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"content": "\u003cp>In recent years, the image of the American suffragist has been evoked by women in Congress wearing white.\u003c/p>\n\u003cp>But the 100th anniversary of the passage of the 19th Amendment has been an opportunity for some to take a closer look at the stories of the women of the movement—the ones we think we already know, and the ones that have been lost to history.\u003c/p>\n\u003cp>\u003cem>Finish the Fight!: The Brave and Revolutionary Women Who Fought for the Right to Vote\u003c/em> is a picture book by Veronica Chambers and the staff of \u003cem>The New York Times\u003c/em>—and it paints a very different picture of the various women who fought for the right to vote.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the idea for the book\u003c/strong>\u003c/p>\n\u003cp>Well, about a year ago we knew the anniversary of suffrage was coming up and we started asking: What did we know about suffrage? And we kept coming up with the same old names. But we knew that there was a lot that we didn’t know. And once we dove into it, it was really exciting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On one of those names—Frances Ellen Watkins Harper \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885386 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png\" alt=\"\" width=\"280\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM-160x191.png 160w\" sizes=\"(max-width: 280px) 100vw, 280px\">I think that someone like Frances Ellen Watkins Harper was really interesting because she was very different than a Sojourner Truth. You know, she was this woman who was really well-educated, one of the first African-American women to publish a book in the U.S. She gave a speech in 1866 at the National Women’s Rights Convention where she basically said, I don’t think that giving women the ballot is going to do everything for us and that we really have to take the measure of everyone. That was really problematic, I think, to some people in the suffrage movement who were used to Black women being grateful to be there on their terms.\u003c/p>\n\u003cp>\u003cstrong>On the conversation about Black men getting the right to vote versus white women—and leaving women of color out of the discussion\u003c/strong>\u003c/p>\n\u003cp>Frederick Douglass was at the convention for Seneca Falls. But when the 15th Amendment came and really was a question of survival, people thought that if Black men didn’t get the vote, the chance of slavery becoming a de facto practice would be very great. And it was true. I mean, one of the things that politicizes people like Francis Ellen Watkins Harper is the fact that free Black people are being kidnapped and stolen back into slavery. And without a vote, there was really no recourse against it.\u003c/p>\n\u003cp>\u003cstrong>On Latina women and queer women related to the movement\u003c/strong>\u003c/p>\n\u003cp>One of the things that’s super interesting is, one, we didn’t want to just tell the story of queer women as this history of white women, which I think often it does. So we talked about people like Alice Dunbar Nelson, who documented her relationships with both men and women in her diaries.\u003c/p>\n\u003cp>But the other thing is that it’s really tricky to impose our contemporary definition of sexuality and gender onto the 19th century. … You realize is that, one, for women in this movement, whether or not they identified as queer or not, that freedom to love who you want to love is inextricably tied up with voting rights. And so some of these marriages were perhaps sexual, but more importantly, it was that there was a deep friendship and independence because part of what women knew is that if they didn’t get married, they could lose everything. They didn’t have a voice in government without a vote. So whether or not they were unmarried and queer or unmarried and not queer, voting became really important. And the female friendships, the independence of being a woman who can define herself outside of a relationship with a man is very key to the movement—to the suffrage movement overall.\u003c/p>\n\u003cp>\u003cstrong>On women who were not supportive of the suffragist movement as it was operating at that time\u003c/strong>\u003c/p>\n\u003cp>We tend to look back and think all women must have been for women voting. And one of the things we looked at was the question of women who were anti-suffrage. It wasn’t that these women felt that women shouldn’t have a voice. There was this feeling that women’s political power was pure outside of traditional structures. So anti-suffrage women were fighting for better working conditions for working women. They were fighting for better child education and child labor laws. A lot of the issues that we care about, child care and early childhood education, there was just this idea that politics and the sort of corridors of Washington and national politics were not the place for women. But it wasn’t that they, in their own way, didn’t feel that there were issues that women could and should weigh in on.\u003c/p>\n\u003cp>\u003cstrong>On thinking about conservative ideology when it comes to women today \u003c/strong>\u003c/p>\n\u003cp>At a time when we are constantly made to feel that we’re so separate and different and fighting for our lives, history can be kind of a powerful reminder that the American experiment, as they talk about in the musical \u003cem>Hamilton\u003c/em>, was just that. And that we are really just in one phase of that experiment and that everything we know about culture and identity and women and voting and perspectives and platforms has a deep history that goes really way back.\u003c/p>\n\u003cp>\u003cstrong>On whether the fight feels finished\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think anyone who’s a woman in this country knows that we don’t get equal pay, that things like child care, which so many suffragists and even women who were anti-suffrage … women who were anti-suffrage still fought for child care for women, you know, all of the things that would give women an equal standing in society. There’s a lot of that still hanging in the balance. And so, I guess my answer is that I hate to think of it solely as a fight, but I think that the question of women’s equality is far from complete in this country.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Finish+The+Fight%27+Paints+A+Different+Picture+Of+Women+Who+Pushed+For+A+Vote&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On one of those names—Frances Ellen Watkins Harper \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885386 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png\" alt=\"\" width=\"280\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM.png 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-4.32.02-PM-160x191.png 160w\" sizes=\"(max-width: 280px) 100vw, 280px\">I think that someone like Frances Ellen Watkins Harper was really interesting because she was very different than a Sojourner Truth. You know, she was this woman who was really well-educated, one of the first African-American women to publish a book in the U.S. She gave a speech in 1866 at the National Women’s Rights Convention where she basically said, I don’t think that giving women the ballot is going to do everything for us and that we really have to take the measure of everyone. That was really problematic, I think, to some people in the suffrage movement who were used to Black women being grateful to be there on their terms.\u003c/p>\n\u003cp>\u003cstrong>On the conversation about Black men getting the right to vote versus white women—and leaving women of color out of the discussion\u003c/strong>\u003c/p>\n\u003cp>Frederick Douglass was at the convention for Seneca Falls. But when the 15th Amendment came and really was a question of survival, people thought that if Black men didn’t get the vote, the chance of slavery becoming a de facto practice would be very great. And it was true. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think anyone who’s a woman in this country knows that we don’t get equal pay, that things like child care, which so many suffragists and even women who were anti-suffrage … women who were anti-suffrage still fought for child care for women, you know, all of the things that would give women an equal standing in society. There’s a lot of that still hanging in the balance. And so, I guess my answer is that I hate to think of it solely as a fight, but I think that the question of women’s equality is far from complete in this country.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Finish+The+Fight%27+Paints+A+Different+Picture+Of+Women+Who+Pushed+For+A+Vote&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Long before it became a polarizing litmus test of our new political spectrum, the story and history of undocumented migrants crossing America’s southern border was on Micheline Aharonian Marcom’s mind.\u003c/p>\n\u003cp>The novelist, who grew up in Los Angeles, spent her 20s in the East Bay teaching ESL and Spanish. She later worked in Oakland public schools as the assistant director of a college prep program for low-income, first generation students. When she began writing her latest novel, \u003cem>\u003ca href=\"https://www.simonandschuster.com/books/The-New-American/Micheline-Aharonian-Marcom/9781982120726\" rel=\"noopener noreferrer\" target=\"_blank\">The New American\u003c/a>\u003c/em>, several years ago, she was drawn toward the complex narratives of those coming from beyond Mexico.\u003c/p>\n\u003cp>“For me the big story in Mexico in 2012—and this is before anyone in the mainstream news was really talking about it here—was the story of what was happening to Central Americans as they migrated north,” says Marcom, who is currently sheltering in place in Sausalito and splits her time between the Bay Area and Virginia. “They, too, are undocumented in Mexico as much as the United States.”\u003c/p>\n\u003cp>Most of \u003cem>The New American\u003c/em> indeed takes place during the journey from Central America to and through Mexico—in migrant shelters and on La Bestia (“The Beast”), the infamously perilous freight train that countless immigrants use to traverse thousands of miles—rather than at the U.S. border.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At its center of the novel is Emilio, a 21-year-old Guatemalan desperately trying to get back home to his family in Berkeley. He has lived in America his whole conscious life, goes to UC Berkeley and only learns as a teenager that he is undocumented—a “Dreamer” who was brought into the U.S. as a child by his parents. After a stroke of unfortunate luck, he is deported, and his entire world suddenly vanishes. \u003c/p>\n\u003cp>But we only gather Emilio’s history slowly. Marcom grounds the book in the linear trajectory of migration. We learn of Emilio’s former life in bits and pieces, the same way he meets other travelers along the way, learning their stories in rough shades. Each backstory is invariably tinged with tragedy, suffering and desperation, circumstances that drove the characters out of their homes in countries like El Salvador and Honduras, where the homicide rates are among the highest in the world. As they make their way to the American border, there are only new perils. \u003c/p>\n\u003cfigure id=\"attachment_13885244\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg\" alt=\"\" width=\"1200\" height=\"1140\" class=\"size-full wp-image-13885244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-800x760.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-1020x969.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-768x730.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Micheline Aharonian Marcom \u003ccite>(Luco Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcom, whose work has often been experimental, says the great difficulty of the book was writing with simplicity, tracking plainly the harrowing trials of the journey—kidnappings, rapes, the persistent threat of violence. \u003c/p>\n\u003cp>“All the characters are fictional and [Emilio’s] journey is also a fiction,” Marcom says, “but all of the details, the things that happened to him—it’s because I knew they happened to somebody or somebodies, either through research I was doing, interviews I was finding [or] some things I learned from interviewing people myself.” \u003c/p>\n\u003cp>These realities are eye-opening to read now, particularly amid the ongoing crisis at the border, but when Marcom wrote the book in 2012, the national conversation around immigration was much quieter, the context far less understood. For years, Marcom could not sell the book to publishers, until Simon & Schuster picked it up in 2018, against the backdrop of President Trump’s family separation policy at the border. \u003c/p>\n\u003cp>In the years between, Marcom, looking for an alternative means to tell this story, started \u003ca href=\"https://newamericanstoryproject.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New American Story Project\u003c/a>, an oral history series that interviews undocumented teenagers who have traveled as unaccompanied minors from Central America to the U.S.\u003c/p>\n\u003cp>https://vimeo.com/262476273\u003c/p>\n\u003cp>“We have a very long, complicated relationship with those countries,” Marcom says. “And yet most Americans, we don’t necessarily know that much about it. We’re like, ‘Who are these people? Why would they come here?’ Why would you think? Because they’re desperate. Nobody sends their child out alone on a journey unless they’re terrified for them.” \u003c/p>\n\u003cp>That context is not only ignored, but also further complicated by America’s decades-long political involvement with the countries of Central America, Marcom notes. It goes far deeper than election meddling. In 2009, the U.S. tacitly supported a coup in Honduras that has directly led to escalating violence and in turn driven waves of immigrants to the north in search of safety. \u003c/p>\n\u003cp>That thorny political reality informs each attempted crossing, and in documenting those complex experiences through fictional characters, Marcom’s premise might quickly remind readers of the literary-world debacle surrounding the novel \u003cem>American Dirt\u003c/em>. That book, written by author Jeanine Cummins, was among this year’s most hotly anticipated works, but leading up to its release in January it met a swirl of controversy. Among other critiques, Cummins (who is white) was accused of sloppily dressing up a tale of migrants in caricatured tragedy and stereotypes while reaping the rewards of political timeliness. \u003c/p>\n\u003cp>[aside postID=\"news_11798033\"]Did Marcom worry her book might be doing the same? Marcom’s story and writing offers a decidedly different kind of book, not least of all due to her years-long dedication to understanding and honoring the real-life stories behind her novel. But Marcom—who has written before about heavy historical subjects like the Armenian Genocide and genocide in Guatemala—is largely uninterested in weighing in on the \u003cem>American Dirt\u003c/em> fiasco.\u003c/p>\n\u003cp>“I haven’t read it,” Marcom says. “Of course, I know more than I’d like to know about whatever happened around it. I’m old fashioned in the sense that for me things like beauty and justice and truth are still the things that are guiding my work. The only person I’m going to hold myself accountable to is my sense of duty to the dead or maybe to God.”\u003c/p>\n\u003cp>What animates \u003cem>The New American\u003c/em> is the bare truth of the journey countless migrants have undertaken, from La Bestia to the deadly stretch of the Sonoran Desert that Emilio must eventually drag himself through. Firsthand experiences related to Marcom guide the work, along with the persistence and belief evinced by each interviewee—qualities she says continue to surprise her. \u003c/p>\n\u003cp>“I see that over and over again when I listen to people who tell me their stories and I listen to interviews,” Marcom says. “It’s this extraordinary human capacity to seek something better, and to endure and to have faith in God that things can be better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before it became a polarizing litmus test of our new political spectrum, the story and history of undocumented migrants crossing America’s southern border was on Micheline Aharonian Marcom’s mind.\u003c/p>\n\u003cp>The novelist, who grew up in Los Angeles, spent her 20s in the East Bay teaching ESL and Spanish. She later worked in Oakland public schools as the assistant director of a college prep program for low-income, first generation students. When she began writing her latest novel, \u003cem>\u003ca href=\"https://www.simonandschuster.com/books/The-New-American/Micheline-Aharonian-Marcom/9781982120726\" rel=\"noopener noreferrer\" target=\"_blank\">The New American\u003c/a>\u003c/em>, several years ago, she was drawn toward the complex narratives of those coming from beyond Mexico.\u003c/p>\n\u003cp>“For me the big story in Mexico in 2012—and this is before anyone in the mainstream news was really talking about it here—was the story of what was happening to Central Americans as they migrated north,” says Marcom, who is currently sheltering in place in Sausalito and splits her time between the Bay Area and Virginia. “They, too, are undocumented in Mexico as much as the United States.”\u003c/p>\n\u003cp>Most of \u003cem>The New American\u003c/em> indeed takes place during the journey from Central America to and through Mexico—in migrant shelters and on La Bestia (“The Beast”), the infamously perilous freight train that countless immigrants use to traverse thousands of miles—rather than at the U.S. border.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At its center of the novel is Emilio, a 21-year-old Guatemalan desperately trying to get back home to his family in Berkeley. He has lived in America his whole conscious life, goes to UC Berkeley and only learns as a teenager that he is undocumented—a “Dreamer” who was brought into the U.S. as a child by his parents. After a stroke of unfortunate luck, he is deported, and his entire world suddenly vanishes. \u003c/p>\n\u003cp>But we only gather Emilio’s history slowly. Marcom grounds the book in the linear trajectory of migration. We learn of Emilio’s former life in bits and pieces, the same way he meets other travelers along the way, learning their stories in rough shades. Each backstory is invariably tinged with tragedy, suffering and desperation, circumstances that drove the characters out of their homes in countries like El Salvador and Honduras, where the homicide rates are among the highest in the world. As they make their way to the American border, there are only new perils. \u003c/p>\n\u003cfigure id=\"attachment_13885244\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg\" alt=\"\" width=\"1200\" height=\"1140\" class=\"size-full wp-image-13885244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-800x760.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-1020x969.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-768x730.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Micheline Aharonian Marcom \u003ccite>(Luco Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcom, whose work has often been experimental, says the great difficulty of the book was writing with simplicity, tracking plainly the harrowing trials of the journey—kidnappings, rapes, the persistent threat of violence. \u003c/p>\n\u003cp>“All the characters are fictional and [Emilio’s] journey is also a fiction,” Marcom says, “but all of the details, the things that happened to him—it’s because I knew they happened to somebody or somebodies, either through research I was doing, interviews I was finding [or] some things I learned from interviewing people myself.” \u003c/p>\n\u003cp>These realities are eye-opening to read now, particularly amid the ongoing crisis at the border, but when Marcom wrote the book in 2012, the national conversation around immigration was much quieter, the context far less understood. For years, Marcom could not sell the book to publishers, until Simon & Schuster picked it up in 2018, against the backdrop of President Trump’s family separation policy at the border. \u003c/p>\n\u003cp>In the years between, Marcom, looking for an alternative means to tell this story, started \u003ca href=\"https://newamericanstoryproject.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New American Story Project\u003c/a>, an oral history series that interviews undocumented teenagers who have traveled as unaccompanied minors from Central America to the U.S.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We have a very long, complicated relationship with those countries,” Marcom says. “And yet most Americans, we don’t necessarily know that much about it. We’re like, ‘Who are these people? Why would they come here?’ Why would you think? Because they’re desperate. Nobody sends their child out alone on a journey unless they’re terrified for them.” \u003c/p>\n\u003cp>That context is not only ignored, but also further complicated by America’s decades-long political involvement with the countries of Central America, Marcom notes. It goes far deeper than election meddling. In 2009, the U.S. tacitly supported a coup in Honduras that has directly led to escalating violence and in turn driven waves of immigrants to the north in search of safety. \u003c/p>\n\u003cp>That thorny political reality informs each attempted crossing, and in documenting those complex experiences through fictional characters, Marcom’s premise might quickly remind readers of the literary-world debacle surrounding the novel \u003cem>American Dirt\u003c/em>. That book, written by author Jeanine Cummins, was among this year’s most hotly anticipated works, but leading up to its release in January it met a swirl of controversy. Among other critiques, Cummins (who is white) was accused of sloppily dressing up a tale of migrants in caricatured tragedy and stereotypes while reaping the rewards of political timeliness. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Did Marcom worry her book might be doing the same? Marcom’s story and writing offers a decidedly different kind of book, not least of all due to her years-long dedication to understanding and honoring the real-life stories behind her novel. But Marcom—who has written before about heavy historical subjects like the Armenian Genocide and genocide in Guatemala—is largely uninterested in weighing in on the \u003cem>American Dirt\u003c/em> fiasco.\u003c/p>\n\u003cp>“I haven’t read it,” Marcom says. “Of course, I know more than I’d like to know about whatever happened around it. I’m old fashioned in the sense that for me things like beauty and justice and truth are still the things that are guiding my work. The only person I’m going to hold myself accountable to is my sense of duty to the dead or maybe to God.”\u003c/p>\n\u003cp>What animates \u003cem>The New American\u003c/em> is the bare truth of the journey countless migrants have undertaken, from La Bestia to the deadly stretch of the Sonoran Desert that Emilio must eventually drag himself through. Firsthand experiences related to Marcom guide the work, along with the persistence and belief evinced by each interviewee—qualities she says continue to surprise her. \u003c/p>\n\u003cp>“I see that over and over again when I listen to people who tell me their stories and I listen to interviews,” Marcom says. “It’s this extraordinary human capacity to seek something better, and to endure and to have faith in God that things can be better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Fallout' Tells the Story of the Journalist Who Exposed the 'Hiroshima Cover-Up'",
"headTitle": "‘Fallout’ Tells the Story of the Journalist Who Exposed the ‘Hiroshima Cover-Up’ | KQED",
"content": "\u003cp>When the U.S military dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki in August 1945, the American government portrayed the weapons as equivalent to large conventional bombs—and dismissed Japanese reports of radiation sickness as propaganda.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885057 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png\" alt=\"\" width=\"216\" height=\"326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM-160x241.png 160w\" sizes=\"(max-width: 216px) 100vw, 216px\">Military censors restricted access to Hiroshima, but a young journalist named John Hersey managed to get there and write a devastating account of the death, destruction and radiation poisoning he encountered. Author Lesley M.M. Blume tells Hersey’s story in her book, \u003cem>Fallout: The Hiroshima Cover-up and the Reporter Who Revealed it to the World. \u003c/em>\u003c/p>\n\u003cp>She writes that when Hersey, who had covered the war in Europe, arrived in Hiroshima to report on the aftereffects of the bomb a year later, the city was “still just a sort of smoldering wreck.”\u003c/p>\n\u003cp>“Hersey had seen everything from that point, from combat to concentration camps,” Blume says. “But he later said that nothing prepared him for what he saw in Hiroshima.”\u003c/p>\n\u003cp>Hersey wrote a \u003ca href=\"https://www.newyorker.com/magazine/1946/08/31/hiroshima\" target=\"_blank\" rel=\"noopener noreferrer\">30,000-word essay\u003c/a>, telling the story of the bombing and its aftermath from the perspective of six survivors. The article, which was published in its entirety by \u003cem>The New Yorker\u003c/em>, was fundamental in challenging the government’s narrative of nuclear bombs as conventional weapons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It helped create what many experts in the nuclear fields called the ‘nuclear taboo,’ ” Blume says of Hersey’s essay. “The world did not know the truth about what nuclear warfare really looks like on the receiving end, or did not really understand the full nature of these then experimental weapons, until John Hersey got into Hiroshima and reported it to the world.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what Americans knew about the nature of nuclear weapons in 1945\u003c/strong>\u003c/p>\n\u003cp>Americans didn’t know about the bomb—period—until it was detonated over Hiroshima. The Manhattan Project was cloaked in enormous secrecy, even though tens of thousands of people were working on it. … When President Harry Truman announced that America had detonated the world’s first atomic bomb over the Japanese city of Hiroshima, he was announcing not only a new weapon, but the fact that we had entered into the Atomic Age, and Americans had no idea about the nature of these then-experimental weapons—namely, that these are weapons that continue to kill long after detonation. It would take quite a bit of time and reporting to bring that out.\u003c/p>\n\u003cp>Everybody who heard the announcement [from Truman] knew that they were dealing with something totally unprecedented, not just in the war, but in the history of human warfare. What was not stated was the fact that this bomb had radiological qualities, [that] blast survivors on the ground would die in an agonizing way for the days and the weeks and months and years that followed.\u003c/p>\n\u003cp>\u003cstrong>On how military generals focused on physical devastation when they testified before Congress about the effects of the atomic bomb \u003c/strong>\u003c/p>\n\u003cp>In the immediate weeks, very little [was said.] A lot of it was really painted in landscape devastation. Landscape photographs were released to newspapers showing the decimation of Hiroshima and Nagasaki. There were rubble pictures, and also obviously people are seeing the mushroom cloud photos taken from the bombers themselves or from recon missions. But in terms of the radiation—even in Truman’s announcement of the bomb—he’s painting the bombs in conventional terms. He says these bombs are the equivalent to 20,000 tons of TNT. And so Americans, they know that it’s a mega-weapon, but they don’t understand the full nature of the weapons, the radiological effects are not in any way highlighted to the American public, and in the meantime, the U.S. military is scrambling to find out how the radiation of the bombs is affecting the physical landscape, how it’s affecting human beings, because they’re about to send tens of thousands of occupation troops into Japan.\u003c/p>\n\u003cp>\u003cstrong>On America’s PR campaign and cover-up of the radiation aftermath \u003c/strong>\u003c/p>\n\u003cp>[The U.S. military] created a PR campaign to really combat the notion that the U.S. had decimated these populations with a really destructive radiological weapon. Leslie Groves [who directed the Manhattan Project] and Robert Oppenheimer [who directed the Manhattan Project’s laboratory at Los Alamos, N.M.] themselves went to the Trinity site of testing [in New Mexico] and brought a junket of reporters so they could show off the area. And they said that there was no residual radiation whatsoever, and that therefore, any news that was filtering over from Japan were “Tokyo tales.” So right away they went into overdrive to contain that narrative. …\u003c/p>\n\u003cp>The American officials were saying, for the most part, these are the defeated Japanese trying to create international sympathy, to create better terms for themselves and the occupation—ignore them.\u003c/p>\n\u003cp>\u003cstrong>On how reporters had limited access to Hiroshima and Nagasaki, and their reports were often censored \u003c/strong>\u003c/p>\n\u003cp>In the early days of the occupation, there obviously would have been enormous interest in trying to get to Hiroshima and Nagasaki … but as the occupation really took hold and became increasingly organized, the reports were intercepted. The last one that came out of Nagasaki was intercepted and lost. There was almost no point in trying to get down there because the obstacles that were put up for reporters were so tremendous by the military censors. … I can’t overstate how restricted your movements were as a reporter, as part of the occupation press corps. … You could not get around, you could not eat. You couldn’t do anything without the permission of the Army. … The control was near total.\u003c/p>\n\u003cp>\u003cstrong>On concerning Japanese reports about “Disease X” affecting blast survivors \u003c/strong>\u003c/p>\n\u003cp>As news started to filter over from Japanese reports about what it was like on Hiroshima and Nagasaki in the aftermath, wire reports started picking up really disturbing information about the totality of the decimation and this sinister … “Disease X” that was ravaging blast survivors. So this news was starting to trickle over early in August of 1945 to Americans.\u003c/p>\n\u003cp>And so the U.S. realized that not only were they going to have to really try to study very quickly how radioactive the atomic cities might have been, as they were bringing in their own occupation troops. But they [also] realized that they had a potential PR disaster on their hands, because the U.S. had just won this horribly hard-earned military victory, and were on the moral high ground, they felt, in defeating the Axis powers. And they had avenged Pearl Harbor. They had avenged Japanese atrocities throughout the Pacific theater in Asia. But then reports that they had decimated a largely civilian population in this excruciating way with an experimental weapon—it was concerning because it might have deprived the U.S. government of [its] moral high ground.\u003c/p>\n\u003cp>\u003cstrong>On how Hiroshima and Nagasaki were seen as souvenir sites for American military \u003c/strong>\u003c/p>\n\u003cp>Hiroshima was seen as a site of just enormous victory for these guys. And a lot of them would go even to ground zero of the bombings in Hiroshima. … They saw it as a souvenir site. It’s essentially a graveyard. There are still remains that are being dug up in Hiroshima and Nagasaki today. But many of them kind of pillaged the ruins to grab a souvenir to bring home. It was the ultimate victory souvenir. So whether it’s a broken teacup to use as an ashtray or what have you, they went and they took their equivalent of selfies at ground zero. At one point in Nagasaki, Marines cleared a football field-sized amount of space in the ruins and they had what they called the “Atomic Bowl,” which was a New Year’s Day football game where they had conscripted Japanese women as cheerleaders. It was an astonishing scene in both cities. They were seen as sites of a victory. And most of the “occupationaires” were totally unrepentant about what had gone down there.\u003c/p>\n\u003cp>\u003cstrong>On Hersey getting a firsthand account from the Rev. Kiyoshi Tanimoto of what the moment of the bombing was like \u003c/strong>\u003c/p>\n\u003cp>Rev. Tanimoto, at the moment of the bombing, was slightly outside of the city. He had been transporting some goods to the outskirts of the city, and he was up on a hill. And so therefore, he had a bird’s-eye view of what happened. He fell to the ground when the actual bomb went off. But then when he got up, he saw that the city had been enveloped in flames and black clouds. And … he saw a procession of survivors starting to straggle out of the city. He was just absolutely horrified by what he had seen and baffled, too, because usually an attack on this level would have been perpetrated by a fleet of bombers. But this was just a single flash.\u003c/p>\n\u003cp>And the survivors who were making their way out of the city and who would not survive for long, I mean, most of them were naked. Some of them had flesh hanging from their bodies. He saw just unspeakable sights as he ran into the city because he had a wife and an infant daughter. He wanted to find his parishioners. The closer he got towards the detonation, the worse the scene was. The ground was just littered with scalded bodies and people who were trying to drag themselves out of the ruins and wouldn’t make it. There were walls of fire that were consuming the areas. The enormous firestorm was starting to consume the city. He, at one point, was picked up by a whirlwind, because winds had been unleashed throughout the city, and … he was lifted up in a red-hot whirlwind. … It was just unbelievable that he survived not only the initial blast, but then [headed] into [the] city center and the extreme trauma of having witnessed what he witnessed. It’s remarkable that he came out of it alive.\u003c/p>\n\u003cp>\u003cstrong>On how Hersey’s reporting changed the world’s perception of nuclear weapons\u003c/strong> [aside postid='arts_13884520']\u003c/p>\n\u003cp>The Japanese could not, for years, tell the world what it had been like to be on the receiving end of nuclear warfare, because they were under such dire press restrictions by the occupation forces. And so it took John Hersey’s reporting to show the world what the true aftermath and the true experience of nuclear warfare looks like. … It changed overnight for many people, what was described by one of Hersey’s contemporaries as the “Fourth of July feeling” about Hiroshima. There was a lot of dark humor about the bombings in Hiroshima. [The essay] just really imbued the event with a sobriety that really hadn’t been there before. And also it just completely deprived the U.S. government of the ability to be able to paint nuclear bombs as conventional weapons. … [Hersey] himself later said the thing that has kept the world safe from another nuclear attack since 1945 has been the memory of what happened in Hiroshima. And he certainly created a cornerstone of that memory.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fallout%27+Tells+The+Story+Of+The+Journalist+Who+Exposed+The+%27Hiroshima+Cover-Up%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the U.S military dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki in August 1945, the American government portrayed the weapons as equivalent to large conventional bombs—and dismissed Japanese reports of radiation sickness as propaganda.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885057 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png\" alt=\"\" width=\"216\" height=\"326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM-160x241.png 160w\" sizes=\"(max-width: 216px) 100vw, 216px\">Military censors restricted access to Hiroshima, but a young journalist named John Hersey managed to get there and write a devastating account of the death, destruction and radiation poisoning he encountered. Author Lesley M.M. Blume tells Hersey’s story in her book, \u003cem>Fallout: The Hiroshima Cover-up and the Reporter Who Revealed it to the World. \u003c/em>\u003c/p>\n\u003cp>She writes that when Hersey, who had covered the war in Europe, arrived in Hiroshima to report on the aftereffects of the bomb a year later, the city was “still just a sort of smoldering wreck.”\u003c/p>\n\u003cp>“Hersey had seen everything from that point, from combat to concentration camps,” Blume says. “But he later said that nothing prepared him for what he saw in Hiroshima.”\u003c/p>\n\u003cp>Hersey wrote a \u003ca href=\"https://www.newyorker.com/magazine/1946/08/31/hiroshima\" target=\"_blank\" rel=\"noopener noreferrer\">30,000-word essay\u003c/a>, telling the story of the bombing and its aftermath from the perspective of six survivors. The article, which was published in its entirety by \u003cem>The New Yorker\u003c/em>, was fundamental in challenging the government’s narrative of nuclear bombs as conventional weapons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It helped create what many experts in the nuclear fields called the ‘nuclear taboo,’ ” Blume says of Hersey’s essay. “The world did not know the truth about what nuclear warfare really looks like on the receiving end, or did not really understand the full nature of these then experimental weapons, until John Hersey got into Hiroshima and reported it to the world.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what Americans knew about the nature of nuclear weapons in 1945\u003c/strong>\u003c/p>\n\u003cp>Americans didn’t know about the bomb—period—until it was detonated over Hiroshima. The Manhattan Project was cloaked in enormous secrecy, even though tens of thousands of people were working on it. … When President Harry Truman announced that America had detonated the world’s first atomic bomb over the Japanese city of Hiroshima, he was announcing not only a new weapon, but the fact that we had entered into the Atomic Age, and Americans had no idea about the nature of these then-experimental weapons—namely, that these are weapons that continue to kill long after detonation. It would take quite a bit of time and reporting to bring that out.\u003c/p>\n\u003cp>Everybody who heard the announcement [from Truman] knew that they were dealing with something totally unprecedented, not just in the war, but in the history of human warfare. What was not stated was the fact that this bomb had radiological qualities, [that] blast survivors on the ground would die in an agonizing way for the days and the weeks and months and years that followed.\u003c/p>\n\u003cp>\u003cstrong>On how military generals focused on physical devastation when they testified before Congress about the effects of the atomic bomb \u003c/strong>\u003c/p>\n\u003cp>In the immediate weeks, very little [was said.] A lot of it was really painted in landscape devastation. Landscape photographs were released to newspapers showing the decimation of Hiroshima and Nagasaki. There were rubble pictures, and also obviously people are seeing the mushroom cloud photos taken from the bombers themselves or from recon missions. But in terms of the radiation—even in Truman’s announcement of the bomb—he’s painting the bombs in conventional terms. He says these bombs are the equivalent to 20,000 tons of TNT. And so Americans, they know that it’s a mega-weapon, but they don’t understand the full nature of the weapons, the radiological effects are not in any way highlighted to the American public, and in the meantime, the U.S. military is scrambling to find out how the radiation of the bombs is affecting the physical landscape, how it’s affecting human beings, because they’re about to send tens of thousands of occupation troops into Japan.\u003c/p>\n\u003cp>\u003cstrong>On America’s PR campaign and cover-up of the radiation aftermath \u003c/strong>\u003c/p>\n\u003cp>[The U.S. military] created a PR campaign to really combat the notion that the U.S. had decimated these populations with a really destructive radiological weapon. Leslie Groves [who directed the Manhattan Project] and Robert Oppenheimer [who directed the Manhattan Project’s laboratory at Los Alamos, N.M.] themselves went to the Trinity site of testing [in New Mexico] and brought a junket of reporters so they could show off the area. And they said that there was no residual radiation whatsoever, and that therefore, any news that was filtering over from Japan were “Tokyo tales.” So right away they went into overdrive to contain that narrative. …\u003c/p>\n\u003cp>The American officials were saying, for the most part, these are the defeated Japanese trying to create international sympathy, to create better terms for themselves and the occupation—ignore them.\u003c/p>\n\u003cp>\u003cstrong>On how reporters had limited access to Hiroshima and Nagasaki, and their reports were often censored \u003c/strong>\u003c/p>\n\u003cp>In the early days of the occupation, there obviously would have been enormous interest in trying to get to Hiroshima and Nagasaki … but as the occupation really took hold and became increasingly organized, the reports were intercepted. The last one that came out of Nagasaki was intercepted and lost. There was almost no point in trying to get down there because the obstacles that were put up for reporters were so tremendous by the military censors. … I can’t overstate how restricted your movements were as a reporter, as part of the occupation press corps. … You could not get around, you could not eat. You couldn’t do anything without the permission of the Army. … The control was near total.\u003c/p>\n\u003cp>\u003cstrong>On concerning Japanese reports about “Disease X” affecting blast survivors \u003c/strong>\u003c/p>\n\u003cp>As news started to filter over from Japanese reports about what it was like on Hiroshima and Nagasaki in the aftermath, wire reports started picking up really disturbing information about the totality of the decimation and this sinister … “Disease X” that was ravaging blast survivors. So this news was starting to trickle over early in August of 1945 to Americans.\u003c/p>\n\u003cp>And so the U.S. realized that not only were they going to have to really try to study very quickly how radioactive the atomic cities might have been, as they were bringing in their own occupation troops. But they [also] realized that they had a potential PR disaster on their hands, because the U.S. had just won this horribly hard-earned military victory, and were on the moral high ground, they felt, in defeating the Axis powers. And they had avenged Pearl Harbor. They had avenged Japanese atrocities throughout the Pacific theater in Asia. But then reports that they had decimated a largely civilian population in this excruciating way with an experimental weapon—it was concerning because it might have deprived the U.S. government of [its] moral high ground.\u003c/p>\n\u003cp>\u003cstrong>On how Hiroshima and Nagasaki were seen as souvenir sites for American military \u003c/strong>\u003c/p>\n\u003cp>Hiroshima was seen as a site of just enormous victory for these guys. And a lot of them would go even to ground zero of the bombings in Hiroshima. … They saw it as a souvenir site. It’s essentially a graveyard. There are still remains that are being dug up in Hiroshima and Nagasaki today. But many of them kind of pillaged the ruins to grab a souvenir to bring home. It was the ultimate victory souvenir. So whether it’s a broken teacup to use as an ashtray or what have you, they went and they took their equivalent of selfies at ground zero. At one point in Nagasaki, Marines cleared a football field-sized amount of space in the ruins and they had what they called the “Atomic Bowl,” which was a New Year’s Day football game where they had conscripted Japanese women as cheerleaders. It was an astonishing scene in both cities. They were seen as sites of a victory. And most of the “occupationaires” were totally unrepentant about what had gone down there.\u003c/p>\n\u003cp>\u003cstrong>On Hersey getting a firsthand account from the Rev. Kiyoshi Tanimoto of what the moment of the bombing was like \u003c/strong>\u003c/p>\n\u003cp>Rev. Tanimoto, at the moment of the bombing, was slightly outside of the city. He had been transporting some goods to the outskirts of the city, and he was up on a hill. And so therefore, he had a bird’s-eye view of what happened. He fell to the ground when the actual bomb went off. But then when he got up, he saw that the city had been enveloped in flames and black clouds. And … he saw a procession of survivors starting to straggle out of the city. He was just absolutely horrified by what he had seen and baffled, too, because usually an attack on this level would have been perpetrated by a fleet of bombers. But this was just a single flash.\u003c/p>\n\u003cp>And the survivors who were making their way out of the city and who would not survive for long, I mean, most of them were naked. Some of them had flesh hanging from their bodies. He saw just unspeakable sights as he ran into the city because he had a wife and an infant daughter. He wanted to find his parishioners. The closer he got towards the detonation, the worse the scene was. The ground was just littered with scalded bodies and people who were trying to drag themselves out of the ruins and wouldn’t make it. There were walls of fire that were consuming the areas. The enormous firestorm was starting to consume the city. He, at one point, was picked up by a whirlwind, because winds had been unleashed throughout the city, and … he was lifted up in a red-hot whirlwind. … It was just unbelievable that he survived not only the initial blast, but then [headed] into [the] city center and the extreme trauma of having witnessed what he witnessed. It’s remarkable that he came out of it alive.\u003c/p>\n\u003cp>\u003cstrong>On how Hersey’s reporting changed the world’s perception of nuclear weapons\u003c/strong> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fallout%27+Tells+The+Story+Of+The+Journalist+Who+Exposed+The+%27Hiroshima+Cover-Up%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I Promise' by LeBron James is a Message Book Your Kids Will Love",
"headTitle": "‘I Promise’ by LeBron James is a Message Book Your Kids Will Love | KQED",
"content": "\u003cp>What I refer to as “message books” don’t normally make a big splash in my house. You know the ones you REALLY want your kids to take to heart but end up being cast aside for \u003cem>The Babysitters Club\u003c/em> or \u003cem>Judy Moody\u003c/em> or \u003cem>Wings of Fire?\u003c/em> The ones you start reading aloud, hoping your kids will learn to be nice, or be themselves, or control their temper, but instead of listening, your kid starts acting EXACTLY the opposite of the book’s message? The ones you keep on the shelf in the vain hope that your kids will one day say, “Aha! Of course, THAT’S how it’s supposed to be!” Yes, I thought you might. Do you still buy them? Of course you do.\u003c/p>\n\u003cp>I do too. [aside postid='arts_13877896']\u003c/p>\n\u003cp>Even being fairly sure how my kids normally react to message books, once in a while, a very rare once in a while, one hits with them. There is no rhyme or reason to it, no formula I can follow that will keep me from spending money and time on yet another message book that will end up being donated. But once in a blue moon there’s a message book that just clicks (sort of like brussels sprouts with bacon—who knew my kids would go crazy over that?).\u003c/p>\n\u003cp>LeBron James has written such a book. Yes, that LeBron James.\u003c/p>\n\u003cp>I’m going to be straight-up honest: When it comes to basketball, I only watch college ball. Okay, I will be more honest: I only watch University of Virginia basketball. (Okay, I also watch Longwood University basketball, but they play in my hometown, and the wife of the men’s coach is my best friend, and the coach of the women’s team is a very good friend, so I have no choice.) I never played basketball, and I have won one game of HORSE in my entire life, but I am a huge fan of the pivot foot, won an NCAA bracket pool in 2012, and have seen \u003cem>Hoosiers \u003c/em>at least five times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But LeBron James is a man on a mission, and you don’t have to be an expert on basketball to get it. (Thank you, Mr. James.) In 2018, James opened the I Promise school in his hometown of Akron, Ohio for at-risk kids and kids who were deemed “\u003ca href=\"https://www.nytimes.com/2019/04/12/education/lebron-james-school-ohio.html\" target=\"_blank\" rel=\"noopener noreferrer\">the worst performers in the Akron public\u003c/a> schools.” What began as a community service program continues to grow, and James’ new children’s book, \u003cem>I Promise\u003c/em>, is his latest attempt to reach out to kids. The result is a message book on par with brussels sprouts and bacon, as far as my kids are concerned.[aside postid='arts_13874840']\u003c/p>\n\u003cp>\u003cem>I Promise\u003c/em> is a beautiful book. Illustrator Nina Mata’s colors are bright and her children diverse, which James has said was his definite vision, but what really drew my kids in were the little moments she created, the little things that end up being big things: slamming down on your hand when you trip over a jump rope, or being the only one who is scared to get on the school bus.\u003c/p>\n\u003cp>While there isn’t a main character in \u003cem>I Promise\u003c/em>, there is one little girl who appears several times. The image of her sitting on a bench, so small that her feet don’t even touch the ground, leaning her head on her brother’s shoulder after she fails to sink a basketball, brought me and my kids very near tears (my kids started hugging all over each other; it was nice while it lasted), and they immediately started talking about the challenges in their own lives, hard moments may seem small to grown-ups but are huge for kids.\u003c/p>\n\u003cp>And LeBron James’ promises are huge too. “I promise to use kindness when I speak” is no small thing to kids who sass with almost every breath, and “I promise to remain strong and humble with every win and defeat” seems almost insurmountable to a six-year-old who cries when she loses at \u003cem>Sleeping Queens\u003c/em> (not to mention a ten-year-old who rubs it in when he wins at \u003cem>Sleeping Queens\u003c/em>)\u003cem>.\u003c/em>\u003c/p>\n\u003cp>But the promises are supposed to be huge. LeBron James will be the first to tell you that he didn’t know if the dreams he had as a kid would ever be a reality. He will be the first to tell you that it was the promises he made to himself that helped him forge a path out of his difficult childhood, but he will also be the first to tell you that promises are not enough.\u003c/p>\n\u003cp>“When I was growing up in Akron, I always had big dreams,” he writes. “Because of the situation we were in, I didn’t always know if those dreams would be possible. The purpose of these promises we make to ourselves and to each other, and that we’re sharing with kids across the world in this book, is to tell them they can do anything they put their minds to if they commit to doing the hard work.”[aside postid='arts_13877883']\u003c/p>\n\u003cp>And it is hard work. It is hard work to speak with kindness and to pick yourself up after you fall, no matter how many times you promise yourself you will do it. It can be hard work to do the right thing, and hard work to admit that you’re wrong. And it can also be hard work to give a message book its due.\u003c/p>\n\u003cp>Yes, it’s easier to set a message book aside in favor of re-reading \u003cem>Are You My Mother? \u003c/em>It can be difficult to take the time to stop and talk through the lessons when there is no story, and it doesn’t always work. But LeBron James and Nina Mata have made it work, for both my kids and for me. And I didn’t even have to know anything about basketball.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What I refer to as “message books” don’t normally make a big splash in my house. You know the ones you REALLY want your kids to take to heart but end up being cast aside for \u003cem>The Babysitters Club\u003c/em> or \u003cem>Judy Moody\u003c/em> or \u003cem>Wings of Fire?\u003c/em> The ones you start reading aloud, hoping your kids will learn to be nice, or be themselves, or control their temper, but instead of listening, your kid starts acting EXACTLY the opposite of the book’s message? The ones you keep on the shelf in the vain hope that your kids will one day say, “Aha! Of course, THAT’S how it’s supposed to be!” Yes, I thought you might. Do you still buy them? Of course you do.\u003c/p>\n\u003cp>I do too. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even being fairly sure how my kids normally react to message books, once in a while, a very rare once in a while, one hits with them. There is no rhyme or reason to it, no formula I can follow that will keep me from spending money and time on yet another message book that will end up being donated. But once in a blue moon there’s a message book that just clicks (sort of like brussels sprouts with bacon—who knew my kids would go crazy over that?).\u003c/p>\n\u003cp>LeBron James has written such a book. Yes, that LeBron James.\u003c/p>\n\u003cp>I’m going to be straight-up honest: When it comes to basketball, I only watch college ball. Okay, I will be more honest: I only watch University of Virginia basketball. (Okay, I also watch Longwood University basketball, but they play in my hometown, and the wife of the men’s coach is my best friend, and the coach of the women’s team is a very good friend, so I have no choice.) I never played basketball, and I have won one game of HORSE in my entire life, but I am a huge fan of the pivot foot, won an NCAA bracket pool in 2012, and have seen \u003cem>Hoosiers \u003c/em>at least five times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But LeBron James is a man on a mission, and you don’t have to be an expert on basketball to get it. (Thank you, Mr. James.) In 2018, James opened the I Promise school in his hometown of Akron, Ohio for at-risk kids and kids who were deemed “\u003ca href=\"https://www.nytimes.com/2019/04/12/education/lebron-james-school-ohio.html\" target=\"_blank\" rel=\"noopener noreferrer\">the worst performers in the Akron public\u003c/a> schools.” What began as a community service program continues to grow, and James’ new children’s book, \u003cem>I Promise\u003c/em>, is his latest attempt to reach out to kids. The result is a message book on par with brussels sprouts and bacon, as far as my kids are concerned.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>I Promise\u003c/em> is a beautiful book. Illustrator Nina Mata’s colors are bright and her children diverse, which James has said was his definite vision, but what really drew my kids in were the little moments she created, the little things that end up being big things: slamming down on your hand when you trip over a jump rope, or being the only one who is scared to get on the school bus.\u003c/p>\n\u003cp>While there isn’t a main character in \u003cem>I Promise\u003c/em>, there is one little girl who appears several times. The image of her sitting on a bench, so small that her feet don’t even touch the ground, leaning her head on her brother’s shoulder after she fails to sink a basketball, brought me and my kids very near tears (my kids started hugging all over each other; it was nice while it lasted), and they immediately started talking about the challenges in their own lives, hard moments may seem small to grown-ups but are huge for kids.\u003c/p>\n\u003cp>And LeBron James’ promises are huge too. “I promise to use kindness when I speak” is no small thing to kids who sass with almost every breath, and “I promise to remain strong and humble with every win and defeat” seems almost insurmountable to a six-year-old who cries when she loses at \u003cem>Sleeping Queens\u003c/em> (not to mention a ten-year-old who rubs it in when he wins at \u003cem>Sleeping Queens\u003c/em>)\u003cem>.\u003c/em>\u003c/p>\n\u003cp>But the promises are supposed to be huge. LeBron James will be the first to tell you that he didn’t know if the dreams he had as a kid would ever be a reality. He will be the first to tell you that it was the promises he made to himself that helped him forge a path out of his difficult childhood, but he will also be the first to tell you that promises are not enough.\u003c/p>\n\u003cp>“When I was growing up in Akron, I always had big dreams,” he writes. “Because of the situation we were in, I didn’t always know if those dreams would be possible. The purpose of these promises we make to ourselves and to each other, and that we’re sharing with kids across the world in this book, is to tell them they can do anything they put their minds to if they commit to doing the hard work.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it is hard work. It is hard work to speak with kindness and to pick yourself up after you fall, no matter how many times you promise yourself you will do it. It can be hard work to do the right thing, and hard work to admit that you’re wrong. And it can also be hard work to give a message book its due.\u003c/p>\n\u003cp>Yes, it’s easier to set a message book aside in favor of re-reading \u003cem>Are You My Mother? \u003c/em>It can be difficult to take the time to stop and talk through the lessons when there is no story, and it doesn’t always work. But LeBron James and Nina Mata have made it work, for both my kids and for me. And I didn’t even have to know anything about basketball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The police killings of George Floyd and Breonna Taylor moved millions of Americans to protest, donate to racial justice causes and call their representatives, but it was \u003ca href=\"https://www.kqed.org/news/11822771/bay-area-george-floyd-protests-police-violence-curfew-orders\" target=\"_blank\" rel=\"noopener noreferrer\">high school students\u003c/a> who led marches of tens of thousands in Oakland and San Francisco. Members of the youngest, queerest and most diverse generation are fired up about changing laws as well as culture, and they aren’t waiting for permission from adults to take to the streets.\u003c/p>\n\u003cfigure id=\"attachment_13884255\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Into-the-Streets-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Into the Streets’ by Marke Bieschke. \u003ccite>(Lerner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That doesn’t mean, however, that they don’t have a thing or two to learn from history—the real history of America, much of which casts serious doubt on whether the country has actually made good on its professed values of liberty and justice for all. Young people today are carrying forward civil rights and labor struggles that have been ongoing for hundreds of years.\u003c/p>\n\u003cp>“I wanted people to know about how the United States had been shaped by the protests, and that a lot of the things young people get curious or angry about actually [have] roots,” says journalist and author Marke Bieschke, whose new nonfiction book, \u003ca href=\"https://lernerbooks.com/shop/show/19559\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Into the Streets: A Young Person’s Visual History of Protest in the United States\u003c/em>\u003c/a>, offers an accessible and engaging overview of American activism.\u003c/p>\n\u003cp>While marketed to young adult readers, \u003cem>Into the Streets\u003c/em> is really a primer for anyone who wants a deeper understanding of how people have historically organized against oppressive forces, starting with early anti-colonial Native American revolts and the Underground Railroad. Though it spans hundreds of years, the book spends the most time on the 20th century.\u003c/p>\n\u003cp>We learn that Filipino and Mexican farmworkers, typically pitted against one another by management, teamed up to strike for better wages and working conditions in the 1960s, initiating the biggest boycott in U.S. history and highlighting the importance of an intersectional movement. In the same decade, the Black Panthers expanded anti-police-brutality activism into a community service program with free breakfasts for schoolchildren, illuminating the related struggles of racism and poverty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also details how social movements can be used to maintain the status quo, or worse, set back civil rights causes. Similar to the racial discrimination in today’s mainstream feminist movement, for instance, the suffragettes of the late-19th and early-20th centuries won white women the right to vote while pushing an explicitly racist agenda. And much like the torch-bearing white supremacists in Charlottesville in 2017, KKK members a hundred years earlier used flamboyant visuals and public violence as terror tactics against Black people and other people of color.\u003c/p>\n\u003cp>Contemporary, youth-led movements such as 2018’s \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener noreferrer\">March for Our Lives\u003c/a> make their way into the book as well, and Bieschke is already working on a second edition that covers recent \u003ca href=\"https://www.kqed.org/news/11815894/protests-mark-growing-unrest-with-california-stay-at-home-order\" target=\"_blank\" rel=\"noopener noreferrer\">anti-lockdown demonstrations\u003c/a> as well as the George Floyd protests. The updated edition will explore how Black Lives Matter activists of the 2010s, whom Bieschke covers in the Ferguson chapter, spent years laying the groundwork for today’s protests with media messaging, hashtags and social media campaigns.\u003c/p>\n\u003cp>“People could spring into action all over the world because they were familiar with the message, they were familiar with the symbols, and they were familiar with the hashtag,” he says. “People had been educated on social media. … We’re seeing the deep work that goes into a movement come into fruition.”\u003c/p>\n\u003cfigure id=\"attachment_13884256\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Marke-Bieschke-Protest-.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest-.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--768x511.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Author Marke Bieschke speaks at a demonstration against corporate media after SF Media Co. shut down the ‘San Francisco Bay Guardian’ in 2014. \u003ccite>(Courtesy of Marke Bieschke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bieschke got into activism as a queer college student protesting the 1990 Gulf War, and he’s heartened by the energy of today’s young people, especially the ways they’re finding links between different social movements and making them stronger as a result. “This latest Pride, which was replaced in many parts of the world with a Black Trans Lives Matter march, was so invigorating because this is what it’s really about,” he says. (\u003cem>Into the Streets\u003c/em> covers the Stonewall riots of 1969, which were led by Black and Latina trans women and sparked the modern-day gay rights movement.)\u003c/p>\n\u003cp>With \u003cem>Into the Streets\u003c/em>, Bieschke covers a lot of ground—enough to satisfy the omnivorous appetites of those who identify with multiple, intersecting social justice movements. “There’s a whole legacy of people questioning things like racism, sexism and homophobia,” he says. “I wanted [young people] to connect to that and feel that they’re not alone in that, and also contextualize where some of those struggles came from and where they are today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Marke Bieschke is giving a talk on the San Francisco Public Library’s YouTube channel at 7pm, Aug. 12. \u003ca href=\"https://sfpl.org/events/2020/08/12/author-talk-marke-bieschke-streets\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The police killings of George Floyd and Breonna Taylor moved millions of Americans to protest, donate to racial justice causes and call their representatives, but it was \u003ca href=\"https://www.kqed.org/news/11822771/bay-area-george-floyd-protests-police-violence-curfew-orders\" target=\"_blank\" rel=\"noopener noreferrer\">high school students\u003c/a> who led marches of tens of thousands in Oakland and San Francisco. Members of the youngest, queerest and most diverse generation are fired up about changing laws as well as culture, and they aren’t waiting for permission from adults to take to the streets.\u003c/p>\n\u003cfigure id=\"attachment_13884255\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Into-the-Streets-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Into-the-Streets.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Into the Streets’ by Marke Bieschke. \u003ccite>(Lerner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That doesn’t mean, however, that they don’t have a thing or two to learn from history—the real history of America, much of which casts serious doubt on whether the country has actually made good on its professed values of liberty and justice for all. Young people today are carrying forward civil rights and labor struggles that have been ongoing for hundreds of years.\u003c/p>\n\u003cp>“I wanted people to know about how the United States had been shaped by the protests, and that a lot of the things young people get curious or angry about actually [have] roots,” says journalist and author Marke Bieschke, whose new nonfiction book, \u003ca href=\"https://lernerbooks.com/shop/show/19559\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Into the Streets: A Young Person’s Visual History of Protest in the United States\u003c/em>\u003c/a>, offers an accessible and engaging overview of American activism.\u003c/p>\n\u003cp>While marketed to young adult readers, \u003cem>Into the Streets\u003c/em> is really a primer for anyone who wants a deeper understanding of how people have historically organized against oppressive forces, starting with early anti-colonial Native American revolts and the Underground Railroad. Though it spans hundreds of years, the book spends the most time on the 20th century.\u003c/p>\n\u003cp>We learn that Filipino and Mexican farmworkers, typically pitted against one another by management, teamed up to strike for better wages and working conditions in the 1960s, initiating the biggest boycott in U.S. history and highlighting the importance of an intersectional movement. In the same decade, the Black Panthers expanded anti-police-brutality activism into a community service program with free breakfasts for schoolchildren, illuminating the related struggles of racism and poverty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book also details how social movements can be used to maintain the status quo, or worse, set back civil rights causes. Similar to the racial discrimination in today’s mainstream feminist movement, for instance, the suffragettes of the late-19th and early-20th centuries won white women the right to vote while pushing an explicitly racist agenda. And much like the torch-bearing white supremacists in Charlottesville in 2017, KKK members a hundred years earlier used flamboyant visuals and public violence as terror tactics against Black people and other people of color.\u003c/p>\n\u003cp>Contemporary, youth-led movements such as 2018’s \u003ca href=\"https://www.kqed.org/news/11657553/march-for-our-lives-protests-fill-the-streets-of-over-a-dozen-bay-area-cities\" target=\"_blank\" rel=\"noopener noreferrer\">March for Our Lives\u003c/a> make their way into the book as well, and Bieschke is already working on a second edition that covers recent \u003ca href=\"https://www.kqed.org/news/11815894/protests-mark-growing-unrest-with-california-stay-at-home-order\" target=\"_blank\" rel=\"noopener noreferrer\">anti-lockdown demonstrations\u003c/a> as well as the George Floyd protests. The updated edition will explore how Black Lives Matter activists of the 2010s, whom Bieschke covers in the Ferguson chapter, spent years laying the groundwork for today’s protests with media messaging, hashtags and social media campaigns.\u003c/p>\n\u003cp>“People could spring into action all over the world because they were familiar with the message, they were familiar with the symbols, and they were familiar with the hashtag,” he says. “People had been educated on social media. … We’re seeing the deep work that goes into a movement come into fruition.”\u003c/p>\n\u003cfigure id=\"attachment_13884256\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Marke-Bieschke-Protest-.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest-.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Marke-Bieschke-Protest--768x511.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Author Marke Bieschke speaks at a demonstration against corporate media after SF Media Co. shut down the ‘San Francisco Bay Guardian’ in 2014. \u003ccite>(Courtesy of Marke Bieschke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bieschke got into activism as a queer college student protesting the 1990 Gulf War, and he’s heartened by the energy of today’s young people, especially the ways they’re finding links between different social movements and making them stronger as a result. “This latest Pride, which was replaced in many parts of the world with a Black Trans Lives Matter march, was so invigorating because this is what it’s really about,” he says. (\u003cem>Into the Streets\u003c/em> covers the Stonewall riots of 1969, which were led by Black and Latina trans women and sparked the modern-day gay rights movement.)\u003c/p>\n\u003cp>With \u003cem>Into the Streets\u003c/em>, Bieschke covers a lot of ground—enough to satisfy the omnivorous appetites of those who identify with multiple, intersecting social justice movements. “There’s a whole legacy of people questioning things like racism, sexism and homophobia,” he says. “I wanted [young people] to connect to that and feel that they’re not alone in that, and also contextualize where some of those struggles came from and where they are today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Marke Bieschke is giving a talk on the San Francisco Public Library’s YouTube channel at 7pm, Aug. 12. \u003ca href=\"https://sfpl.org/events/2020/08/12/author-talk-marke-bieschke-streets\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Unspeakable Acts\u003c/em>, edited by author, editor and critic Sarah Weinman, works as both a superb collection of true crime writing and a text that looks at the nuances of our collective obsession with horrific murders, con men and serial killers in a historical and cultural context.\u003c/p>\n\u003cfigure id=\"attachment_13884143\" class=\"wp-caption alignright\" style=\"max-width: 305px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png\" alt=\"'Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,' edited by Sarah Weinman.\" width=\"305\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM-160x235.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">\u003cfigcaption class=\"wp-caption-text\">‘Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,’ edited by Sarah Weinman. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those looking for titillating, gruesome chronicles of human depravity will find much to like here—and those who want great, smart writing and outstanding research that unveils things we would rather not look at under a microscope will be equally satisfied.\u003c/p>\n\u003cp>That \u003cem>Unspeakable Acts\u003c/em> is more than a collection of true crime stories is clear from the introduction, where Weinman states:\u003c/p>\n\u003cblockquote>\u003cp>“The fascination with murder and illegality is a perennial one, because the shock of the deed creates a schism between order and chaos. We wish for justice, but even when we get it, the result rings somewhat hollow.”\u003c/p>\u003c/blockquote>\n\u003cp>In the pages that follow, the search for answers is one of many cohesive elements that make this nonfiction anthology one of the best true crime books of the year. The other three main elements—great writing, meticulous research and fearless engagement with the psychological, cultural and emotional aftermaths of extreme violence and murder—make this anthology inhabit an interstitial space between personal writing and academic analysis.\u003c/p>\n\u003cp>There are recent cases here, like that of Dee Dee and Gypsy Rose Blanchard, a mother-daughter duo that lied about Gypsy’s health issues for years and tricked a lot of people in the process before it all ended in murder (Gypsy pled guilty to second-degree murder and was sentenced to 10 years in prison in 2016). There are also older cases. For example, one of the standouts in the book is Sarah Marshall’s “The End of Evil,” which takes a personal look at Ted Bundy through the lens of a woman who wants to understand the serial killer and looks for answers while deconstruction psychological profiling as well as psychopathy as something that equals “pure evil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another highlight is Alex Mar’s “Out Came the Girls: Adolescent Girlhood, the Occult, and the Slender Man Phenomenon.” Originally published in the \u003cem>Virginia Quarterly Review\u003c/em> in 2017, this essay deserves its own review. It looks at the Slender Man stabbings of 2014, when Anissa Weier and Morgan Geyser, two 12-year-old girls, lured a friend into the woods and stabbed her 19 times. While Mar explores the myths and evidence of the case, she also focuses on how adolescence is a strange time for girls and how psychological, emotional and physical changes affect young women in various ways. Her writing on this is sharp and noteworthy:\u003c/p>\n\u003cblockquote>\u003cp>“To be an adolescent girl is, for many, to view yourself as desperately set apart, powerfully misunderstood. A special alien, terrible and extraordinary. The flood of new hormones, shot from the glands into the bloodstream; the first charged touches, with a boy or a girl; the first years of bleeding in secret; the startling feeling that your body is suddenly hard to contain and, by extension, so are you.”\u003c/p>\u003c/blockquote>\n\u003cp>While \u003cem>Unspeakable Acts\u003c/em> is informative and engaging, it is also a wonderfully uncomfortable read because it brings real horror to your doorstep—it brings evidence that shows your neighbor could be a killer, your friends can stab you, and your partner could have a different name and another family or partner elsewhere. In Karen K. Ho’s “Jennifer Pan’s Revenge,” parental pressure leads to chaos and murder. In Rachel Monroe’s “The Perfect Man Who Wasn’t,” we are shown how con men can weasel their way into the lives of people and win over their trust, and their hearts, while draining their bank accounts and racking up credit card debt. These stories reveal the possible presence of the terrifying in everyday life and illuminate a devastating truth: Dark deeds are done not by monsters, but by people who look like everyone you know. [aside postid='pop_109009']\u003c/p>\n\u003cp>Alice Bolin echoes Weinman’s thoughts in the first paragraph of “The Ethical Dilemma of Highbrow True Crime” when she says, “People love true stories about murder and other brands of brutality and grift, and they have gorged on them particularly since the beginning of modern journalism.” Bolin explores the aesthetic differences between highbrow and lowbrow true-crime programs and documentaries, revealing in the process how voyeurism plays a huge role in the popularity of the genre today.\u003c/p>\n\u003cp>From classics of true-crime reporting to newer pieces that redefine the genre, \u003cem>Unspeakable Acts\u003c/em> offers more than 400 pages of unnerving, immersive true-crime writing from some of the most talented writers in the field. There is plenty of blood and viciousness in its pages, but there are also heavy doses of hope and heart, of humanity and searching for answers. Yes, this is creepy and pulpy at times, but it ultimately morphs into a mirror that shows us scary things—and uncovers why we are drawn to them so strongly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\" target=\"_blank\" rel=\"noopener noreferrer\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=True+Crime+Stories+And+The+Obsession+With+Them+Form+%27Unspeakable+Acts%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Unspeakable Acts\u003c/em>, edited by author, editor and critic Sarah Weinman, works as both a superb collection of true crime writing and a text that looks at the nuances of our collective obsession with horrific murders, con men and serial killers in a historical and cultural context.\u003c/p>\n\u003cfigure id=\"attachment_13884143\" class=\"wp-caption alignright\" style=\"max-width: 305px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png\" alt=\"'Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,' edited by Sarah Weinman.\" width=\"305\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM-160x235.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">\u003cfigcaption class=\"wp-caption-text\">‘Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,’ edited by Sarah Weinman. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those looking for titillating, gruesome chronicles of human depravity will find much to like here—and those who want great, smart writing and outstanding research that unveils things we would rather not look at under a microscope will be equally satisfied.\u003c/p>\n\u003cp>That \u003cem>Unspeakable Acts\u003c/em> is more than a collection of true crime stories is clear from the introduction, where Weinman states:\u003c/p>\n\u003cblockquote>\u003cp>“The fascination with murder and illegality is a perennial one, because the shock of the deed creates a schism between order and chaos. We wish for justice, but even when we get it, the result rings somewhat hollow.”\u003c/p>\u003c/blockquote>\n\u003cp>In the pages that follow, the search for answers is one of many cohesive elements that make this nonfiction anthology one of the best true crime books of the year. The other three main elements—great writing, meticulous research and fearless engagement with the psychological, cultural and emotional aftermaths of extreme violence and murder—make this anthology inhabit an interstitial space between personal writing and academic analysis.\u003c/p>\n\u003cp>There are recent cases here, like that of Dee Dee and Gypsy Rose Blanchard, a mother-daughter duo that lied about Gypsy’s health issues for years and tricked a lot of people in the process before it all ended in murder (Gypsy pled guilty to second-degree murder and was sentenced to 10 years in prison in 2016). There are also older cases. For example, one of the standouts in the book is Sarah Marshall’s “The End of Evil,” which takes a personal look at Ted Bundy through the lens of a woman who wants to understand the serial killer and looks for answers while deconstruction psychological profiling as well as psychopathy as something that equals “pure evil.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another highlight is Alex Mar’s “Out Came the Girls: Adolescent Girlhood, the Occult, and the Slender Man Phenomenon.” Originally published in the \u003cem>Virginia Quarterly Review\u003c/em> in 2017, this essay deserves its own review. It looks at the Slender Man stabbings of 2014, when Anissa Weier and Morgan Geyser, two 12-year-old girls, lured a friend into the woods and stabbed her 19 times. While Mar explores the myths and evidence of the case, she also focuses on how adolescence is a strange time for girls and how psychological, emotional and physical changes affect young women in various ways. Her writing on this is sharp and noteworthy:\u003c/p>\n\u003cblockquote>\u003cp>“To be an adolescent girl is, for many, to view yourself as desperately set apart, powerfully misunderstood. A special alien, terrible and extraordinary. The flood of new hormones, shot from the glands into the bloodstream; the first charged touches, with a boy or a girl; the first years of bleeding in secret; the startling feeling that your body is suddenly hard to contain and, by extension, so are you.”\u003c/p>\u003c/blockquote>\n\u003cp>While \u003cem>Unspeakable Acts\u003c/em> is informative and engaging, it is also a wonderfully uncomfortable read because it brings real horror to your doorstep—it brings evidence that shows your neighbor could be a killer, your friends can stab you, and your partner could have a different name and another family or partner elsewhere. In Karen K. Ho’s “Jennifer Pan’s Revenge,” parental pressure leads to chaos and murder. In Rachel Monroe’s “The Perfect Man Who Wasn’t,” we are shown how con men can weasel their way into the lives of people and win over their trust, and their hearts, while draining their bank accounts and racking up credit card debt. These stories reveal the possible presence of the terrifying in everyday life and illuminate a devastating truth: Dark deeds are done not by monsters, but by people who look like everyone you know. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alice Bolin echoes Weinman’s thoughts in the first paragraph of “The Ethical Dilemma of Highbrow True Crime” when she says, “People love true stories about murder and other brands of brutality and grift, and they have gorged on them particularly since the beginning of modern journalism.” Bolin explores the aesthetic differences between highbrow and lowbrow true-crime programs and documentaries, revealing in the process how voyeurism plays a huge role in the popularity of the genre today.\u003c/p>\n\u003cp>From classics of true-crime reporting to newer pieces that redefine the genre, \u003cem>Unspeakable Acts\u003c/em> offers more than 400 pages of unnerving, immersive true-crime writing from some of the most talented writers in the field. There is plenty of blood and viciousness in its pages, but there are also heavy doses of hope and heart, of humanity and searching for answers. Yes, this is creepy and pulpy at times, but it ultimately morphs into a mirror that shows us scary things—and uncovers why we are drawn to them so strongly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\" target=\"_blank\" rel=\"noopener noreferrer\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=True+Crime+Stories+And+The+Obsession+With+Them+Form+%27Unspeakable+Acts%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alex Trebek usually asks all the questions, so we turned the tables and asked him one for a change. What would the \u003cem>Jeopardy!\u003c/em> clue be for the question, “Who is Alex Trebek?”\u003c/p>\n\u003cp>“He’s the avuncular host of a popular quiz show who has been around, it seems, for\u003cem>ever,\u003c/em>” Trebek replies.\u003c/p>\n\u003cp>Trebek, who turns 80 on Wednesday, has been hosting \u003cem>Jeopardy!\u003c/em> since 1984. When he was offered the position back then, he had no idea he’d stay with the show for the rest of his career. “It was a job,” he says.\u003c/p>\n\u003cp>Trebek has long resisted writing an autobiography. “I always felt that I had nothing particularly relevant to say to our viewers,” he explains. “I’m just a quiz show host who’s been doing the same job for 36 years.”\u003c/p>\n\u003cp>But in March 2019, Trebek announced that he had stage IV pancreatic cancer. “The outpouring from our viewers after I revealed my diagnosis … that caught me by surprise and that humbled me a great deal,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It also factored into his decision to agree to write an autobiography after all. \u003cem>The Answer Is… Reflections On My Life\u003c/em> comes out on Tuesday. Trebek says all the proceeds will go to charity. And, it turns out, writing an autobiography wasn’t so bad in the end.\u003c/p>\n\u003cp>“I started recollecting things that I had not given any thought to in many, many years,” Trebek says. “And it felt good. It was a way of reviewing my entire life, and that just brought me a great deal of satisfaction.”\u003c/p>\n\u003cp>\u003cem>Jeopardy! \u003c/em>fans will find plenty of old photos, an entire chapter on Trebek’s mustache, and may learn for the first time that the mild-mannered host actually curses quite a bit.\u003c/p>\n\u003cp>“I’m not going to give you any examples in this interview, but just be aware that I do it and I’m not particularly proud of it,” he says. “But, hey, we have to live with who we are.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On trying to keep the spotlight on his contestants\u003c/strong>\u003c/p>\n\u003cp>Although I’m funny on occasion, I’m not a stand-up comic. I don’t try to force the spotlight to be on me when I’m hosting these programs. I’m very conscious of the fact that my job is to work it so that the contestants are able to demonstrate their skills to the best of their ability.\u003c/p>\n\u003cp>I’m fairly well organized in front of the cameras in that I can guide the show. If it’s lagging a little bit, I can push it. If it’s going too fast, I can slow things down. I have a good sense of pacing with regard to the competition that’s underway and I’m not an offensive personality on camera.\u003c/p>\n\u003cp>I seem to be, you know, your uncle, your friendly neighbor, and people react to that in a positive way. They feel comfortable with me. And so when you combine all of those things, it makes for a pretty pleasant experience for the television viewer. They don’t feel, ‘Oh, gosh, you know, this is a good game, but that host, he’s really obnoxious.’\u003c/p>\n\u003cp>\u003cstrong>On whether it was therapeutic to write his book\u003c/strong>\u003c/p>\n\u003cp>No, not really. Even though I recollected stories that go back, you know, 60, 70, 75 years. But it was just a reasonably pleasant experience—I say reasonably pleasant because we were under pressure. We put it together very quickly in about six weeks. … The written part came about fairly easily. I would sit at my desk talking on the telephone … to the editor in New York and just begin thinking about episodes in my past. … It flowed, and it flowed quickly.\u003c/p>\n\u003cp>\u003cstrong>On reassessing his toughness\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13883660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/the-answer-is-9781982157999_xlg_custom-714bcffc24cfafc3618fb2a8ceefd6322227658e.jpg\" alt=\"'The Answer Is...' by Alex Trebek.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/the-answer-is-9781982157999_xlg_custom-714bcffc24cfafc3618fb2a8ceefd6322227658e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/the-answer-is-9781982157999_xlg_custom-714bcffc24cfafc3618fb2a8ceefd6322227658e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘The Answer Is…’ by Alex Trebek. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I guess as a male figure of a certain age—one who belongs to a certain generation—the idea was when we were growing up that men were tough, women were delicate. And all of a sudden I realized maybe that concept of toughness, that way of looking at toughness, doesn’t apply to me—because I’m a bit of a wuss. And that bothered me for a while.\u003c/p>\n\u003cp>And then it ceased bothering me because I came to the conclusion that, hey, maybe you’re wrong in looking at toughness the way you have in the past. Maybe toughness is just dealing with life, dealing with what is handed to you, and trying to make the very best of it without falling apart, without denigrating anybody else in the process. Just doing what you can to keep things going in a positive way.\u003c/p>\n\u003cp>\u003cstrong>On confronting his mortality\u003c/strong>\u003c/p>\n\u003cp>If I were 25 or 30, I’d be fighting like mad every day to overcome this diagnosis. But age does influence you. I’m 80 years old and I’ve lived a great life. I have a marvelous family. I’ve had a fantastic career in terms of finances, in terms of acclaim within the television community. I have no reason to complain, whatsoever. So I think that does influence a person’s outlook. … You just say, ‘Boy, I’ve got to be thankful for what God has given me so far.’\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cem>\u003cstrong>Jeopardy! \u003c/strong>\u003c/em>\u003cstrong>contestant \u003c/strong>\u003ca href=\"https://www.nytimes.com/2016/12/21/us/-jeopardy-cindy-stowell-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cindy Stowell,\u003c/strong>\u003c/a>\u003cstrong> who competed while undergoing treatment for stage 4 colon cancer\u003c/strong>\u003c/p>\n\u003cp>She appeared while she was undergoing chemotherapy; she had stage 4 cancer, but she didn’t want us to let the other contestants know. The only people who knew were our producers and myself. And while we were taping, she had a few bad moments and we had to stop tape and she would go backstage and be ill. And yet she succeeded and earmarked her funds for cancer research. … She was just a gem of a person. There are degrees in terms of likability for \u003cem>Jeopardy!\u003c/em> players, and she ranked very high in terms of likability.\u003c/p>\n\u003cp>\u003cstrong>On trying to reply to the many fans who reach out to him to share their own health struggles \u003c/strong>\u003c/p>\n\u003cp>I receive hundreds and hundreds of letters each week. … There are times when I feel overwhelmed because people are sharing intimate secrets about their diagnoses. … My heart goes out to them. And yet there’s nothing I can do except give them a few words of encouragement. And there’s a lot of pressure in my mind that comes with that. So I try to do the best I can, but I am very much aware of the fact that I am not able to necessarily make their lives that much better, or that much different.\u003c/p>\n\u003cp>\u003cstrong>On his message to Americans right now \u003c/strong>\u003c/p>\n\u003cp>Be kinder to each other. I see America in a crisis situation right now in so many ways. And I want people to open up their hearts, and open up their hands, and open up their wallets to help each other. Because if ever there was a time when we needed to do that, that time is now. …\u003c/p>\n\u003cp>We can get through the pandemic if we follow the suggestions, the rules, laid out by the CDC, by the doctors, the epidemiologists, by the scientific people. If we follow what they want us to do, and if we are assiduous in doing that, we can get a grip on this pandemic. And if we get a grip on the pandemic, then the economy will follow right behind.\u003c/p>\n\u003cp>But, hey, this is a time where we have to come together. … These are the United States of America, and yet we’re so far apart in so many ways. And that, that upsets me. Let’s come together. Let’s be united. We’ve got nothing to lose.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Ashley Westerman produced and edited this interview for broadcast. Beth Novey adapted it for the web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Alex+Trebek+Is+Here+To+Tell+You%2C+%27The+Answer+Is+...%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alex Trebek usually asks all the questions, so we turned the tables and asked him one for a change. What would the \u003cem>Jeopardy!\u003c/em> clue be for the question, “Who is Alex Trebek?”\u003c/p>\n\u003cp>“He’s the avuncular host of a popular quiz show who has been around, it seems, for\u003cem>ever,\u003c/em>” Trebek replies.\u003c/p>\n\u003cp>Trebek, who turns 80 on Wednesday, has been hosting \u003cem>Jeopardy!\u003c/em> since 1984. When he was offered the position back then, he had no idea he’d stay with the show for the rest of his career. “It was a job,” he says.\u003c/p>\n\u003cp>Trebek has long resisted writing an autobiography. “I always felt that I had nothing particularly relevant to say to our viewers,” he explains. “I’m just a quiz show host who’s been doing the same job for 36 years.”\u003c/p>\n\u003cp>But in March 2019, Trebek announced that he had stage IV pancreatic cancer. “The outpouring from our viewers after I revealed my diagnosis … that caught me by surprise and that humbled me a great deal,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It also factored into his decision to agree to write an autobiography after all. \u003cem>The Answer Is… Reflections On My Life\u003c/em> comes out on Tuesday. Trebek says all the proceeds will go to charity. And, it turns out, writing an autobiography wasn’t so bad in the end.\u003c/p>\n\u003cp>“I started recollecting things that I had not given any thought to in many, many years,” Trebek says. “And it felt good. It was a way of reviewing my entire life, and that just brought me a great deal of satisfaction.”\u003c/p>\n\u003cp>\u003cem>Jeopardy! \u003c/em>fans will find plenty of old photos, an entire chapter on Trebek’s mustache, and may learn for the first time that the mild-mannered host actually curses quite a bit.\u003c/p>\n\u003cp>“I’m not going to give you any examples in this interview, but just be aware that I do it and I’m not particularly proud of it,” he says. “But, hey, we have to live with who we are.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On trying to keep the spotlight on his contestants\u003c/strong>\u003c/p>\n\u003cp>Although I’m funny on occasion, I’m not a stand-up comic. I don’t try to force the spotlight to be on me when I’m hosting these programs. I’m very conscious of the fact that my job is to work it so that the contestants are able to demonstrate their skills to the best of their ability.\u003c/p>\n\u003cp>I’m fairly well organized in front of the cameras in that I can guide the show. If it’s lagging a little bit, I can push it. If it’s going too fast, I can slow things down. I have a good sense of pacing with regard to the competition that’s underway and I’m not an offensive personality on camera.\u003c/p>\n\u003cp>I seem to be, you know, your uncle, your friendly neighbor, and people react to that in a positive way. They feel comfortable with me. And so when you combine all of those things, it makes for a pretty pleasant experience for the television viewer. They don’t feel, ‘Oh, gosh, you know, this is a good game, but that host, he’s really obnoxious.’\u003c/p>\n\u003cp>\u003cstrong>On whether it was therapeutic to write his book\u003c/strong>\u003c/p>\n\u003cp>No, not really. Even though I recollected stories that go back, you know, 60, 70, 75 years. But it was just a reasonably pleasant experience—I say reasonably pleasant because we were under pressure. We put it together very quickly in about six weeks. … The written part came about fairly easily. I would sit at my desk talking on the telephone … to the editor in New York and just begin thinking about episodes in my past. … It flowed, and it flowed quickly.\u003c/p>\n\u003cp>\u003cstrong>On reassessing his toughness\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13883660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/the-answer-is-9781982157999_xlg_custom-714bcffc24cfafc3618fb2a8ceefd6322227658e.jpg\" alt=\"'The Answer Is...' by Alex Trebek.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/the-answer-is-9781982157999_xlg_custom-714bcffc24cfafc3618fb2a8ceefd6322227658e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/the-answer-is-9781982157999_xlg_custom-714bcffc24cfafc3618fb2a8ceefd6322227658e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘The Answer Is…’ by Alex Trebek. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I guess as a male figure of a certain age—one who belongs to a certain generation—the idea was when we were growing up that men were tough, women were delicate. And all of a sudden I realized maybe that concept of toughness, that way of looking at toughness, doesn’t apply to me—because I’m a bit of a wuss. And that bothered me for a while.\u003c/p>\n\u003cp>And then it ceased bothering me because I came to the conclusion that, hey, maybe you’re wrong in looking at toughness the way you have in the past. Maybe toughness is just dealing with life, dealing with what is handed to you, and trying to make the very best of it without falling apart, without denigrating anybody else in the process. Just doing what you can to keep things going in a positive way.\u003c/p>\n\u003cp>\u003cstrong>On confronting his mortality\u003c/strong>\u003c/p>\n\u003cp>If I were 25 or 30, I’d be fighting like mad every day to overcome this diagnosis. But age does influence you. I’m 80 years old and I’ve lived a great life. I have a marvelous family. I’ve had a fantastic career in terms of finances, in terms of acclaim within the television community. I have no reason to complain, whatsoever. So I think that does influence a person’s outlook. … You just say, ‘Boy, I’ve got to be thankful for what God has given me so far.’\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cem>\u003cstrong>Jeopardy! \u003c/strong>\u003c/em>\u003cstrong>contestant \u003c/strong>\u003ca href=\"https://www.nytimes.com/2016/12/21/us/-jeopardy-cindy-stowell-death.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cindy Stowell,\u003c/strong>\u003c/a>\u003cstrong> who competed while undergoing treatment for stage 4 colon cancer\u003c/strong>\u003c/p>\n\u003cp>She appeared while she was undergoing chemotherapy; she had stage 4 cancer, but she didn’t want us to let the other contestants know. The only people who knew were our producers and myself. And while we were taping, she had a few bad moments and we had to stop tape and she would go backstage and be ill. And yet she succeeded and earmarked her funds for cancer research. … She was just a gem of a person. There are degrees in terms of likability for \u003cem>Jeopardy!\u003c/em> players, and she ranked very high in terms of likability.\u003c/p>\n\u003cp>\u003cstrong>On trying to reply to the many fans who reach out to him to share their own health struggles \u003c/strong>\u003c/p>\n\u003cp>I receive hundreds and hundreds of letters each week. … There are times when I feel overwhelmed because people are sharing intimate secrets about their diagnoses. … My heart goes out to them. And yet there’s nothing I can do except give them a few words of encouragement. And there’s a lot of pressure in my mind that comes with that. So I try to do the best I can, but I am very much aware of the fact that I am not able to necessarily make their lives that much better, or that much different.\u003c/p>\n\u003cp>\u003cstrong>On his message to Americans right now \u003c/strong>\u003c/p>\n\u003cp>Be kinder to each other. I see America in a crisis situation right now in so many ways. And I want people to open up their hearts, and open up their hands, and open up their wallets to help each other. Because if ever there was a time when we needed to do that, that time is now. …\u003c/p>\n\u003cp>We can get through the pandemic if we follow the suggestions, the rules, laid out by the CDC, by the doctors, the epidemiologists, by the scientific people. If we follow what they want us to do, and if we are assiduous in doing that, we can get a grip on this pandemic. And if we get a grip on the pandemic, then the economy will follow right behind.\u003c/p>\n\u003cp>But, hey, this is a time where we have to come together. … These are the United States of America, and yet we’re so far apart in so many ways. And that, that upsets me. Let’s come together. Let’s be united. We’ve got nothing to lose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "1918 Flu Inspired 'Pull of the Stars' is a Disquieting Pandemic Novel",
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"content": "\u003cp>Readers are awaiting novels of the pandemic, and \u003ca href=\"https://www.npr.org/books/authors/137887218/emma-donoghue\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Donoghue\u003c/a> just may have stumbled into writing one of the first.\u003c/p>\n\u003cp>As Donoghue explains in the author’s note to her new novel, \u003cem>The Pull of the Stars,\u003c/em> she began writing the story in 2018, inspired by the centenary of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/05/15/855319598/what-the-1918-flu-can-teach-us-about-handling-todays-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish Flu pandemic\u003c/a>. Donoghue delivered the final draft to her publishers this past March, just as a stunned world was taking in the enormity of \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/30/822491838/coronavirus-world-map-tracking-the-spread-of-the-outbreak\" target=\"_blank\" rel=\"noopener noreferrer\">the coronavirus crisis\u003c/a>.\u003c/p>\n\u003cp>Understandably, her publishers fast-tracked the publication of \u003cem>The Pull of the Stars,\u003c/em> which is set in a maternity ward in 1918 in Dublin, a city hollowed out by the flu, World War I and the 1916 Irish Uprising.\u003c/p>\n\u003cp>In doing a deep dive into the miseries and terrors of the past, Donoghue presciently anticipated the miseries and terrors of our present: the claustrophobia of days spent inside, empty schools and cafes, and the ubiquity of masks, here quaintly described as “bluntly pointed … like the beaks of unfamiliar birds.”\u003c/p>\n\u003cp>Reading \u003cem>The Pull of the Stars\u003c/em> now is such a disquieting experience—and certainly a very different one than it would’ve been had the novel come earlier. The “fourth wall” of fiction is broken here for readers: The pandemic spreads out beyond the pages of Donoghue’s novel into whatever rooms we are quarantined in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The main character of \u003cem>The Pull of the Stars\u003c/em> is Julia Power, a nurse midwife, about to turn 30, who shares a flat with her shell-shocked younger brother. Julia works in a supply room that’s been turned into a three-bed maternity ward/delivery room for fever victims. Julia’s patients, among them a newly married teenage girl and a delirious woman who has seven children already waiting at home for her, are in various stages of agony.\u003c/p>\n\u003cp>The mortality rate for flu victims during and after labor is sky high, but Julia also observes there’s another contributing cause that’s never listed on the charts. After one of her patients dies, Julia is tempted to put down as cause of death:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Worn down to the bone\u003c/em>. Mother of five by the age of twenty-four, an underfed daughter of underfed generations, …\u003c/p>\n\u003cp>Always on their feet, these Dublin mothers … living off the scraps left on plates and gallons of weak black tea. The slums in which they somehow managed to stay alive were as pertinent as pulse or respiratory rate, it seemed to me, but only medical observations were permitted on a chart. So instead of \u003cem>poverty, \u003c/em>I’d write \u003cem>malnourishment \u003c/em>or \u003cem>debility\u003c/em>. As code for \u003cem>too many pregnancies, \u003c/em>I might put \u003cem>anaemia, … low spirits, … torn cervix, or uterine prolapse.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Two other women squeeze into that improvised ward to work alongside Julia: Bridie Sweeney, an orphan sent over by the nuns to do grunt work, and Dr. Kathleen Lynn, an actual historical figure.\u003c/p>\n\u003cp>Dr. Lynn took part in the Uprising, was jailed by the British and founded a free clinic in Dublin. There’s a risk that both these characters could turn out to be a bit precious, but Donoghue swerves away from contrivance: She’s such a deft, lyrical and sometimes even cheeky writer.\u003c/p>\n\u003cp>For instance, during a quick break, a male orderly comes in and opines about women voting, which he dismisses because women don’t serve, don’t pay what he calls the “blood tax.” Donoghue knows to just let the irony of that remark lie. Hours before, Julia has had to manually remove the afterbirth from a hemorrhaging new mother. She’s only practiced on an orange but gamely reaches into, what she describes as, “a cave behind a waterfall; hot red past the gloves all the way up my arm.”Hours later, another woman in labor almost dies in “a sea of red.” And, not to forget, all these laboring women—certainly paying a “blood tax”—also have the flu, which they will pass on to some of their caregivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I suggested earlier that perhaps Donoghue has given us one of our first pandemic novels, but that’s not quite right. Instead, I’d say she’s given us our first pandemic \u003cem>caregiver\u003c/em> novel—an engrossing and inadvertently topical story about health care workers inside small rooms fighting to preserve life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1918+Flu+Inspired+Donoghue%27s+%27Pull+Of+The+Stars%27+%E2%80%94+A+Disquieting+Pandemic+Novel&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Readers are awaiting novels of the pandemic, and \u003ca href=\"https://www.npr.org/books/authors/137887218/emma-donoghue\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Donoghue\u003c/a> just may have stumbled into writing one of the first.\u003c/p>\n\u003cp>As Donoghue explains in the author’s note to her new novel, \u003cem>The Pull of the Stars,\u003c/em> she began writing the story in 2018, inspired by the centenary of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/05/15/855319598/what-the-1918-flu-can-teach-us-about-handling-todays-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish Flu pandemic\u003c/a>. Donoghue delivered the final draft to her publishers this past March, just as a stunned world was taking in the enormity of \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/30/822491838/coronavirus-world-map-tracking-the-spread-of-the-outbreak\" target=\"_blank\" rel=\"noopener noreferrer\">the coronavirus crisis\u003c/a>.\u003c/p>\n\u003cp>Understandably, her publishers fast-tracked the publication of \u003cem>The Pull of the Stars,\u003c/em> which is set in a maternity ward in 1918 in Dublin, a city hollowed out by the flu, World War I and the 1916 Irish Uprising.\u003c/p>\n\u003cp>In doing a deep dive into the miseries and terrors of the past, Donoghue presciently anticipated the miseries and terrors of our present: the claustrophobia of days spent inside, empty schools and cafes, and the ubiquity of masks, here quaintly described as “bluntly pointed … like the beaks of unfamiliar birds.”\u003c/p>\n\u003cp>Reading \u003cem>The Pull of the Stars\u003c/em> now is such a disquieting experience—and certainly a very different one than it would’ve been had the novel come earlier. The “fourth wall” of fiction is broken here for readers: The pandemic spreads out beyond the pages of Donoghue’s novel into whatever rooms we are quarantined in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The main character of \u003cem>The Pull of the Stars\u003c/em> is Julia Power, a nurse midwife, about to turn 30, who shares a flat with her shell-shocked younger brother. Julia works in a supply room that’s been turned into a three-bed maternity ward/delivery room for fever victims. Julia’s patients, among them a newly married teenage girl and a delirious woman who has seven children already waiting at home for her, are in various stages of agony.\u003c/p>\n\u003cp>The mortality rate for flu victims during and after labor is sky high, but Julia also observes there’s another contributing cause that’s never listed on the charts. After one of her patients dies, Julia is tempted to put down as cause of death:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Worn down to the bone\u003c/em>. Mother of five by the age of twenty-four, an underfed daughter of underfed generations, …\u003c/p>\n\u003cp>Always on their feet, these Dublin mothers … living off the scraps left on plates and gallons of weak black tea. The slums in which they somehow managed to stay alive were as pertinent as pulse or respiratory rate, it seemed to me, but only medical observations were permitted on a chart. So instead of \u003cem>poverty, \u003c/em>I’d write \u003cem>malnourishment \u003c/em>or \u003cem>debility\u003c/em>. As code for \u003cem>too many pregnancies, \u003c/em>I might put \u003cem>anaemia, … low spirits, … torn cervix, or uterine prolapse.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Two other women squeeze into that improvised ward to work alongside Julia: Bridie Sweeney, an orphan sent over by the nuns to do grunt work, and Dr. Kathleen Lynn, an actual historical figure.\u003c/p>\n\u003cp>Dr. Lynn took part in the Uprising, was jailed by the British and founded a free clinic in Dublin. There’s a risk that both these characters could turn out to be a bit precious, but Donoghue swerves away from contrivance: She’s such a deft, lyrical and sometimes even cheeky writer.\u003c/p>\n\u003cp>For instance, during a quick break, a male orderly comes in and opines about women voting, which he dismisses because women don’t serve, don’t pay what he calls the “blood tax.” Donoghue knows to just let the irony of that remark lie. Hours before, Julia has had to manually remove the afterbirth from a hemorrhaging new mother. She’s only practiced on an orange but gamely reaches into, what she describes as, “a cave behind a waterfall; hot red past the gloves all the way up my arm.”Hours later, another woman in labor almost dies in “a sea of red.” And, not to forget, all these laboring women—certainly paying a “blood tax”—also have the flu, which they will pass on to some of their caregivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I suggested earlier that perhaps Donoghue has given us one of our first pandemic novels, but that’s not quite right. Instead, I’d say she’s given us our first pandemic \u003cem>caregiver\u003c/em> novel—an engrossing and inadvertently topical story about health care workers inside small rooms fighting to preserve life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1918+Flu+Inspired+Donoghue%27s+%27Pull+Of+The+Stars%27+%E2%80%94+A+Disquieting+Pandemic+Novel&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sex lives of people in Morocco are shaped by cultural forces—and also the penal code. Sex outside marriage is illegal, and so is abortion in almost all cases. Adultery is punishable by prison time. And as for violating Morocco’s cultural laws—those punishments fall mostly on women.\u003c/p>\n\u003cp>The French-Moroccan writer Leila Slimani explores the places where desire, intimacy and the patriarchy collide in her new book, S\u003cem>ex and Lies: True Stories of Women’s Intimate Lives in the Arab World\u003c/em>.\u003c/p>\n\u003cp>As a girl and then a teenager, Slimani says, “I always heard people speaking about girls as dangerous. The fact that you can be raped, that you can be attacked. And also that being a woman was being a temptress. So I’ve always had this idea that I had something in me that was dirty, that was not pure, and everyone was talking about the good girls. You know, this ideal of the good girl who is pure, who is, of course, a virgin, who is going to sacrifice herself for other people. And I could feel, even as a very young girl, that I was not this kind of girl. So I couldn’t feel pure, and I felt that I was going to disappoint my whole society.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Morocco’s unofficial motto for sex: Do what you wish, but never talk about it.\u003c/strong>\u003c/p>\n\u003cp>It means that the big problem now in Morocco is that the penal code lays down imprisonment of up to a year for anyone engaging [in] sex before marriage. Two years for adultery and three years if you are homosexual. Abortion is illegal. But, of course, as you can imagine, everyone is having sex in Morocco like everywhere else. But if you’re in the wrong place at the wrong time, you can always be arrested, or you will have to give some money to a policeman or to someone if you don’t want to have a problem. So everyone is telling you, okay, do whatever you want, but lie all the time. And especially women—for a woman, it’s very difficult to live openly and to speak with honesty of your sexual life. People want you to be a hypocrite and a liar and to hide yourself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On one woman, Nour, featured in the book\u003c/strong>\u003c/p>\n\u003cp>She was a very shy woman, very, very sweet. And I asked her if she wanted to share things with me when it comes to sexuality. And I asked her very intimate questions, and at the beginning, because she was shy, I was afraid she was going to reject me. But she said, ‘Yes, I have something to tell you.’ And at the beginning of the conversation, I understood that something very violent and something terrible happened to her. So what is very sad with this testimony is that at the end, I’m not sure that this woman is going to be a free woman. I’m not sure she’s going to choose this path, the path of freedom, because she understands very much that it’s going to cost her a lot. And it’s what is tragic now in Morocco is that I meet a lot of [women] who say to me, ‘Yeah, I would love to be free, but I’m not sure it’s worth it. I’m going to lose so much being a free woman that maybe I prefer to be alienated and to do what society wants me to do, because I’m too afraid to be free.’\u003c/p>\n\u003cp>\u003cstrong>On the connection between sexual repression and sexual violence\u003c/strong>\u003c/p>\n\u003cp>You know, the problem is that there is no gray zone between the whore and a virgin. You’re a whore or a virgin. You can’t be something else. So, of course, the way people look at you when you are a free woman, or when you act free, or when you—for instance, you speak out, you give your opinion, the way you can behave in the street. And men will see you. And in a certain way, I think he wants to punish you. He wants to punish you for this freedom, because this freedom is defying him, is defying his power.\u003c/p>\n\u003cp>\u003cstrong>On the audience she hopes to reach\u003c/strong>\u003c/p>\n\u003cp>I have women friends, women who are Jews, for instance, and who lived in a very Orthodox family—she said it’s exactly the same in every religion: Woman is depicted, is described as a provocateur, as a temptress. It’s the figure of Eve who is eating the apple, and everything is a mess after that. So I want to speak to everyone. And, you know, to use a very famous quote now, I would say that what I want to say to Moroccan society is that women’s lives matter, even if those women are just simple women. And no one is seeing them. No one is having any consideration for them. And when they speak about sex, people are just going to judge and to say you’re a whore and we don’t want to hear you. And I want to tell them, no, that’s not true. These women matter. And we have to listen to them.\u003c/p>\n\u003cp>\u003cstrong>On why women are singled out for sexual censure\u003c/strong>\u003c/p>\n\u003cp>That’s still a mystery for me. And I’m not sure that I really have the answer to this question. But I think that we have this idea that men need sex. For men, it’s a need, like he needs to eat, he needs to drink and he needs to have sex. So there is no judgment of that—it’s not a moral problem. He just needs that. For women, it’s very different. I think that’s the way our cultures, and especially the monotheist religions, look at the woman’s desire—it’s very mysterious. We don’t really understand what provokes it.\u003c/p>\n\u003cp>\u003cstrong>On the criticism that demanding sexual liberation in Morocco is imposing Western values\u003c/strong>\u003c/p>\n\u003cp>You know, I believe in universality, and I think that a desire to be free is not something that belongs to Western world. We all want to be free. I want to be free. And I was not born in France or in a Western country. I was born and raised in Morocco. And I can understand freedom, equality, justice. And anyone from China to Peru and Morocco can ask for that—for justice, for freedom, for equality. And I think that it’s a misunderstanding—it’s a complete misunderstanding of what I am trying to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Noah Caldwell and Jolie Myers and was adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sex+And+Lies%27+Author+Leila+Slimani%3A+%27Women%27s+Lives+Matter%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sex lives of people in Morocco are shaped by cultural forces—and also the penal code. Sex outside marriage is illegal, and so is abortion in almost all cases. Adultery is punishable by prison time. And as for violating Morocco’s cultural laws—those punishments fall mostly on women.\u003c/p>\n\u003cp>The French-Moroccan writer Leila Slimani explores the places where desire, intimacy and the patriarchy collide in her new book, S\u003cem>ex and Lies: True Stories of Women’s Intimate Lives in the Arab World\u003c/em>.\u003c/p>\n\u003cp>As a girl and then a teenager, Slimani says, “I always heard people speaking about girls as dangerous. The fact that you can be raped, that you can be attacked. And also that being a woman was being a temptress. So I’ve always had this idea that I had something in me that was dirty, that was not pure, and everyone was talking about the good girls. You know, this ideal of the good girl who is pure, who is, of course, a virgin, who is going to sacrifice herself for other people. And I could feel, even as a very young girl, that I was not this kind of girl. So I couldn’t feel pure, and I felt that I was going to disappoint my whole society.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Morocco’s unofficial motto for sex: Do what you wish, but never talk about it.\u003c/strong>\u003c/p>\n\u003cp>It means that the big problem now in Morocco is that the penal code lays down imprisonment of up to a year for anyone engaging [in] sex before marriage. Two years for adultery and three years if you are homosexual. Abortion is illegal. But, of course, as you can imagine, everyone is having sex in Morocco like everywhere else. But if you’re in the wrong place at the wrong time, you can always be arrested, or you will have to give some money to a policeman or to someone if you don’t want to have a problem. So everyone is telling you, okay, do whatever you want, but lie all the time. And especially women—for a woman, it’s very difficult to live openly and to speak with honesty of your sexual life. People want you to be a hypocrite and a liar and to hide yourself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On one woman, Nour, featured in the book\u003c/strong>\u003c/p>\n\u003cp>She was a very shy woman, very, very sweet. And I asked her if she wanted to share things with me when it comes to sexuality. And I asked her very intimate questions, and at the beginning, because she was shy, I was afraid she was going to reject me. But she said, ‘Yes, I have something to tell you.’ And at the beginning of the conversation, I understood that something very violent and something terrible happened to her. So what is very sad with this testimony is that at the end, I’m not sure that this woman is going to be a free woman. I’m not sure she’s going to choose this path, the path of freedom, because she understands very much that it’s going to cost her a lot. And it’s what is tragic now in Morocco is that I meet a lot of [women] who say to me, ‘Yeah, I would love to be free, but I’m not sure it’s worth it. I’m going to lose so much being a free woman that maybe I prefer to be alienated and to do what society wants me to do, because I’m too afraid to be free.’\u003c/p>\n\u003cp>\u003cstrong>On the connection between sexual repression and sexual violence\u003c/strong>\u003c/p>\n\u003cp>You know, the problem is that there is no gray zone between the whore and a virgin. You’re a whore or a virgin. You can’t be something else. So, of course, the way people look at you when you are a free woman, or when you act free, or when you—for instance, you speak out, you give your opinion, the way you can behave in the street. And men will see you. And in a certain way, I think he wants to punish you. He wants to punish you for this freedom, because this freedom is defying him, is defying his power.\u003c/p>\n\u003cp>\u003cstrong>On the audience she hopes to reach\u003c/strong>\u003c/p>\n\u003cp>I have women friends, women who are Jews, for instance, and who lived in a very Orthodox family—she said it’s exactly the same in every religion: Woman is depicted, is described as a provocateur, as a temptress. It’s the figure of Eve who is eating the apple, and everything is a mess after that. So I want to speak to everyone. And, you know, to use a very famous quote now, I would say that what I want to say to Moroccan society is that women’s lives matter, even if those women are just simple women. And no one is seeing them. No one is having any consideration for them. And when they speak about sex, people are just going to judge and to say you’re a whore and we don’t want to hear you. And I want to tell them, no, that’s not true. These women matter. And we have to listen to them.\u003c/p>\n\u003cp>\u003cstrong>On why women are singled out for sexual censure\u003c/strong>\u003c/p>\n\u003cp>That’s still a mystery for me. And I’m not sure that I really have the answer to this question. But I think that we have this idea that men need sex. For men, it’s a need, like he needs to eat, he needs to drink and he needs to have sex. So there is no judgment of that—it’s not a moral problem. He just needs that. For women, it’s very different. I think that’s the way our cultures, and especially the monotheist religions, look at the woman’s desire—it’s very mysterious. We don’t really understand what provokes it.\u003c/p>\n\u003cp>\u003cstrong>On the criticism that demanding sexual liberation in Morocco is imposing Western values\u003c/strong>\u003c/p>\n\u003cp>You know, I believe in universality, and I think that a desire to be free is not something that belongs to Western world. We all want to be free. I want to be free. And I was not born in France or in a Western country. I was born and raised in Morocco. And I can understand freedom, equality, justice. And anyone from China to Peru and Morocco can ask for that—for justice, for freedom, for equality. And I think that it’s a misunderstanding—it’s a complete misunderstanding of what I am trying to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Noah Caldwell and Jolie Myers and was adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sex+And+Lies%27+Author+Leila+Slimani%3A+%27Women%27s+Lives+Matter%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pitch-Perfect 'Mexican Gothic' Ratchets Up the Dread",
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"content": "\u003cp>Silvia Moreno-Garcia’s \u003cem>Mexican Gothic\u003c/em> is a thoroughly enjoyable, thought-provoking novel. I want to discuss it around tea, preferably while in the mountains, preferably somewhere well-lit. I remember placing my bookmark in the book and thinking, I should not have read this before bed.\u003c/p>\n\u003cp>I was afraid of what I might dream.\u003c/p>\n\u003cp>Noémi’s cousin Catalina writes a strange letter begging for help. She claims her new husband Virgil Doyle is poisoning her, that “fleshless things” and ghosts trouble her, that “they will not let me go.” Noémi—self-assured, chic and stubborn—leaves the glamor of 1950s Mexico City for the countryside, still depressed after a mining bust and fecund with secrets, to determine whether Catalina needs rescue.\u003c/p>\n\u003cp>Reader, she does. The situation is more complicated and sinister than the initial fear of just a con artist husband isolating his new wife and convincing the world she’s mad so he can steal her money.\u003c/p>\n\u003cp>The Doyles of High Place are so Anglo and insular they brought European earth for their garden. Rot seeps from cracks, corrupts wallpaper and slimes the ceilings of the house. There is no regular electricity, so our heroine must get around with candles and oil lamps. Smoking cigarettes, going into town, and conversation at dinner are all against house rules. And when conversation \u003cem>does\u003c/em> happen, the patriarch of the clan (Howard) says things like “You are much darker than your cousin,” and approvingly discusses eugenics. Virgil and Florence (High Place’s mistress) keep Noémi away from Catalina, saying she’s in mysterious “treatments.” Noémi’s only potential ally is Francis, Florence’s sheltered and delicate son. But even his friendship only stretches so far—and can it stretch further than the family land he’s never left?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Noémi’s dreams become haunted: A woman whose face is a golden cloud tries to speak, accompanied by visceral dread. Dream Virgil appears, a figure of lust and terror. A dead woman repeatedly tells Noémi to open her eyes. Where the dreamworld ends and reality begins feels uncertain. Noémi wonders whether she is losing her mind.\u003c/p>\n\u003cp>The reader isn’t sure, either.\u003c/p>\n\u003cp>There is a gradual rise of dread in \u003cem>Mexican Gothic\u003c/em>. It never quite falls off, even at the end, which I loved for its satisfying ambiguity; this is a novel that will leave you wary even after the last page. \u003cem>Mexican Gothic\u003c/em> touches on racial, class, and labor inequity, the way these things fester, infusing the landscape and blighting generations. High Place is haunted by memory. The very air is possessed. This is Silvia Moreno-Garcia’s greatness as a storyteller: She makes you uneasy about invisible things by writing \u003cem>around\u003c/em> them. Even when you think you know what lurks, the power to unsettle isn’t diminished. Secrets brought to light stay disquieting.\u003c/p>\n\u003cp>During the more surreal sequences, I was reminded of Remedios Varo’s paintings, Guillermo del Toro’s \u003cem>Crimson Peak\u003c/em> (this story is much better crafted), or Jeff Vandermeer’s \u003cem>Ambergris\u003c/em>. I appreciated the frequent winks at classic Gothic novels, even as Moreno-Garcia hit all of the expected tropes.\u003c/p>\n\u003cp>\u003cem>Mexican Gothic \u003c/em>is a pitch-perfect Gothic novel. The Gothics knew the only thing more full of horrors than the landscape is the human heart, that the human heart is a haunting. We often think of Frankenstein’s monster as magical; a limb drops off and cartoon Frank sews it back on, but Frankenstein’s monster was more Romantic than that. So is \u003cem>Mexican Gothic\u003c/em>. Moreno-Garcia (an occasional NPR contributor) spins science, myth, and obsession into an effective tale of supernatural horror and determination. We are asked to consider the terror of losing agency, of being part of or becoming monstrousness whether you will or not. Something is sick. Nothing is as it seems. We are possessed by the air we breathe. We are haunted by our bodies and the people who came before us. Can one escape that?\u003c/p>\n\u003cp>To help us through, there is a bright whisper of goodness—Noémi’s wit and vivacity, even as the Doyles pick her apart with criticism, Francis’s quiet will, light growing where it shouldn’t. You will want to see this heroine succeed, you’ll desperately root for her escape; as desperately, you will want other characters to fall. But in \u003cem>Mexican Gothic \u003c/em>we are asked to consider the things abusers do to create their next victims, the lengths one might go to control the future, and whether the snake can ever stop eating its tail.\u003c/p>\n\u003cp>You will be left unsettled, unsteady, and uncertain. You will also be left satisfied.\u003c/p>\n\u003cp>And you will remember High Place, though hopefully not in your dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica P. Wick is a writer, freelance editor, and California native currently living in Rhode Island. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Pitch-Perfect+%27Mexican+Gothic%27+Ratchets+Up+The+Dread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silvia Moreno-Garcia’s \u003cem>Mexican Gothic\u003c/em> is a thoroughly enjoyable, thought-provoking novel. I want to discuss it around tea, preferably while in the mountains, preferably somewhere well-lit. I remember placing my bookmark in the book and thinking, I should not have read this before bed.\u003c/p>\n\u003cp>I was afraid of what I might dream.\u003c/p>\n\u003cp>Noémi’s cousin Catalina writes a strange letter begging for help. She claims her new husband Virgil Doyle is poisoning her, that “fleshless things” and ghosts trouble her, that “they will not let me go.” Noémi—self-assured, chic and stubborn—leaves the glamor of 1950s Mexico City for the countryside, still depressed after a mining bust and fecund with secrets, to determine whether Catalina needs rescue.\u003c/p>\n\u003cp>Reader, she does. The situation is more complicated and sinister than the initial fear of just a con artist husband isolating his new wife and convincing the world she’s mad so he can steal her money.\u003c/p>\n\u003cp>The Doyles of High Place are so Anglo and insular they brought European earth for their garden. Rot seeps from cracks, corrupts wallpaper and slimes the ceilings of the house. There is no regular electricity, so our heroine must get around with candles and oil lamps. Smoking cigarettes, going into town, and conversation at dinner are all against house rules. And when conversation \u003cem>does\u003c/em> happen, the patriarch of the clan (Howard) says things like “You are much darker than your cousin,” and approvingly discusses eugenics. Virgil and Florence (High Place’s mistress) keep Noémi away from Catalina, saying she’s in mysterious “treatments.” Noémi’s only potential ally is Francis, Florence’s sheltered and delicate son. But even his friendship only stretches so far—and can it stretch further than the family land he’s never left?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Noémi’s dreams become haunted: A woman whose face is a golden cloud tries to speak, accompanied by visceral dread. Dream Virgil appears, a figure of lust and terror. A dead woman repeatedly tells Noémi to open her eyes. Where the dreamworld ends and reality begins feels uncertain. Noémi wonders whether she is losing her mind.\u003c/p>\n\u003cp>The reader isn’t sure, either.\u003c/p>\n\u003cp>There is a gradual rise of dread in \u003cem>Mexican Gothic\u003c/em>. It never quite falls off, even at the end, which I loved for its satisfying ambiguity; this is a novel that will leave you wary even after the last page. \u003cem>Mexican Gothic\u003c/em> touches on racial, class, and labor inequity, the way these things fester, infusing the landscape and blighting generations. High Place is haunted by memory. The very air is possessed. This is Silvia Moreno-Garcia’s greatness as a storyteller: She makes you uneasy about invisible things by writing \u003cem>around\u003c/em> them. Even when you think you know what lurks, the power to unsettle isn’t diminished. Secrets brought to light stay disquieting.\u003c/p>\n\u003cp>During the more surreal sequences, I was reminded of Remedios Varo’s paintings, Guillermo del Toro’s \u003cem>Crimson Peak\u003c/em> (this story is much better crafted), or Jeff Vandermeer’s \u003cem>Ambergris\u003c/em>. I appreciated the frequent winks at classic Gothic novels, even as Moreno-Garcia hit all of the expected tropes.\u003c/p>\n\u003cp>\u003cem>Mexican Gothic \u003c/em>is a pitch-perfect Gothic novel. The Gothics knew the only thing more full of horrors than the landscape is the human heart, that the human heart is a haunting. We often think of Frankenstein’s monster as magical; a limb drops off and cartoon Frank sews it back on, but Frankenstein’s monster was more Romantic than that. So is \u003cem>Mexican Gothic\u003c/em>. Moreno-Garcia (an occasional NPR contributor) spins science, myth, and obsession into an effective tale of supernatural horror and determination. We are asked to consider the terror of losing agency, of being part of or becoming monstrousness whether you will or not. Something is sick. Nothing is as it seems. We are possessed by the air we breathe. We are haunted by our bodies and the people who came before us. Can one escape that?\u003c/p>\n\u003cp>To help us through, there is a bright whisper of goodness—Noémi’s wit and vivacity, even as the Doyles pick her apart with criticism, Francis’s quiet will, light growing where it shouldn’t. You will want to see this heroine succeed, you’ll desperately root for her escape; as desperately, you will want other characters to fall. But in \u003cem>Mexican Gothic \u003c/em>we are asked to consider the things abusers do to create their next victims, the lengths one might go to control the future, and whether the snake can ever stop eating its tail.\u003c/p>\n\u003cp>You will be left unsettled, unsteady, and uncertain. You will also be left satisfied.\u003c/p>\n\u003cp>And you will remember High Place, though hopefully not in your dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica P. Wick is a writer, freelance editor, and California native currently living in Rhode Island. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Pitch-Perfect+%27Mexican+Gothic%27+Ratchets+Up+The+Dread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Bittersweet Moment For Black Bookstore Owners",
"headTitle": "A Bittersweet Moment For Black Bookstore Owners | KQED",
"content": "\u003cp>A little under a year ago, \u003ca href=\"https://www.esowonbookstore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eso Won Books\u003c/a>, a Black-owned bookstore in Los Angeles, hosted Ibram X. Kendi for a signing. Eso Won sold about 40 copies of Kendi’s newest book, \u003cem>How to Be an Antiracist\u003c/em>, that night. In the months after, they sold very few.\u003c/p>\n\u003cp>But in these past few weeks? They’ve sold 500 copies—and counting.\u003c/p>\n\u003cp>In fact, Eso Won is the busiest it’s been in three decades (and it’s hosted the likes of Barack Obama, Bill Clinton and Muhammad Ali.) The store’s owners, James Fugate and Tom Hamilton, along with a handful of other workers, are now filling hundreds of new orders each day—compared with the few dozen they normally had.\u003c/p>\n\u003cfigure id=\"attachment_13882658\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"1031\" class=\"size-full wp-image-13882658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-768x566.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">James Fugate, co-owner of Eso Won Books in Los Angeles, says the store has never been busier. ‘We decided to stop answering the phones,’ he says. \u003ccite>(Shereen Marisol Meraji/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As protests and conversations about race have gripped the country, two phenomena have accompanied it: \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">widespread sharing of anti-racist reading lists\u003c/a> and a renewed \u003ca href=\"https://www.npr.org/2020/06/26/883823723/activists-are-pushing-for-consumers-to-support-black-businesses-is-it-sustainabl\" target=\"_blank\" rel=\"noopener noreferrer\">call to support Black businesses\u003c/a>. Black-owned bookstores have found themselves in the middle of that zeitgeist. Local bookstores are being asked to keep up with national and even international demand. And businesses that were in danger of shutting down because of the coronavirus are suddenly selling more books than ever.\u003c/p>\n\u003cp>[aside postID='arts_13881522']But as Black bookstore owners race to meet their demands, many are dealing with complicated, sometimes painful feelings about what the new business means.\u003c/p>\n\u003cp>At Eso Won, titles such as \u003cem>How to Be an Anti-Racist\u003c/em> and \u003cem>White Fragility\u003c/em> have been popular, Fugate says, and lesser-known titles about race have also been selling unusually well. The demand has kept Fugate in the store from 6 in the morning until 8 at night, packaging books to bring to the post office, handling invoices and answering emails from customers asking for updates. “It’s never, never like this,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13882659\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"932\" class=\"size-full wp-image-13882659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-768x511.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Eso Won Books has been selling popular and less-known titles about race, according to Fugate (right), who helps Esteban Zaragoza, 11, and his mom, Karina Murillo, find a book on the Black Panthers. \u003ccite>(Shereen Marisol Meraji/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugate says he’s amazed at how dramatically the tide has turned for his store. He remembers a Zoom call with Paul Coates, \u003ca href=\"https://www.baltimoremagazine.com/2018/1/2/paul-coates-ta-nehisi-coates-father-on-black-classic-press\" target=\"_blank\" rel=\"noopener noreferrer\">the founder of Black Classic Press\u003c/a>, who has been organizing Black booksellers to help them stay alive during the pandemic. “I said, ‘Everybody has to promote themselves. You have to do emails promoting the books,’” he says. Now, the promotion has taken on a life of its own—one that he never envisioned.\u003c/p>\n\u003cp>“I was first [thinking] \u003cem>it’s like Christmas and we’re not prepared\u003c/em>. And [then] I thought, no, I don’t want to compare this to Christmas, because you hear [George Floyd] moaning and yelling on the ground,” he says. “It makes you sick to your stomach.”\u003c/p>\n\u003cfigure id=\"attachment_13882649\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/cheryssecalhoun-nprportrait-copy_custom-31edbadac92d0d58174c7d92679aee9e1dea16c0.jpg\" alt=\"\" width=\"200\" height=\"355\" class=\"size-full wp-image-13882649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/cheryssecalhoun-nprportrait-copy_custom-31edbadac92d0d58174c7d92679aee9e1dea16c0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/cheryssecalhoun-nprportrait-copy_custom-31edbadac92d0d58174c7d92679aee9e1dea16c0-160x284.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Cherysse Calhoun, a third-generation bookseller, helps run Marcus Books in Oakland with her family. \u003ccite>(LA Johnson/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In conversations with Black bookstore owners across the country, just about everyone echoed the same things. Managers from \u003ca href=\"http://underground-books.com/\">Underground Books\u003c/a> in Sacramento, California and \u003ca href=\"http://www.sourcebooksellers.com/about\">Source Booksellers\u003c/a> in Detroit say they’re swamped with orders and working as quickly as they can to get them out. Many say they’re grateful for the business, especially as the pandemic had forced them to close their doors temporarily. But they’re heartbroken by the circumstances—outrage over videos and stories of police brutalizing Black people—and can’t help but wonder how long the surge in interest will last.\u003c/p>\n\u003cp>Fears and uncertainty about remaining in business are rooted in these Black bookstores’ history. They’ve have always had to fight for their existence—the FBI’s COINTELPRO program even used to monitor them for supposedly being “\u003ca href=\"https://www.theatlantic.com/politics/archive/2018/02/fbi-black-bookstores/553598/\" target=\"_blank\" rel=\"noopener noreferrer\">culture centers for extremism\u003c/a>.” On top of a long legacy of Black businesses being denied loans and capital, the mandatory shutdowns during the pandemic—and Black-owned businesses’\u003ca href=\"https://www.npr.org/2020/05/12/853934104/minority-owned-small-businesses-were-supposed-to-get-priority-they-may-not-have\" target=\"_blank\" rel=\"noopener noreferrer\">difficulties accessing government relief funds\u003c/a>—became a new kind of existential threat.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/marcus.books/\">Marcus Books in Oakland\u003c/a>, California, the oldest Black independent bookstore in the country, was in danger of going under. It had launched a GoFundMe to help stay afloat as sales became “borderline stagnant” and foot traffic disappeared, says Cherysse Calhoun, who helps run Marcus Books with her mother, Blanche Richardson. Calhoun’s grandparents founded the store in 1960.\u003c/p>\n\u003cp>The store has been a community pillar ever since, attracting customers such as Malcolm X and featuring events from Maya Angelou to Toni Morrison. Locals who shopped there decades ago now bring their children and grandchildren, Calhoun says, which she treasures: “We have that base, which lifts us up every single time, any time we’re at the edge of our own exhaustion.”\u003c/p>\n\u003cfigure id=\"attachment_13882660\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"1866\" class=\"size-full wp-image-13882660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-1152x1536.jpg 1152w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Books in Oakland is the oldest independent Black-owned bookstore in the country. It opened in 1960. \u003ccite>(Cherysse Calhoun/Marcus Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And right now, they’re exhausted. Marcus Books is a family operation, which means that cousins, aunts and uncles have been pitching in to answer phones and take messages, placing and organizing orders, and taking things to the post office. “We’ve had volunteers over the past few weeks who have just come in to answer the phone,” Calhoun says. “One of us has to step in so that they can even just use the bathroom or go to lunch … because you can literally stand there from 10 to 6 and just answer the phone.”\u003c/p>\n\u003cp>But the attention, while appreciated, feels strange. Calhoun notes that a lot of titles that have been selling out—\u003cem>The Warmth of Other Suns, Why Are All the Black Kids Sitting Together in the Cafeteria?\u003c/em> and books by James Baldwin and Assata Shakur—have been out for years, even decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For Black booksellers, it’s so exciting for people to be interested and wanting to learn and grow their minds and their spirits with this type of literature,” Calhoun says. “But it’s also so disheartening to have to think that there’s just such a large group of people … were actually in a position not to have to educate themselves this way [before now]. That part makes me sad.”\u003c/p>\n\u003cfigure id=\"attachment_13882661\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13882661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Malik Muhammad runs his Los Angeles bookstore with his wife, April, and children Mecca (left) and Zahir. \u003ccite>(Shereen Marisol Meraji/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Malik Muhammad, owner of \u003ca href=\"https://malikbooks.com/\">Malik Books in Los Angeles\u003c/a>, had recently fought to keep developers from buying Baldwin Hills Crenshaw Plaza, a historically Black mall that houses his bookstore. (The developer, CIM Group, reportedly \u003ca href=\"https://www.latimes.com/business/story/2020-06-15/developer-drops-plan-to-buy-baldwin-hills-crenshaw-plaza-and-add-offices-not-housing\" target=\"_blank\" rel=\"noopener noreferrer\">scrapped its plans to buy the mall\u003c/a> and turn it into a mixed-use complex last week.)\u003c/p>\n\u003cp>Muhammad is also excited about the renewed calls to support Black businesses such as his; he says it’s taken a lot of work and struggle to get here. He and his family, who help him run the store, have been stocking books about Black history and anti-racism for decades—long before it was popular. “The last two weeks have been overwhelming. It’s been a blessing, and it gave me hope that hard work pays off,” he says. “You know, it didn’t just happen overnight.”\u003c/p>\n\u003cp>Still, the future remains uncertain for many Black bookstores. As quickly as some Americans have ordered books on anti-racism, they’re just as likely to turn their attention to something else, says Katie Mitchell, \u003ca href=\"https://www.goodbooksatl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">co-owner of Good Books in Atlanta\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882662\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13882662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re making a lot of money, and we’re happy that people are reading books,’ says Katie Mitchell, co-owner of Good Books in Atlanta. ‘But … I’d much rather George Floyd be alive.’ \u003ccite>(Lynsey Weatherspoon for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Things are trendy for a while … and then they’re not, once it’s comfortable for people that go back to their old ways,” Mitchell says. “Will it still be going on a year from now, or is it just a flash in the pan?”\u003c/p>\n\u003cp>Mitchell says she’s been wrestling with how she feels about this moment. She spent a lot of time last year reaching out to publications about profiling her store, to little avail. Now, in a news cycle revolving around Black death, the store has been getting the kind of attention it had wanted earlier.\u003c/p>\n\u003cp>“We’re making a lot of money, and we’re happy that people are reading books. But it took the lynching of George Floyd to be played on a loop for people to be interested in things that we’ve been pushing for, you know, for a long time,” she says. “I’d much rather George Floyd be alive.”\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A little under a year ago, \u003ca href=\"https://www.esowonbookstore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eso Won Books\u003c/a>, a Black-owned bookstore in Los Angeles, hosted Ibram X. Kendi for a signing. Eso Won sold about 40 copies of Kendi’s newest book, \u003cem>How to Be an Antiracist\u003c/em>, that night. In the months after, they sold very few.\u003c/p>\n\u003cp>But in these past few weeks? They’ve sold 500 copies—and counting.\u003c/p>\n\u003cp>In fact, Eso Won is the busiest it’s been in three decades (and it’s hosted the likes of Barack Obama, Bill Clinton and Muhammad Ali.) The store’s owners, James Fugate and Tom Hamilton, along with a handful of other workers, are now filling hundreds of new orders each day—compared with the few dozen they normally had.\u003c/p>\n\u003cfigure id=\"attachment_13882658\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"1031\" class=\"size-full wp-image-13882658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks_custom-ac79cace81851f8d61a34fbeed3604ae1990e605-s1400-c85-768x566.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">James Fugate, co-owner of Eso Won Books in Los Angeles, says the store has never been busier. ‘We decided to stop answering the phones,’ he says. \u003ccite>(Shereen Marisol Meraji/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As protests and conversations about race have gripped the country, two phenomena have accompanied it: \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">widespread sharing of anti-racist reading lists\u003c/a> and a renewed \u003ca href=\"https://www.npr.org/2020/06/26/883823723/activists-are-pushing-for-consumers-to-support-black-businesses-is-it-sustainabl\" target=\"_blank\" rel=\"noopener noreferrer\">call to support Black businesses\u003c/a>. Black-owned bookstores have found themselves in the middle of that zeitgeist. Local bookstores are being asked to keep up with national and even international demand. And businesses that were in danger of shutting down because of the coronavirus are suddenly selling more books than ever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But as Black bookstore owners race to meet their demands, many are dealing with complicated, sometimes painful feelings about what the new business means.\u003c/p>\n\u003cp>At Eso Won, titles such as \u003cem>How to Be an Anti-Racist\u003c/em> and \u003cem>White Fragility\u003c/em> have been popular, Fugate says, and lesser-known titles about race have also been selling unusually well. The demand has kept Fugate in the store from 6 in the morning until 8 at night, packaging books to bring to the post office, handling invoices and answering emails from customers asking for updates. “It’s never, never like this,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13882659\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"932\" class=\"size-full wp-image-13882659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-james-esowonbooks-2_custom-5c9063a62f9ad1506f228907502239870f8ab62a-s1400-c85-768x511.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Eso Won Books has been selling popular and less-known titles about race, according to Fugate (right), who helps Esteban Zaragoza, 11, and his mom, Karina Murillo, find a book on the Black Panthers. \u003ccite>(Shereen Marisol Meraji/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugate says he’s amazed at how dramatically the tide has turned for his store. He remembers a Zoom call with Paul Coates, \u003ca href=\"https://www.baltimoremagazine.com/2018/1/2/paul-coates-ta-nehisi-coates-father-on-black-classic-press\" target=\"_blank\" rel=\"noopener noreferrer\">the founder of Black Classic Press\u003c/a>, who has been organizing Black booksellers to help them stay alive during the pandemic. “I said, ‘Everybody has to promote themselves. You have to do emails promoting the books,’” he says. Now, the promotion has taken on a life of its own—one that he never envisioned.\u003c/p>\n\u003cp>“I was first [thinking] \u003cem>it’s like Christmas and we’re not prepared\u003c/em>. And [then] I thought, no, I don’t want to compare this to Christmas, because you hear [George Floyd] moaning and yelling on the ground,” he says. “It makes you sick to your stomach.”\u003c/p>\n\u003cfigure id=\"attachment_13882649\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/cheryssecalhoun-nprportrait-copy_custom-31edbadac92d0d58174c7d92679aee9e1dea16c0.jpg\" alt=\"\" width=\"200\" height=\"355\" class=\"size-full wp-image-13882649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/cheryssecalhoun-nprportrait-copy_custom-31edbadac92d0d58174c7d92679aee9e1dea16c0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/cheryssecalhoun-nprportrait-copy_custom-31edbadac92d0d58174c7d92679aee9e1dea16c0-160x284.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Cherysse Calhoun, a third-generation bookseller, helps run Marcus Books in Oakland with her family. \u003ccite>(LA Johnson/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In conversations with Black bookstore owners across the country, just about everyone echoed the same things. Managers from \u003ca href=\"http://underground-books.com/\">Underground Books\u003c/a> in Sacramento, California and \u003ca href=\"http://www.sourcebooksellers.com/about\">Source Booksellers\u003c/a> in Detroit say they’re swamped with orders and working as quickly as they can to get them out. Many say they’re grateful for the business, especially as the pandemic had forced them to close their doors temporarily. But they’re heartbroken by the circumstances—outrage over videos and stories of police brutalizing Black people—and can’t help but wonder how long the surge in interest will last.\u003c/p>\n\u003cp>Fears and uncertainty about remaining in business are rooted in these Black bookstores’ history. They’ve have always had to fight for their existence—the FBI’s COINTELPRO program even used to monitor them for supposedly being “\u003ca href=\"https://www.theatlantic.com/politics/archive/2018/02/fbi-black-bookstores/553598/\" target=\"_blank\" rel=\"noopener noreferrer\">culture centers for extremism\u003c/a>.” On top of a long legacy of Black businesses being denied loans and capital, the mandatory shutdowns during the pandemic—and Black-owned businesses’\u003ca href=\"https://www.npr.org/2020/05/12/853934104/minority-owned-small-businesses-were-supposed-to-get-priority-they-may-not-have\" target=\"_blank\" rel=\"noopener noreferrer\">difficulties accessing government relief funds\u003c/a>—became a new kind of existential threat.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/marcus.books/\">Marcus Books in Oakland\u003c/a>, California, the oldest Black independent bookstore in the country, was in danger of going under. It had launched a GoFundMe to help stay afloat as sales became “borderline stagnant” and foot traffic disappeared, says Cherysse Calhoun, who helps run Marcus Books with her mother, Blanche Richardson. Calhoun’s grandparents founded the store in 1960.\u003c/p>\n\u003cp>The store has been a community pillar ever since, attracting customers such as Malcolm X and featuring events from Maya Angelou to Toni Morrison. Locals who shopped there decades ago now bring their children and grandchildren, Calhoun says, which she treasures: “We have that base, which lifts us up every single time, any time we’re at the edge of our own exhaustion.”\u003c/p>\n\u003cfigure id=\"attachment_13882660\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"1866\" class=\"size-full wp-image-13882660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ccalhoun_marcus2_custom-5d2cbaf3f683394541431f40bee0502c3b1b2c2e-s1400-c85-1152x1536.jpg 1152w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Books in Oakland is the oldest independent Black-owned bookstore in the country. It opened in 1960. \u003ccite>(Cherysse Calhoun/Marcus Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And right now, they’re exhausted. Marcus Books is a family operation, which means that cousins, aunts and uncles have been pitching in to answer phones and take messages, placing and organizing orders, and taking things to the post office. “We’ve had volunteers over the past few weeks who have just come in to answer the phone,” Calhoun says. “One of us has to step in so that they can even just use the bathroom or go to lunch … because you can literally stand there from 10 to 6 and just answer the phone.”\u003c/p>\n\u003cp>But the attention, while appreciated, feels strange. Calhoun notes that a lot of titles that have been selling out—\u003cem>The Warmth of Other Suns, Why Are All the Black Kids Sitting Together in the Cafeteria?\u003c/em> and books by James Baldwin and Assata Shakur—have been out for years, even decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For Black booksellers, it’s so exciting for people to be interested and wanting to learn and grow their minds and their spirits with this type of literature,” Calhoun says. “But it’s also so disheartening to have to think that there’s just such a large group of people … were actually in a position not to have to educate themselves this way [before now]. That part makes me sad.”\u003c/p>\n\u003cfigure id=\"attachment_13882661\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13882661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smm-malikbooks-family_slide-7a4516ff79169e6baa14ec4e17ed08cade516ad5-s1400-c85-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Malik Muhammad runs his Los Angeles bookstore with his wife, April, and children Mecca (left) and Zahir. \u003ccite>(Shereen Marisol Meraji/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Malik Muhammad, owner of \u003ca href=\"https://malikbooks.com/\">Malik Books in Los Angeles\u003c/a>, had recently fought to keep developers from buying Baldwin Hills Crenshaw Plaza, a historically Black mall that houses his bookstore. (The developer, CIM Group, reportedly \u003ca href=\"https://www.latimes.com/business/story/2020-06-15/developer-drops-plan-to-buy-baldwin-hills-crenshaw-plaza-and-add-offices-not-housing\" target=\"_blank\" rel=\"noopener noreferrer\">scrapped its plans to buy the mall\u003c/a> and turn it into a mixed-use complex last week.)\u003c/p>\n\u003cp>Muhammad is also excited about the renewed calls to support Black businesses such as his; he says it’s taken a lot of work and struggle to get here. He and his family, who help him run the store, have been stocking books about Black history and anti-racism for decades—long before it was popular. “The last two weeks have been overwhelming. It’s been a blessing, and it gave me hope that hard work pays off,” he says. “You know, it didn’t just happen overnight.”\u003c/p>\n\u003cp>Still, the future remains uncertain for many Black bookstores. As quickly as some Americans have ordered books on anti-racism, they’re just as likely to turn their attention to something else, says Katie Mitchell, \u003ca href=\"https://www.goodbooksatl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">co-owner of Good Books in Atlanta\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882662\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13882662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lw4_9932_slide-1a722d2726425acdb593a3e21b4b27f43fc57e28-s1400-c85-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re making a lot of money, and we’re happy that people are reading books,’ says Katie Mitchell, co-owner of Good Books in Atlanta. ‘But … I’d much rather George Floyd be alive.’ \u003ccite>(Lynsey Weatherspoon for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Things are trendy for a while … and then they’re not, once it’s comfortable for people that go back to their old ways,” Mitchell says. “Will it still be going on a year from now, or is it just a flash in the pan?”\u003c/p>\n\u003cp>Mitchell says she’s been wrestling with how she feels about this moment. She spent a lot of time last year reaching out to publications about profiling her store, to little avail. Now, in a news cycle revolving around Black death, the store has been getting the kind of attention it had wanted earlier.\u003c/p>\n\u003cp>“We’re making a lot of money, and we’re happy that people are reading books. But it took the lynching of George Floyd to be played on a loop for people to be interested in things that we’ve been pushing for, you know, for a long time,” she says. “I’d much rather George Floyd be alive.”\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant industry was already in an economically fragile state in the Bay Area, but COVID-19 has added a new dimension to that precarity. On the evening of Thursday, July 2, the Bay Area Book Festival hosts labor activist and president of One Fair Wage \u003c/span>\u003ca href=\"https://onefairwage.com/saru-jayaraman/\">\u003cspan style=\"font-weight: 400\">Saru Jayaraman\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> La Cocina executive director \u003c/span>\u003ca href=\"https://lacocinasf.org/people\">\u003cspan style=\"font-weight: 400\">Caleb Zigas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003cem>San Francisco Chronicle\u003c/em> restaurant critic \u003c/span>\u003ca href=\"https://www.sfchronicle.com/author/soleil-ho/\">\u003cspan style=\"font-weight: 400\">Soleil Ho\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to answer the question: Will restaurants survive the pandemic?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Moderated by \u003c/span>\u003ca href=\"https://www.kitchensisters.org/about.htm\">\u003cspan style=\"font-weight: 400\">Davia Nelson\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of NPR’s Kitchen Sisters podcast, the virtual discussion will focus on the tremendous pressure that restaurants and restaurant workers face in order to survive under the pandemic. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The digital event is free with registration. \u003ca href=\"https://www.baybookfest.org/session/food4thought/\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Saru Jayaraman, Caleb Zigas and Soleil Ho discuss how restaurants can outlast the COVID-19 pandemic.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant industry was already in an economically fragile state in the Bay Area, but COVID-19 has added a new dimension to that precarity. On the evening of Thursday, July 2, the Bay Area Book Festival hosts labor activist and president of One Fair Wage \u003c/span>\u003ca href=\"https://onefairwage.com/saru-jayaraman/\">\u003cspan style=\"font-weight: 400\">Saru Jayaraman\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> La Cocina executive director \u003c/span>\u003ca href=\"https://lacocinasf.org/people\">\u003cspan style=\"font-weight: 400\">Caleb Zigas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003cem>San Francisco Chronicle\u003c/em> restaurant critic \u003c/span>\u003ca href=\"https://www.sfchronicle.com/author/soleil-ho/\">\u003cspan style=\"font-weight: 400\">Soleil Ho\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to answer the question: Will restaurants survive the pandemic?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Moderated by \u003c/span>\u003ca href=\"https://www.kitchensisters.org/about.htm\">\u003cspan style=\"font-weight: 400\">Davia Nelson\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of NPR’s Kitchen Sisters podcast, the virtual discussion will focus on the tremendous pressure that restaurants and restaurant workers face in order to survive under the pandemic. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The digital event is free with registration. \u003ca href=\"https://www.baybookfest.org/session/food4thought/\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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