\n\u003cp>\u003cstrong>Sarah Fathima Mohammed\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Sarah_Fathima_Mohammed-160x213.jpg\" alt=\"\" width=\"160\" height=\"213\" class=\"alignright size-thumbnail wp-image-13895127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Sarah_Fathima_Mohammed-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Sarah_Fathima_Mohammed.jpg 360w\" sizes=\"(max-width: 160px) 100vw, 160px\">My name is Sarah Fathima Mohammed, and I am a first-generation Muslim-American and South-Asian poet from Santa Clara County. \u003c/p>\n\u003cp>As I navigated my identity over the years, I oscillated between inexplicable loneliness and grief: I felt so alone, surrounded by people who didn’t look like me. I struggled to find community in spaces where I was often the only Muslim girl. And as I scrolled through the New York Times and again caught sight of a headline detailing a mosque shooting, a heaviness washed over me, one that is deeper than the ground beneath us, a heaviness that, for so long, I kept lodged in the back of my throat. \u003c/p>\n\u003cp>When I began to foray into poetry, I found solace that there were poets who looked like me. I read Safia Elhillo, Aria Aber, and Fatimah Asghar at the library, I devoured them. They mentored me from a distance: through their books. I learned that literature was more than the Shakespeare I read in school. Poetry was dynamic, was full: my people belonged here. Yes, poetry was a space where I could bridge words and find solace in the space between them. \u003c/p>\n\u003cp>Poetry was a tradition I began to learn, one that was unabashed and heart-wrenching. I conversed with these poets as ancestors, inviting myself into this lineage in which I could be bold and unafraid in drawing from my emotions, from my grief. \u003c/p>\n\u003cp>I want my generation to understand poetry as a communal soil, as a ground for sharing. \u003c/p>\n\u003cp>\u003cstrong>Anna Yang\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Anna_Yang-160x192.jpg\" alt=\"\" width=\"160\" height=\"192\" class=\"alignright size-thumbnail wp-image-13895130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-800x962.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-768x924.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang-1277x1536.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anna_Yang.jpg 1596w\" sizes=\"(max-width: 160px) 100vw, 160px\">I originally found poetry in fourth grade, writing metaphors about owls and moons, lions and storms. Looking back on my first poem, I can feel the sparks in my fingers as I dragged a pink mechanical pencil across the paper, and the corners of my lips lifting up just thinking about a little girl in braids imagining a lion hunting in the rain. I can almost feel my legs, sore from standing on my toes for too long, trying to hang my poem up on my wall amongst the math certificates my mom had put up for me.\u003c/p>\n\u003cp>Growing up in Silicon Valley, I’ve always lived a fast-paced and structured life. When the world of 1’s and 0’s becomes overwhelming, I allow myself to be swallowed by poetry. My words form misshapen stanzas, engulf the page with spilling emotions, tell my stories that scream to be heard, create new paradises and dystopias.\u003c/p>\n\u003cp>Ever since my first poetry lesson, I continued to ponder the definition, the feeling, and the impact of each word in my writing. Not only does my poetry create a refuge for creative expression, it also yearns to incite thought within its readers. At times, my passion for social justice seeps between the lines, where it manifests as anger and hope for change. However, with six years of poetry experience, I’m still learning to tell the stories of other backgrounds and capture the pieces of myself that I have yet to express.\u003c/p>\n\u003cp>\u003cstrong>Anouk Yeh\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Anouk_Yeh-160x221.jpg\" alt=\"\" width=\"160\" height=\"221\" class=\"alignright size-thumbnail wp-image-13895121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anouk_Yeh-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Anouk_Yeh.jpg 561w\" sizes=\"(max-width: 160px) 100vw, 160px\">Anouk Yeh is a 17 year old spoken word poet from Saratoga, California. She is a firm believer in Toni Cade Cambarayou’s words: “The role of the artist is to make the revolution irresistible” and is always looking for inventive ways to tackle current events in her poetry. Especially in politically polarizing times where opposing sides seem reluctant to foster authentic conversations with one another, she believes that poetry has the power to heal, move and connect. Yeh was the 2018 Cupertino City Youth Poetry Slam Champion and a 2020 National Student Poet Program semifinalist. Her work has been featured by Stanford University, Planned Parenthood and the Los Angeles Review of Books. She has spoken after prominent figures including Congresswoman Anna Eshoo, California State Controller Betty Yee and peace activist Ela Gandhi. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13895040/santa-clara-county-announces-finalists-for-youth-poet-laureate",
"authors": [
"11734"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_7669",
"arts_1496"
],
"featImg": "arts_13895136",
"label": "arts"
},
"arts_13895078": {
"type": "posts",
"id": "arts_13895078",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13895078",
"score": null,
"sort": [
1617389826000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1617389826,
"format": "standard",
"title": "JD Salinger’s Pursuit of Teen Girls Gets Renewed Attention After ‘Allen v. Farrow’",
"headTitle": "JD Salinger’s Pursuit of Teen Girls Gets Renewed Attention After ‘Allen v. Farrow’ | KQED",
"content": "\u003cp>Yesterday, \u003cem>Vanity Fair\u003c/em> published \u003ca href=\"https://www.vanityfair.com/style/2021/04/joyce-maynard-on-chilling-parallels-woody-allen-and-jd-salinger\" target=\"_blank\" rel=\"noopener noreferrer\">a compelling essay\u003c/a> by prolific author \u003ca href=\"https://en.wikipedia.org/wiki/Joyce_Maynard\" target=\"_blank\" rel=\"noopener noreferrer\">Joyce Maynard\u003c/a>. In it, she drew a parallel between Woody Allen and J.D. Salinger, saying both men harbored obsessions with very young women. Maynard was inspired to write the piece after watching recent HBO documentary series, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. But her motivation was born from the fact that, when she was a teenager, she had a relationship with the then-53-year-old Salinger.\u003c/p>\n\u003cp>Maynard wrote:\u003c/p>\n\u003cblockquote>\u003cp>A few months past my 18th birthday, J.D. Salinger wrote me a series of letters that led me to believe he loved me as no one else ever had … He told me I was brilliant and perfect, his soul mate and that we would live our days out together … I withdrew from college … walked away from a full scholarship at Yale, a writing job in New York City, the book tour for my first published work … He sent me away less than a year later with words of contempt and disdain … [It] left me in a state of profound shame that endured for decades.\u003c/p>\u003c/blockquote>\n\u003cp>Like so many Woody Allen fans who felt awakened by \u003cem>Allen v. Farrow\u003c/em>, I saw Salinger in a completely new light after reading Maynard’s essay. Until yesterday, I had been entirely in the dark about his life-long pursuit of, and dalliances with, teen girls. Which is incredibly embarrassing to admit, particularly as someone who has read “For Esmé—With Love and Squalor”—a story in which an army sergeant obsesses over a young teenage girl.\u003c/p>\n\u003cp>Maynard continues:\u003c/p>\n\u003cblockquote>\u003cp>Over the years that followed, I heard from well over a dozen women who had a similar set of treasured letters from Salinger in their possession, written to them when they were teenagers. It appeared that in the case of one girl, Salinger was writing letters to her while I sat in the next room believing he was my soul mate and partner for life.\u003c/p>\u003c/blockquote>\n\u003cp>After reading Maynard’s\u003cem> Vanity Fair\u003c/em> article—titled, incidentally, “‘Predatory Men With a Taste for Teenagers’ Joyce Maynard on the Chilling Parallels Between Woody Allen and J.D. Salinger”—the proverbial floodgates opened. I realized that information about Salinger’s predilections had been in plain sight for years, and not hiding even a little.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A quick internet search revealed to me that \u003ca href=\"https://www.theguardian.com/books/2018/sep/06/jd-salinger-teenage-lover-challenges-her-predator-reputation-joyce-maynard\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>the Guardian\u003c/em> had written\u003c/a> about Maynard and Salinger’s destructive relationship in 2018. Maynard had also \u003ca href=\"https://www.nytimes.com/2013/09/15/opinion/sunday/was-salinger-too-pure-for-this-world.html\" target=\"_blank\" rel=\"noopener noreferrer\">written about it\u003c/a> in \u003cem>The New York Times\u003c/em> in 2013. \u003ca href=\"https://www.salon.com/2010/02/09/jd_salinger_and_the_women/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Salon\u003c/em> wrote about it\u003c/a> in 2010, right after Salinger died. As did a pre-fame Lena Dunham, on Twitter!\u003c/p>\n\u003cp>https://twitter.com/lenadunham/status/8336385963\u003c/p>\n\u003cp>In fact, Maynard has been talking about the emotional and mental damage wrought by J.D. Salinger’s pursuit of her since she first revealed details of the affair in her 1998 memoir, \u003cem>At Home in the World\u003c/em>. In a \u003ca href=\"https://www.huffpost.com/entry/emat-home-in-the-worldem_b_441253\" target=\"_blank\" rel=\"noopener noreferrer\">2010 review\u003c/a>, \u003cem>Huffington Post\u003c/em> relayed that the J.D. Salinger described in Maynard’s book was, “pompous, astoundingly unfeeling, deceptive and defiantly hypocritical.” [aside postid='arts_13892800']\u003c/p>\n\u003cp>The memoir also details abusive and coercive behavior by Salinger, including restricting Maynard’s diet to such a degree that her periods stopped. And while \u003cem>At Home in the World\u003c/em> reveals that their relationship was never fully consummated—because Maynard was too fearful of losing her virginity—there is at least one description of her orally servicing Salinger while openly weeping.\u003c/p>\n\u003cp>Before the book had even come out, a 1998 \u003ca href=\"https://nymag.com/nymetro/arts/features/2162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York\u003c/em> magazine article\u003c/a> detailed Salinger’s habit, at the age of 34, of “entertaining teenagers who attended the local high school. In particular, he often escorted teenage girls to school dances and sporting events.”\u003c/p>\n\u003cp>I’ve never been in the habit of researching the spouses of writers, but Salinger’s relationship history—now that I actively look for it—is one giant alarm bell. When he was 30, Salinger met and formed an attachment to 14-year-old Jean Miller. The two exchanged letters throughout her teens, apparently despite the objections of her mother. When she finally slept with him, at the age of 20, he immediately ditched her. When he was 36, he married 21-year-old Claire Douglas. When he was 69, he married 21-year-old Colleen O’Neill.\u003c/p>\n\u003cp>So why didn’t I hear about all this sooner? Perhaps if I was active in literary circles, I would have known this whole time. Perhaps selective deafness was somehow at play because I spent so many of my teen years enthralled by Salinger’s work. Perhaps, after he died, I was too busy reading romantic eulogies about his brilliant, reclusive self to hear anything that his critics were saying about him. [aside postid='arts_13894392']\u003c/p>\n\u003cp>After \u003cem>At Home in the World\u003c/em> came out, Maynard was roundly criticized by both Salinger fans and the press at large for the details she shared about him. (In fact, she battled the same vitriolic public disdain that Mia Farrow had endured just six years earlier, during her divorce from Woody Allen.) In her \u003cem>Vanity Fair\u003c/em> essay, Maynard recalls being called a “\u003ca href=\"https://www.nytimes.com/1999/05/19/opinion/liberties-leech-women-in-love.html\" target=\"_blank\" rel=\"noopener noreferrer\">predator\u003c/a>” in \u003cem>The \u003c/em>\u003cem>New York Times \u003c/em>and “\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1998/08/24/avert-your-eyes-but-read-this-first/a83298f7-c63d-49e3-94d5-be60a479daa6/\" target=\"_blank\" rel=\"noopener noreferrer\">indescribably stupid\u003c/a>” in \u003cem>The\u003c/em> \u003cem>Washington Post. \u003c/em>By the time Maynard sold her letters from Salinger in a Sotheby’s auction for $156,000, even \u003cem>Entertainment Weekly\u003c/em> was calling her “\u003ca href=\"https://ew.com/article/1999/06/25/joyce-maynard-sells-jd-salingers-letters-156000/\" target=\"_blank\" rel=\"noopener noreferrer\">a self-absorbed blab-it-all\u003c/a>.” Perhaps it was criticisms like these that formed a firm barrier between me and the truth about the J.D. Salinger. Or maybe I just looked the other way because I didn’t want to hear it. Frankly, I don’t even know at this point.\u003c/p>\n\u003cp>Last week, I wrote about the cruelty of \u003ca href=\"https://www.kqed.org/arts/13894392/hbos-tina-raises-questions-about-how-we-treat-famous-survivors-of-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">making Tina Turner repeat\u003c/a> the details of her abuse over and over again for the sake of public education (and entertainment). But if Maynard hadn’t repeated herself over and over \u003cem>and over\u003c/em> again for the last 23 years—if she hadn’t continued being the much scoffed at “blab-it-all”—I, and other readers, likely would never have heard her at all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It takes an enormous amount of strength and will for anyone to share details of their own abuse. But when those details concern a person who is more famous and more beloved and more respected than you, then the uphill battle requires an unbelievable reserve of tenacity. Maynard should not have had to spend literal decades battling to be heard over all that other noise. No survivor should. But I for one am grateful that she did. Shamefully, it took this long for her to get through to me.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1150,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019227,
"excerpt": "Joyce Maynard has been sharing her abuse story on a regular basis since 1998. So why are some of us only just hearing about it?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Joyce Maynard has been sharing her abuse story on a regular basis since 1998. So why are some of us only just hearing about it?",
"title": "JD Salinger’s Pursuit of Teen Girls Gets Renewed Attention After ‘Allen v. Farrow’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "JD Salinger’s Pursuit of Teen Girls Gets Renewed Attention After ‘Allen v. Farrow’",
"datePublished": "2021-04-02T11:57:06-07:00",
"dateModified": "2024-01-11T16:27:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jd-salingers-pursuit-of-teen-girls-gets-renewed-attention-after-allen-v-farrow",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13895078/jd-salingers-pursuit-of-teen-girls-gets-renewed-attention-after-allen-v-farrow",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yesterday, \u003cem>Vanity Fair\u003c/em> published \u003ca href=\"https://www.vanityfair.com/style/2021/04/joyce-maynard-on-chilling-parallels-woody-allen-and-jd-salinger\" target=\"_blank\" rel=\"noopener noreferrer\">a compelling essay\u003c/a> by prolific author \u003ca href=\"https://en.wikipedia.org/wiki/Joyce_Maynard\" target=\"_blank\" rel=\"noopener noreferrer\">Joyce Maynard\u003c/a>. In it, she drew a parallel between Woody Allen and J.D. Salinger, saying both men harbored obsessions with very young women. Maynard was inspired to write the piece after watching recent HBO documentary series, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. But her motivation was born from the fact that, when she was a teenager, she had a relationship with the then-53-year-old Salinger.\u003c/p>\n\u003cp>Maynard wrote:\u003c/p>\n\u003cblockquote>\u003cp>A few months past my 18th birthday, J.D. Salinger wrote me a series of letters that led me to believe he loved me as no one else ever had … He told me I was brilliant and perfect, his soul mate and that we would live our days out together … I withdrew from college … walked away from a full scholarship at Yale, a writing job in New York City, the book tour for my first published work … He sent me away less than a year later with words of contempt and disdain … [It] left me in a state of profound shame that endured for decades.\u003c/p>\u003c/blockquote>\n\u003cp>Like so many Woody Allen fans who felt awakened by \u003cem>Allen v. Farrow\u003c/em>, I saw Salinger in a completely new light after reading Maynard’s essay. Until yesterday, I had been entirely in the dark about his life-long pursuit of, and dalliances with, teen girls. Which is incredibly embarrassing to admit, particularly as someone who has read “For Esmé—With Love and Squalor”—a story in which an army sergeant obsesses over a young teenage girl.\u003c/p>\n\u003cp>Maynard continues:\u003c/p>\n\u003cblockquote>\u003cp>Over the years that followed, I heard from well over a dozen women who had a similar set of treasured letters from Salinger in their possession, written to them when they were teenagers. It appeared that in the case of one girl, Salinger was writing letters to her while I sat in the next room believing he was my soul mate and partner for life.\u003c/p>\u003c/blockquote>\n\u003cp>After reading Maynard’s\u003cem> Vanity Fair\u003c/em> article—titled, incidentally, “‘Predatory Men With a Taste for Teenagers’ Joyce Maynard on the Chilling Parallels Between Woody Allen and J.D. Salinger”—the proverbial floodgates opened. I realized that information about Salinger’s predilections had been in plain sight for years, and not hiding even a little.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A quick internet search revealed to me that \u003ca href=\"https://www.theguardian.com/books/2018/sep/06/jd-salinger-teenage-lover-challenges-her-predator-reputation-joyce-maynard\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>the Guardian\u003c/em> had written\u003c/a> about Maynard and Salinger’s destructive relationship in 2018. Maynard had also \u003ca href=\"https://www.nytimes.com/2013/09/15/opinion/sunday/was-salinger-too-pure-for-this-world.html\" target=\"_blank\" rel=\"noopener noreferrer\">written about it\u003c/a> in \u003cem>The New York Times\u003c/em> in 2013. \u003ca href=\"https://www.salon.com/2010/02/09/jd_salinger_and_the_women/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Salon\u003c/em> wrote about it\u003c/a> in 2010, right after Salinger died. As did a pre-fame Lena Dunham, on Twitter!\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "8336385963"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In fact, Maynard has been talking about the emotional and mental damage wrought by J.D. Salinger’s pursuit of her since she first revealed details of the affair in her 1998 memoir, \u003cem>At Home in the World\u003c/em>. In a \u003ca href=\"https://www.huffpost.com/entry/emat-home-in-the-worldem_b_441253\" target=\"_blank\" rel=\"noopener noreferrer\">2010 review\u003c/a>, \u003cem>Huffington Post\u003c/em> relayed that the J.D. Salinger described in Maynard’s book was, “pompous, astoundingly unfeeling, deceptive and defiantly hypocritical.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892800",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The memoir also details abusive and coercive behavior by Salinger, including restricting Maynard’s diet to such a degree that her periods stopped. And while \u003cem>At Home in the World\u003c/em> reveals that their relationship was never fully consummated—because Maynard was too fearful of losing her virginity—there is at least one description of her orally servicing Salinger while openly weeping.\u003c/p>\n\u003cp>Before the book had even come out, a 1998 \u003ca href=\"https://nymag.com/nymetro/arts/features/2162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York\u003c/em> magazine article\u003c/a> detailed Salinger’s habit, at the age of 34, of “entertaining teenagers who attended the local high school. In particular, he often escorted teenage girls to school dances and sporting events.”\u003c/p>\n\u003cp>I’ve never been in the habit of researching the spouses of writers, but Salinger’s relationship history—now that I actively look for it—is one giant alarm bell. When he was 30, Salinger met and formed an attachment to 14-year-old Jean Miller. The two exchanged letters throughout her teens, apparently despite the objections of her mother. When she finally slept with him, at the age of 20, he immediately ditched her. When he was 36, he married 21-year-old Claire Douglas. When he was 69, he married 21-year-old Colleen O’Neill.\u003c/p>\n\u003cp>So why didn’t I hear about all this sooner? Perhaps if I was active in literary circles, I would have known this whole time. Perhaps selective deafness was somehow at play because I spent so many of my teen years enthralled by Salinger’s work. Perhaps, after he died, I was too busy reading romantic eulogies about his brilliant, reclusive self to hear anything that his critics were saying about him. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894392",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After \u003cem>At Home in the World\u003c/em> came out, Maynard was roundly criticized by both Salinger fans and the press at large for the details she shared about him. (In fact, she battled the same vitriolic public disdain that Mia Farrow had endured just six years earlier, during her divorce from Woody Allen.) In her \u003cem>Vanity Fair\u003c/em> essay, Maynard recalls being called a “\u003ca href=\"https://www.nytimes.com/1999/05/19/opinion/liberties-leech-women-in-love.html\" target=\"_blank\" rel=\"noopener noreferrer\">predator\u003c/a>” in \u003cem>The \u003c/em>\u003cem>New York Times \u003c/em>and “\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1998/08/24/avert-your-eyes-but-read-this-first/a83298f7-c63d-49e3-94d5-be60a479daa6/\" target=\"_blank\" rel=\"noopener noreferrer\">indescribably stupid\u003c/a>” in \u003cem>The\u003c/em> \u003cem>Washington Post. \u003c/em>By the time Maynard sold her letters from Salinger in a Sotheby’s auction for $156,000, even \u003cem>Entertainment Weekly\u003c/em> was calling her “\u003ca href=\"https://ew.com/article/1999/06/25/joyce-maynard-sells-jd-salingers-letters-156000/\" target=\"_blank\" rel=\"noopener noreferrer\">a self-absorbed blab-it-all\u003c/a>.” Perhaps it was criticisms like these that formed a firm barrier between me and the truth about the J.D. Salinger. Or maybe I just looked the other way because I didn’t want to hear it. Frankly, I don’t even know at this point.\u003c/p>\n\u003cp>Last week, I wrote about the cruelty of \u003ca href=\"https://www.kqed.org/arts/13894392/hbos-tina-raises-questions-about-how-we-treat-famous-survivors-of-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">making Tina Turner repeat\u003c/a> the details of her abuse over and over again for the sake of public education (and entertainment). But if Maynard hadn’t repeated herself over and over \u003cem>and over\u003c/em> again for the last 23 years—if she hadn’t continued being the much scoffed at “blab-it-all”—I, and other readers, likely would never have heard her at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It takes an enormous amount of strength and will for anyone to share details of their own abuse. But when those details concern a person who is more famous and more beloved and more respected than you, then the uphill battle requires an unbelievable reserve of tenacity. Maynard should not have had to spend literal decades battling to be heard over all that other noise. No survivor should. But I for one am grateful that she did. Shamefully, it took this long for her to get through to me.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13895078/jd-salingers-pursuit-of-teen-girls-gets-renewed-attention-after-allen-v-farrow",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_73",
"arts_2303"
],
"tags": [
"arts_2767",
"arts_10278",
"arts_8350",
"arts_12942",
"arts_5050"
],
"featImg": "arts_13895083",
"label": "arts"
},
"arts_13894965": {
"type": "posts",
"id": "arts_13894965",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13894965",
"score": null,
"sort": [
1617303559000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1617303559,
"format": "standard",
"title": "Hunter Biden's Memoir 'Beautiful Things' Seeks to Tell Just Where He's Been",
"headTitle": "Hunter Biden’s Memoir ‘Beautiful Things’ Seeks to Tell Just Where He’s Been | KQED",
"content": "\u003cp>When former President Donald Trump was still in office and holding rallies, he often shouted a question that provoked howls of raucous laughter from the crowd: “Where’s Hunter?”\u003c/p>\n\u003cp>Trump was referring derisively to Hunter Biden, the son of the man who is now President Biden. \u003cem>Beautiful Things: A Memoir \u003c/em>is Hunter’s answer to Trump’s question. He wants to tell us where he is, where he has been, and what it has taken to get him from there to here.\u003c/p>\n\u003cp>It is at times a harrowing journey. Readers who make it all the way through may feel they have completed something of a 12-step rehab program themselves. The details at times make one feel exposed to something like degradation porn.\u003c/p>\n\u003cfigure id=\"attachment_13894966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg\" alt=\"The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617.jpg 1392w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beautiful Things: A Memoir,’ by Hunter Biden. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As has long been reported, the younger Biden is an alcoholic and a crack addict. Euphemisms about “alcohol and drug problems” do not apply here, as the memoirist himself makes clear from the opening pages.\u003c/p>\n\u003cp>“I’ve been so desperate for a drink that I couldn’t make the one-block walk between a liquor store and my apartment without uncapping the bottle to take a swig,” Biden writes. He also provides a how-to for cooking powder cocaine into crack in the kitchen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After buying his first rock of crack cocaine in a public square in downtown Washington at the age of 18 and spending much of his education years drinking (“I could always drink five times as much as anyone”) Biden began his tour of rehab facilities while still in his early 30s. He has seen the inside of celebrity treatment centers in Mexico as well as in various parts of the U.S. The rehabs led to brief bouts of sobriety followed by relapses, each of which seemed to take him deeper into dependency. [aside postid='arts_13847716']\u003c/p>\n\u003cp>He acknowledges months spent drunk in a D.C. apartment and more months binging cocaine in hotel bungalows in Hollywood — while his father was either vice president or a candidate for president. Considering the time he spent high behind the wheel, it is amazing the author can still be alive to recount the story.\u003c/p>\n\u003cp>He also addresses other elements of his life that have raised eyebrows or presented potential legal and political problems. He acknowledges DNA evidence that he fathered a child with a woman he does not remember having met. He acknowledges the fallout from his affair with the widow of his late brother, Beau, which took place after his brother’s death and after the widow retrieved him from a rehab center.\u003c/p>\n\u003cp>And he devotes a chapter to his relationship with Burisma, a natural gas company in Ukraine that was among his most lucrative gigs. For service on that company’s board of directors, the younger Biden was paid five figures each month. As he had no special expertise in gas or the political economics of Ukraine, that remuneration was always suspect.\u003c/p>\n\u003cp>Hunter Biden says he vetted Burisma with a reputable U.S. law firm and worked to help them comply with anti-corruption laws and related demands for transparency from the U.S. and the European Union. As for Burisma’s interest in Hunter’s family connection, he writes:\u003c/p>\n\u003cblockquote>\u003cp>“There’s no question my last name was a coveted credential. That has always been the case. Do you think if any of the Trump children ever tried to get a job outside their father’s business that his name wouldn’t figure into the calculation? My response has always been to work harder so that my accomplishments stand on their own.”\u003c/p>\u003c/blockquote>\n\u003cp>Of course, Trump and his personal attorney Rudolph Giuliani spent much of 2019 and 2020 promoting the younger Biden’s relationship with Burisma as a corrupt bargain that involved the elder Biden—and that needed investigating. Those accusations, and Trump’s aggressive effort to induce Ukraine to investigate them, led to his first impeachment.\u003c/p>\n\u003cp>But Trump and Giuliani did not stop there. Efforts to portray Hunter as a liability, even a disqualification for his father’s candidacy, continued right up to the election in November 2020. [aside postid='arts_13891604']\u003c/p>\n\u003cp>The last gasp of Giuliani’s campaign against the Bidens featured a laptop supposedly obtained from sources that would document the younger Biden’s drug use and other offenses. The laptop story was discredited by U.S. intelligence and independent investigations by news organizations.\u003c/p>\n\u003cp>As for the drug use, however, there could scarcely be a more damning account than Hunter Biden’s own in his memoir. Repeated attempts at intervention by his father and family fail to stop him. He is estranged from his wife, who divorces him and has custody of their daughters. With each relapse he descends another rung until he haunts a nocturnal underworld of addicts, dealers, ex-cons and con artists in Los Angeles.\u003c/p>\n\u003cp>And then, in the final pages, it is the spring of 2019 and Hunter meets a South African filmmaker and activist named Melissa, who swiftly brings his life under control in ways Hunter himself never had. He stops drinking and smoking crack. The two, who married not long after meeting, now have a son, a toddler the nation saw onstage at the Biden victory celebration the Saturday after the election in November.\u003c/p>\n\u003cp>That little boy is named Beau, for Hunter’s older brother who died of a brain tumor in 2015. But by this point in the book, one knows the son could have no other name. Beau Biden is as much a character in this memoir as anyone, appearing in memories beginning with the night in 1972 when the boys are injured in a car crash that kills their mother and baby sister. They wake up next to each other in a hospital. Their shared memories of this loss bind them far more than even close brothers are usually bound. It is after Beau’s death that Hunter loses the will to fight the demons he has battled for so long.\u003c/p>\n\u003cp>When he meets Melissa, the first thing he tells us about her is that she has blue eyes like Beau’s. The last section of \u003cem>Beautiful Things \u003c/em>is a letter to Beau, and the title refers to a mantra the two had in the days they spent together near the end of Beau’s life.\u003c/p>\n\u003cp>This memoir is surely a confession, but it seems to seek something other than conventional forgiveness—something other than sympathy.\u003c/p>\n\u003cp>It is not an easy thing to be a senator’s son. It may be cushy at times and many doors may open. But Hunter Biden’s father was not just another senator. And while no one can doubt the love between the two, as amply demonstrated countless times, there is also a chasm between the hungers of the son and the trajectory of the teetotaler father. (Aware of stories about problem drinkers in the family tree, the elder Biden steered clear.) [aside postid='arts_13889820']\u003c/p>\n\u003cp>It was not always easy being Beau Biden’s little brother, either. Popular and smart, Beau was president of his high school class each year while Hunter was changing schools a lot, looking for the right fit. He got into Georgetown University, but did a lot of drinking while a student. He got into Yale on a second try after adding a poem to his application. He tells us later he got a 172 on his LSAT (99th percentile) and clearly has a sense of his ability—both professional and artistic—that has never been fulfilled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, if it is not about forgiveness or sympathy, this memoir may be about making a stand. Making it clear the younger son, the black sheep of the Biden clan, wants to take whatever place on that victory stage he can occupy, as a son and a brother and the father of Beau Biden II, the new generation of hope.\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=Hunter+Biden%27s+Memoir+%27Beautiful+Things%27+Seeks+To+Tell+Just+Where+He%27s+Been+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1377,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705019241,
"excerpt": "The president's younger son recounts a harrowing journey of loss, addiction, and finally finding his place in the world.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The president's younger son recounts a harrowing journey of loss, addiction, and finally finding his place in the world.",
"title": "Hunter Biden's Memoir 'Beautiful Things' Seeks to Tell Just Where He's Been | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hunter Biden's Memoir 'Beautiful Things' Seeks to Tell Just Where He's Been",
"datePublished": "2021-04-01T11:59:19-07:00",
"dateModified": "2024-01-11T16:27:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hunter-bidens-memoir-beautiful-things-seeks-to-tell-just-where-hes-been",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=983159102&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Ron Elving",
"nprStoryDate": "Wed, 31 Mar 2021 16:56:00 -0400",
"nprLastModifiedDate": "Wed, 31 Mar 2021 18:19:47 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/03/31/983159102/hunter-bidens-memoir-beautiful-things-seeks-to-tell-just-where-hes-been?ft=nprml&f=983159102",
"nprImageAgency": "Gallery Books",
"nprStoryId": "983159102",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 31 Mar 2021 18:19:00 -0400",
"path": "/arts/13894965/hunter-bidens-memoir-beautiful-things-seeks-to-tell-just-where-hes-been",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When former President Donald Trump was still in office and holding rallies, he often shouted a question that provoked howls of raucous laughter from the crowd: “Where’s Hunter?”\u003c/p>\n\u003cp>Trump was referring derisively to Hunter Biden, the son of the man who is now President Biden. \u003cem>Beautiful Things: A Memoir \u003c/em>is Hunter’s answer to Trump’s question. He wants to tell us where he is, where he has been, and what it has taken to get him from there to here.\u003c/p>\n\u003cp>It is at times a harrowing journey. Readers who make it all the way through may feel they have completed something of a 12-step rehab program themselves. The details at times make one feel exposed to something like degradation porn.\u003c/p>\n\u003cfigure id=\"attachment_13894966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg\" alt=\"The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617.jpg 1392w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beautiful Things: A Memoir,’ by Hunter Biden. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As has long been reported, the younger Biden is an alcoholic and a crack addict. Euphemisms about “alcohol and drug problems” do not apply here, as the memoirist himself makes clear from the opening pages.\u003c/p>\n\u003cp>“I’ve been so desperate for a drink that I couldn’t make the one-block walk between a liquor store and my apartment without uncapping the bottle to take a swig,” Biden writes. He also provides a how-to for cooking powder cocaine into crack in the kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After buying his first rock of crack cocaine in a public square in downtown Washington at the age of 18 and spending much of his education years drinking (“I could always drink five times as much as anyone”) Biden began his tour of rehab facilities while still in his early 30s. He has seen the inside of celebrity treatment centers in Mexico as well as in various parts of the U.S. The rehabs led to brief bouts of sobriety followed by relapses, each of which seemed to take him deeper into dependency. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13847716",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He acknowledges months spent drunk in a D.C. apartment and more months binging cocaine in hotel bungalows in Hollywood — while his father was either vice president or a candidate for president. Considering the time he spent high behind the wheel, it is amazing the author can still be alive to recount the story.\u003c/p>\n\u003cp>He also addresses other elements of his life that have raised eyebrows or presented potential legal and political problems. He acknowledges DNA evidence that he fathered a child with a woman he does not remember having met. He acknowledges the fallout from his affair with the widow of his late brother, Beau, which took place after his brother’s death and after the widow retrieved him from a rehab center.\u003c/p>\n\u003cp>And he devotes a chapter to his relationship with Burisma, a natural gas company in Ukraine that was among his most lucrative gigs. For service on that company’s board of directors, the younger Biden was paid five figures each month. As he had no special expertise in gas or the political economics of Ukraine, that remuneration was always suspect.\u003c/p>\n\u003cp>Hunter Biden says he vetted Burisma with a reputable U.S. law firm and worked to help them comply with anti-corruption laws and related demands for transparency from the U.S. and the European Union. As for Burisma’s interest in Hunter’s family connection, he writes:\u003c/p>\n\u003cblockquote>\u003cp>“There’s no question my last name was a coveted credential. That has always been the case. Do you think if any of the Trump children ever tried to get a job outside their father’s business that his name wouldn’t figure into the calculation? My response has always been to work harder so that my accomplishments stand on their own.”\u003c/p>\u003c/blockquote>\n\u003cp>Of course, Trump and his personal attorney Rudolph Giuliani spent much of 2019 and 2020 promoting the younger Biden’s relationship with Burisma as a corrupt bargain that involved the elder Biden—and that needed investigating. Those accusations, and Trump’s aggressive effort to induce Ukraine to investigate them, led to his first impeachment.\u003c/p>\n\u003cp>But Trump and Giuliani did not stop there. Efforts to portray Hunter as a liability, even a disqualification for his father’s candidacy, continued right up to the election in November 2020. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891604",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last gasp of Giuliani’s campaign against the Bidens featured a laptop supposedly obtained from sources that would document the younger Biden’s drug use and other offenses. The laptop story was discredited by U.S. intelligence and independent investigations by news organizations.\u003c/p>\n\u003cp>As for the drug use, however, there could scarcely be a more damning account than Hunter Biden’s own in his memoir. Repeated attempts at intervention by his father and family fail to stop him. He is estranged from his wife, who divorces him and has custody of their daughters. With each relapse he descends another rung until he haunts a nocturnal underworld of addicts, dealers, ex-cons and con artists in Los Angeles.\u003c/p>\n\u003cp>And then, in the final pages, it is the spring of 2019 and Hunter meets a South African filmmaker and activist named Melissa, who swiftly brings his life under control in ways Hunter himself never had. He stops drinking and smoking crack. The two, who married not long after meeting, now have a son, a toddler the nation saw onstage at the Biden victory celebration the Saturday after the election in November.\u003c/p>\n\u003cp>That little boy is named Beau, for Hunter’s older brother who died of a brain tumor in 2015. But by this point in the book, one knows the son could have no other name. Beau Biden is as much a character in this memoir as anyone, appearing in memories beginning with the night in 1972 when the boys are injured in a car crash that kills their mother and baby sister. They wake up next to each other in a hospital. Their shared memories of this loss bind them far more than even close brothers are usually bound. It is after Beau’s death that Hunter loses the will to fight the demons he has battled for so long.\u003c/p>\n\u003cp>When he meets Melissa, the first thing he tells us about her is that she has blue eyes like Beau’s. The last section of \u003cem>Beautiful Things \u003c/em>is a letter to Beau, and the title refers to a mantra the two had in the days they spent together near the end of Beau’s life.\u003c/p>\n\u003cp>This memoir is surely a confession, but it seems to seek something other than conventional forgiveness—something other than sympathy.\u003c/p>\n\u003cp>It is not an easy thing to be a senator’s son. It may be cushy at times and many doors may open. But Hunter Biden’s father was not just another senator. And while no one can doubt the love between the two, as amply demonstrated countless times, there is also a chasm between the hungers of the son and the trajectory of the teetotaler father. (Aware of stories about problem drinkers in the family tree, the elder Biden steered clear.) \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889820",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not always easy being Beau Biden’s little brother, either. Popular and smart, Beau was president of his high school class each year while Hunter was changing schools a lot, looking for the right fit. He got into Georgetown University, but did a lot of drinking while a student. He got into Yale on a second try after adding a poem to his application. He tells us later he got a 172 on his LSAT (99th percentile) and clearly has a sense of his ability—both professional and artistic—that has never been fulfilled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, if it is not about forgiveness or sympathy, this memoir may be about making a stand. Making it clear the younger son, the black sheep of the Biden clan, wants to take whatever place on that victory stage he can occupy, as a son and a brother and the father of Beau Biden II, the new generation of hope.\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=Hunter+Biden%27s+Memoir+%27Beautiful+Things%27+Seeks+To+Tell+Just+Where+He%27s+Been+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13894965/hunter-bidens-memoir-beautiful-things-seeks-to-tell-just-where-hes-been",
"authors": [
"byline_arts_13894965"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_7072"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13894973",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=literature": {
"isFetching": false,
"latestQuery": {
"from": 528,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1917,
"relation": "eq"
},
"items": [
"arts_13896648",
"arts_13896385",
"arts_13896164",
"arts_13896116",
"arts_13895771",
"arts_13896077",
"arts_13896050",
"arts_13895831",
"arts_13895169",
"arts_13895040",
"arts_13895078",
"arts_13894965"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_literature": {
"isLoading": true
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_9646": {
"type": "terms",
"id": "arts_9646",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9646",
"found": true
},
"relationships": {},
"featImg": null,
"name": "libraries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "libraries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9658,
"slug": "libraries",
"isLoading": false,
"link": "/arts/tag/libraries"
},
"arts_10651": {
"type": "terms",
"id": "arts_10651",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10651",
"found": true
},
"relationships": {},
"featImg": null,
"name": "liveupdates",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "liveupdates Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10663,
"slug": "liveupdates",
"isLoading": false,
"link": "/arts/tag/liveupdates"
},
"arts_10902": {
"type": "terms",
"id": "arts_10902",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10902",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reopening",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reopening Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10914,
"slug": "reopening",
"isLoading": false,
"link": "/arts/tag/reopening"
},
"arts_3573": {
"type": "terms",
"id": "arts_3573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Public Library",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Public Library Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3585,
"slug": "san-francisco-public-library",
"isLoading": false,
"link": "/arts/tag/san-francisco-public-library"
},
"arts_1496": {
"type": "terms",
"id": "arts_1496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1508,
"slug": "poetry",
"isLoading": false,
"link": "/arts/tag/poetry"
},
"arts_3652": {
"type": "terms",
"id": "arts_3652",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3652",
"found": true
},
"relationships": {},
"featImg": null,
"name": "racism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "racism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3664,
"slug": "racism",
"isLoading": false,
"link": "/arts/tag/racism"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_7215": {
"type": "terms",
"id": "arts_7215",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7215",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Earth Day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Earth Day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7227,
"slug": "earth-day",
"isLoading": false,
"link": "/arts/tag/earth-day"
},
"arts_12276": {
"type": "terms",
"id": "arts_12276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12276",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Explore the Bay Area culinary scene through KQED's food stories, recipes, dining experiences, and stories from the diverse tastemakers that define the Bay's cuisines.",
"title": "Bay Area Food Archives, Articles, News, and Reviews | KQED",
"ogDescription": null
},
"ttid": 12288,
"slug": "food",
"isLoading": false,
"link": "/arts/category/food"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_7669": {
"type": "terms",
"id": "arts_7669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "poet laureate",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "poet laureate Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7681,
"slug": "poet-laureate",
"isLoading": false,
"link": "/arts/tag/poet-laureate"
},
"arts_2309": {
"type": "terms",
"id": "arts_2309",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2309",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Stanford",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Stanford Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2321,
"slug": "stanford",
"isLoading": false,
"link": "/arts/tag/stanford"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_7446": {
"type": "terms",
"id": "arts_7446",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7446",
"found": true
},
"relationships": {},
"featImg": null,
"name": "book review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Bay Area's Literary Lens: KQED Unpacks Top Reads & Hidden Gems",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Bay Area's literary scene comes alive on KQED! Dive into reviews of local authors, uncover regional voices, and explore themes that resonate with the Bay Area.",
"metaRobotsNoIndex": "index",
"title": "Bay Area's Literary Lens: KQED Unpacks Top Reads & Hidden Gems",
"ogDescription": null
},
"ttid": 7458,
"slug": "book-review",
"isLoading": false,
"link": "/arts/tag/book-review"
},
"arts_21788": {
"type": "terms",
"id": "arts_21788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21788",
"found": true
},
"relationships": {},
"featImg": null,
"name": "indie rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "indie rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21800,
"slug": "indie-rock",
"isLoading": false,
"link": "/arts/tag/indie-rock"
},
"arts_8501": {
"type": "terms",
"id": "arts_8501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "religion",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "religion Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8513,
"slug": "religion",
"isLoading": false,
"link": "/arts/tag/religion"
},
"arts_1331": {
"type": "terms",
"id": "arts_1331",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1331",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1343,
"slug": "bay-area",
"isLoading": false,
"link": "/arts/tag/bay-area"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_1630": {
"type": "terms",
"id": "arts_1630",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1630",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Libby Schaaf",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Libby Schaaf Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1642,
"slug": "libby-schaaf",
"isLoading": false,
"link": "/arts/tag/libby-schaaf"
},
"arts_22450": {
"type": "terms",
"id": "arts_22450",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22450",
"found": true
},
"relationships": {},
"name": "Oakland Roots",
"slug": "oakland-roots",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Oakland Roots | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22462,
"isLoading": false,
"link": "/arts/tag/oakland-roots"
},
"arts_4506": {
"type": "terms",
"id": "arts_4506",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4506",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4518,
"slug": "sports",
"isLoading": false,
"link": "/arts/tag/sports"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_8350": {
"type": "terms",
"id": "arts_8350",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8350",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8362,
"slug": "hbo",
"isLoading": false,
"link": "/arts/tag/hbo"
},
"arts_12942": {
"type": "terms",
"id": "arts_12942",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Tina Turner",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Tina Turner Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12954,
"slug": "tina-turner",
"isLoading": false,
"link": "/arts/tag/tina-turner"
},
"arts_5050": {
"type": "terms",
"id": "arts_5050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Woody Allen",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Woody Allen Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5062,
"slug": "woody-allen",
"isLoading": false,
"link": "/arts/tag/woody-allen"
},
"arts_7072": {
"type": "terms",
"id": "arts_7072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "joe biden",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "joe biden Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7084,
"slug": "joe-biden",
"isLoading": false,
"link": "/arts/tag/joe-biden"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
