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"content": "\u003cp>\u003cem>PBS’s \u003c/em>\u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sanditon/\">Sanditon\u003c/a>\u003cem>, the television series based on an unfinished novel by Jane Austen, comes to KQED Sunday, Jan. 12. Since it’s set in the Regency-era equivalent of a coastal spa, we asked Bay Area Austen expert Bianca Hernandez of the \u003c/em>\u003ca href=\"https://drunkausten.com/\">Drunk Austen\u003c/a>\u003cem> podcast to give us a primer.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>elf-care is no modern invention. The upcoming PBS Masterpiece adaptation of Jane Austen’s \u003cem>Sanditon\u003c/em> highlights the Regency-era craze around being health-conscious. And though some of the advice from the early 1800s doesn’t hold up (we frown on drinking lead nowadays), it does include some tips that can make nice additions to your routine. \u003c/p>\n\u003cp>Read on to get in the mood for a trip to a Regency seaside resort.\u003c/p>\n\u003cfigure id=\"attachment_13872439\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13872439 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast take in the seaside air in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. (Masterpiece PBS)\u003c/figcaption>\u003c/figure>\n\u003ch2>Get to the sea\u003c/h2>\n\u003cp>\u003cem>“The sea air and sea bathing together were neatly infallible, one or the other of them being a match for every disorder, of the stomach, the lungs or the blood.”—‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Though some of the advice from the era doesn’t age well, taking a vacation is a timeless, tried-and-true way to clear one’s mind. During the Regency era, places like Bath and Brighton were a must for those suffering from ailments like gout and leprosy.\u003c/p>\n\u003cp>Sea air was thought to be rejuvenating, and sea-bathing, as seen in \u003cem>Sanditon\u003c/em>, was a real option for those in search of wellness. Though Sanditon itself is a fictional seaside resort, Brighton and Lyme were real seaside getaways during Austen’s time.\u003c/p>\n\u003cp>\u003cem> “Depend upon it my dear, it is exactly a case for the sea. Saline air and immersion will be the very thing.” – Mr. Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1jIHH9_C2bU\u003c/p>\n\u003cp>But our Regency heroines wouldn’t bring a beach towel and flip-flops to the water—a bathing machine (yes, that was a real thing) would be rented. On the beach, a lady would board the small covered wagon-like contraption, and once the machine traveled deep enough into the water, the lady would emerge wearing a bathing outfit that covered everything from the neck down. Some sea-weathered assistants would then help the lady down a small ladder or set of stairs and safely into the sea.\u003c/p>\n\u003cp>While boarding a wagon to take you into the ocean may sound a little like ordering an Uber to go around the corner, taking an invigorating dip is always a nice option to make you feel alive.\u003c/p>\n\u003cfigure id=\"attachment_13872442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Molyneux (Jyuddah James), Charlotte Heywood (Rose Williams) and Miss Lambe (Crystal Clarke) in PBS’s ‘Sanditon,’ which premieres Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Drink up\u003c/h2>\n\u003cp>If bathing isn’t your speed, you can set the mood by drinking some Bath water. And by that I mean water from the other famous Regency place of healing, Bath. (Did you think I meant water from a bathtub?)\u003c/p>\n\u003cp>The natural hot water that bubbles out from under the city has been heralded for its healing powers since the Romans were there nearly 2,000 years ago. You can still take a walk around the Roman baths should you visit the city today, and can drink the sulfurous water from their springs (though you won’t want to swim in them, since we now know their lead pipes work against the whole “healing” idea). Thankfully, safe mineral water can also be readily found on store shelves today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you want a little more of a kick, you can reach for the wine, but take heed. In the unfinished \u003cem>Sanditon\u003c/em>, Arthur Parker says he feels that wine in moderation benefits him (though it disagrees with him). Take his advice with a grain of salt, since he’s one of Austen’s contradictory characters.\u003c/p>\n\u003cp>\u003cem>“The more wine I drink (in moderation) the better I am.”—Arthur Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Have a sweet tooth? Never fear: hot cocoa existed during the Regency era, though it would have been more like rich, spicy drinking chocolate than Swiss Miss. During a scene in Austen’s \u003cem>Sanditon\u003c/em>, Charlotte Heywood witnesses Arthur Parker pour a strong batch of cocoa for himself while explaining how agreeable it is. Whether you make your cocoa strong or weak, there’s probably good reason why the drink has stayed popular (though no one can promise it \u003cem>does\u003c/em> have health benefits).\u003c/p>\n\u003cfigure id=\"attachment_13872441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Denham (Anne Reid) in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cover up\u003c/h2>\n\u003cp>Sunscreen as we know it didn’t exist during the Regency era, so that meant covering oneself to avoid sunburn. Luckily, having to cover up meant accessorizing!\u003c/p>\n\u003cp>If you’re looking to accessorize the Regency way, parasols would have been the most basic way to keep oneself shielded from the sun during a 19th-century day. If you want your hands to be free, then a bonnet is the way to go.\u003c/p>\n\u003cp>Bonnets are also much more versatile as an accessorizing option. In the Regency era, one would add ribbons and trim to spruce up a bonnet, or merely customize it to match a favorite outfit. Remember, a lot of travel to Regency resorts was about being seen (and partially about curing whatever ill brought one there).\u003c/p>\n\u003cfigure id=\"attachment_13872449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Capture-800x524.png\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture.png 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Heywood (Rose Williams) and Sidney Parker (Theo James) in PBS’s ‘Sanditon.’ \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Buy the shoes\u003c/h2>\n\u003cp>When not taking part in social intrigue, matchmaking or healing, one in Austen’s time would be very concerned about what to wear for the next ball. Dances were a prime time to either sneak a conversation with your paramour, or simply impress society.\u003c/p>\n\u003cp>In \u003cem>Sandition\u003c/em>, Charlotte Heywood finds herself longing for a divine pair of blue shoes ahead of the first ball of the season. With encouragement, she purchases them so she can dance the night away in style.\u003c/p>\n\u003cp>Being seen as fashionable was a very important part of visiting Regency resort towns. While we don’t face the exact social pressures people at that time would have, perhaps there is a lesson in there about treating yourself to something you want.\u003c/p>\n\u003cp>Whether you decide to take a vacation, imbibe some hot cocoa or just buy yourself a fashionable accessory, there are some useful lessons to be learned from Regency customs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sanditon’ airs on KQED starting Jan. 12 at 9pm. \u003ca href=\"https://video.kqed.org/show/sanditon/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>PBS’s \u003c/em>\u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sanditon/\">Sanditon\u003c/a>\u003cem>, the television series based on an unfinished novel by Jane Austen, comes to KQED Sunday, Jan. 12. Since it’s set in the Regency-era equivalent of a coastal spa, we asked Bay Area Austen expert Bianca Hernandez of the \u003c/em>\u003ca href=\"https://drunkausten.com/\">Drunk Austen\u003c/a>\u003cem> podcast to give us a primer.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>elf-care is no modern invention. The upcoming PBS Masterpiece adaptation of Jane Austen’s \u003cem>Sanditon\u003c/em> highlights the Regency-era craze around being health-conscious. And though some of the advice from the early 1800s doesn’t hold up (we frown on drinking lead nowadays), it does include some tips that can make nice additions to your routine. \u003c/p>\n\u003cp>Read on to get in the mood for a trip to a Regency seaside resort.\u003c/p>\n\u003cfigure id=\"attachment_13872439\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13872439 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast take in the seaside air in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. (Masterpiece PBS)\u003c/figcaption>\u003c/figure>\n\u003ch2>Get to the sea\u003c/h2>\n\u003cp>\u003cem>“The sea air and sea bathing together were neatly infallible, one or the other of them being a match for every disorder, of the stomach, the lungs or the blood.”—‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Though some of the advice from the era doesn’t age well, taking a vacation is a timeless, tried-and-true way to clear one’s mind. During the Regency era, places like Bath and Brighton were a must for those suffering from ailments like gout and leprosy.\u003c/p>\n\u003cp>Sea air was thought to be rejuvenating, and sea-bathing, as seen in \u003cem>Sanditon\u003c/em>, was a real option for those in search of wellness. Though Sanditon itself is a fictional seaside resort, Brighton and Lyme were real seaside getaways during Austen’s time.\u003c/p>\n\u003cp>\u003cem> “Depend upon it my dear, it is exactly a case for the sea. Saline air and immersion will be the very thing.” – Mr. Parker, ‘Sanditon’\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1jIHH9_C2bU'\n title='//www.youtube.com/embed/1jIHH9_C2bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But our Regency heroines wouldn’t bring a beach towel and flip-flops to the water—a bathing machine (yes, that was a real thing) would be rented. On the beach, a lady would board the small covered wagon-like contraption, and once the machine traveled deep enough into the water, the lady would emerge wearing a bathing outfit that covered everything from the neck down. Some sea-weathered assistants would then help the lady down a small ladder or set of stairs and safely into the sea.\u003c/p>\n\u003cp>While boarding a wagon to take you into the ocean may sound a little like ordering an Uber to go around the corner, taking an invigorating dip is always a nice option to make you feel alive.\u003c/p>\n\u003cfigure id=\"attachment_13872442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Molyneux (Jyuddah James), Charlotte Heywood (Rose Williams) and Miss Lambe (Crystal Clarke) in PBS’s ‘Sanditon,’ which premieres Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Drink up\u003c/h2>\n\u003cp>If bathing isn’t your speed, you can set the mood by drinking some Bath water. And by that I mean water from the other famous Regency place of healing, Bath. (Did you think I meant water from a bathtub?)\u003c/p>\n\u003cp>The natural hot water that bubbles out from under the city has been heralded for its healing powers since the Romans were there nearly 2,000 years ago. You can still take a walk around the Roman baths should you visit the city today, and can drink the sulfurous water from their springs (though you won’t want to swim in them, since we now know their lead pipes work against the whole “healing” idea). Thankfully, safe mineral water can also be readily found on store shelves today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you want a little more of a kick, you can reach for the wine, but take heed. In the unfinished \u003cem>Sanditon\u003c/em>, Arthur Parker says he feels that wine in moderation benefits him (though it disagrees with him). Take his advice with a grain of salt, since he’s one of Austen’s contradictory characters.\u003c/p>\n\u003cp>\u003cem>“The more wine I drink (in moderation) the better I am.”—Arthur Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Have a sweet tooth? Never fear: hot cocoa existed during the Regency era, though it would have been more like rich, spicy drinking chocolate than Swiss Miss. During a scene in Austen’s \u003cem>Sanditon\u003c/em>, Charlotte Heywood witnesses Arthur Parker pour a strong batch of cocoa for himself while explaining how agreeable it is. Whether you make your cocoa strong or weak, there’s probably good reason why the drink has stayed popular (though no one can promise it \u003cem>does\u003c/em> have health benefits).\u003c/p>\n\u003cfigure id=\"attachment_13872441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Denham (Anne Reid) in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cover up\u003c/h2>\n\u003cp>Sunscreen as we know it didn’t exist during the Regency era, so that meant covering oneself to avoid sunburn. Luckily, having to cover up meant accessorizing!\u003c/p>\n\u003cp>If you’re looking to accessorize the Regency way, parasols would have been the most basic way to keep oneself shielded from the sun during a 19th-century day. If you want your hands to be free, then a bonnet is the way to go.\u003c/p>\n\u003cp>Bonnets are also much more versatile as an accessorizing option. In the Regency era, one would add ribbons and trim to spruce up a bonnet, or merely customize it to match a favorite outfit. Remember, a lot of travel to Regency resorts was about being seen (and partially about curing whatever ill brought one there).\u003c/p>\n\u003cfigure id=\"attachment_13872449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Capture-800x524.png\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture.png 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Heywood (Rose Williams) and Sidney Parker (Theo James) in PBS’s ‘Sanditon.’ \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Buy the shoes\u003c/h2>\n\u003cp>When not taking part in social intrigue, matchmaking or healing, one in Austen’s time would be very concerned about what to wear for the next ball. Dances were a prime time to either sneak a conversation with your paramour, or simply impress society.\u003c/p>\n\u003cp>In \u003cem>Sandition\u003c/em>, Charlotte Heywood finds herself longing for a divine pair of blue shoes ahead of the first ball of the season. With encouragement, she purchases them so she can dance the night away in style.\u003c/p>\n\u003cp>Being seen as fashionable was a very important part of visiting Regency resort towns. While we don’t face the exact social pressures people at that time would have, perhaps there is a lesson in there about treating yourself to something you want.\u003c/p>\n\u003cp>Whether you decide to take a vacation, imbibe some hot cocoa or just buy yourself a fashionable accessory, there are some useful lessons to be learned from Regency customs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sanditon’ airs on KQED starting Jan. 12 at 9pm. \u003ca href=\"https://video.kqed.org/show/sanditon/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The title of Kiley Reid’s debut, \u003cem>Such a Fun Age\u003c/em>, works on so many levels it makes me giddy—and, what’s better, the title’s plurality of meaning is echoed all over the place within the novel, where both plot and dialogue are layered with history, prejudice, expectations and assumptions. The title’s “fun age” might refer to one of the two main characters, Emira Tucker, a 25-year-old black woman who keenly feels that working part-time as a babysitter and part-time as a typist doesn’t count as true adulting. It might refer to her charge, Briar, a white three-year-old whose imagination and speech patterns are so charmingly true to a particular kind of kid that she’s both instantly recognizable and entirely her own person. [aside postid='arts_13872364']\u003c/p>\n\u003cp>More broadly, the “fun age” might be our own, prior to the 2016 election—an age that was considered by some to be magically post-racist and post-sexist because it was impolite to be these things in public; an age of performative white feminism; an age of social media and virality and armchair activism and online virtue-signaling that ironically requires certain people—often, those already more vulnerable—to exist in specific politically correct ways while letting others—usually, those with power and privilege—off the hook. Don’t let all these layers put you off—the wonder of \u003cem>Such a Fun Age \u003c/em>is that it is also a page-turner with beautifully drawn characters and a riveting plot.\u003c/p>\n\u003cp>In the book’s opening chapter, Emira is called away from a friend’s birthday party by Alix (“uh-\u003cem>leeks\u003c/em>“) Chamberlain, whose two daughters, Briar and infant Catherine, she babysits for several times a week. Someone has thrown an egg at the Chamberlain house, hard enough to shatter a window, and Alix wants Briar out of the house when the police arrive. Emira, both somewhat tired of the party and in need of the extra cash, takes Briar to a grocery store in the Chamberlains’ neighborhood, her friend Zara tagging along. She, Emira and Briar have an impromptu dance party in the frozen foods aisle, as one occasionally will when a toddler is around, before Zara heads off for a hookup. [aside postid='arts_13872314']\u003c/p>\n\u003cp>The lovely, upbeat scene collapses when a security guard approaches and starts interrogating Emira because a white woman, who only moments before was congenially laughing at the dancing trio, was concerned to see a black woman with a white child out so late. “We just came here to look at nuts. Well, we don’t touch them or anything. We’re just… we’re really into nuts right now, so… yeah,” Emira tells the guard, but the situation escalates to the point where a white man starts capturing the verbal altercation with his phone. (“Can you step off?” Emira asks him; “I think you’re gonna want this filmed,” he says.) Emira has to call Peter Chamberlain to come and reassure the guard. “He’s an old white guy,” she says, “so I’m sure everyone will feel better.” She’s right; they do.\u003c/p>\n\u003cp>Over the course of the following months, the tensions between Emira and the Chamberlains rise due to several factors that have very little to do with Emira herself. Alix, the novel’s other main character—and foil, and sometimes antagonist—is a semi-successful businesswoman who has made a career out of writing letters requesting free stuff from companies and getting what she asks for. She also breastfed Briar while speaking at a panel once, an act of have-it-all-feminism that garnered lots of attention. What happened to Emira at the store has Alix consumed with (white) guilt, especially since the egg thrown through the window came with a cry of “racist,” aimed at Peter, a news anchor, who said, during a feel-good human interest segment earlier that night, that he hoped a black boy taking a white girl to Homecoming had “asked her father first.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emira and Alix have as much distance between them in terms of class as race. Emira comes from a working class family of driven, creative people, which is part of why she feels especially weird that she isn’t ambitious in a particular direction. Alix’s parents became very suddenly wealthy when she was a teenager, inducting her into a nouveau riche lifestyle she had no idea how to handle and which she is still uncomfortable with, despite having leaned further and further into upper-middle class affluence over the years. But what the two women do share—not in the way you’d expect—is Kelley Copeland, the tall, handsome and seemingly woke white guy who thought Emira would want her encounter filmed. [aside postid='arts_13872290']\u003c/p>\n\u003cp>To share more of the plot would be to spoil the fun, as it were. This is a book that will read, I suspect, quite differently to various audiences—funny to some, deeply uncomfortable and shamefully recognizable to others—but whatever the experience, I urge you to read \u003cem>Such a Fun Age\u003c/em>. Let its empathic approach to even the ickiest characters stir you, allow yourself to share Emira’s millennial anxieties about adulting, take joy in the innocence of Briar’s still-unmarred personhood and rejoice that Kiley Reid is only just getting started.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of Kiley Reid’s debut, \u003cem>Such a Fun Age\u003c/em>, works on so many levels it makes me giddy—and, what’s better, the title’s plurality of meaning is echoed all over the place within the novel, where both plot and dialogue are layered with history, prejudice, expectations and assumptions. The title’s “fun age” might refer to one of the two main characters, Emira Tucker, a 25-year-old black woman who keenly feels that working part-time as a babysitter and part-time as a typist doesn’t count as true adulting. It might refer to her charge, Briar, a white three-year-old whose imagination and speech patterns are so charmingly true to a particular kind of kid that she’s both instantly recognizable and entirely her own person. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More broadly, the “fun age” might be our own, prior to the 2016 election—an age that was considered by some to be magically post-racist and post-sexist because it was impolite to be these things in public; an age of performative white feminism; an age of social media and virality and armchair activism and online virtue-signaling that ironically requires certain people—often, those already more vulnerable—to exist in specific politically correct ways while letting others—usually, those with power and privilege—off the hook. Don’t let all these layers put you off—the wonder of \u003cem>Such a Fun Age \u003c/em>is that it is also a page-turner with beautifully drawn characters and a riveting plot.\u003c/p>\n\u003cp>In the book’s opening chapter, Emira is called away from a friend’s birthday party by Alix (“uh-\u003cem>leeks\u003c/em>“) Chamberlain, whose two daughters, Briar and infant Catherine, she babysits for several times a week. Someone has thrown an egg at the Chamberlain house, hard enough to shatter a window, and Alix wants Briar out of the house when the police arrive. Emira, both somewhat tired of the party and in need of the extra cash, takes Briar to a grocery store in the Chamberlains’ neighborhood, her friend Zara tagging along. She, Emira and Briar have an impromptu dance party in the frozen foods aisle, as one occasionally will when a toddler is around, before Zara heads off for a hookup. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lovely, upbeat scene collapses when a security guard approaches and starts interrogating Emira because a white woman, who only moments before was congenially laughing at the dancing trio, was concerned to see a black woman with a white child out so late. “We just came here to look at nuts. Well, we don’t touch them or anything. We’re just… we’re really into nuts right now, so… yeah,” Emira tells the guard, but the situation escalates to the point where a white man starts capturing the verbal altercation with his phone. (“Can you step off?” Emira asks him; “I think you’re gonna want this filmed,” he says.) Emira has to call Peter Chamberlain to come and reassure the guard. “He’s an old white guy,” she says, “so I’m sure everyone will feel better.” She’s right; they do.\u003c/p>\n\u003cp>Over the course of the following months, the tensions between Emira and the Chamberlains rise due to several factors that have very little to do with Emira herself. Alix, the novel’s other main character—and foil, and sometimes antagonist—is a semi-successful businesswoman who has made a career out of writing letters requesting free stuff from companies and getting what she asks for. She also breastfed Briar while speaking at a panel once, an act of have-it-all-feminism that garnered lots of attention. What happened to Emira at the store has Alix consumed with (white) guilt, especially since the egg thrown through the window came with a cry of “racist,” aimed at Peter, a news anchor, who said, during a feel-good human interest segment earlier that night, that he hoped a black boy taking a white girl to Homecoming had “asked her father first.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emira and Alix have as much distance between them in terms of class as race. Emira comes from a working class family of driven, creative people, which is part of why she feels especially weird that she isn’t ambitious in a particular direction. Alix’s parents became very suddenly wealthy when she was a teenager, inducting her into a nouveau riche lifestyle she had no idea how to handle and which she is still uncomfortable with, despite having leaned further and further into upper-middle class affluence over the years. But what the two women do share—not in the way you’d expect—is Kelley Copeland, the tall, handsome and seemingly woke white guy who thought Emira would want her encounter filmed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To share more of the plot would be to spoil the fun, as it were. This is a book that will read, I suspect, quite differently to various audiences—funny to some, deeply uncomfortable and shamefully recognizable to others—but whatever the experience, I urge you to read \u003cem>Such a Fun Age\u003c/em>. Let its empathic approach to even the ickiest characters stir you, allow yourself to share Emira’s millennial anxieties about adulting, take joy in the innocence of Briar’s still-unmarred personhood and rejoice that Kiley Reid is only just getting started.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How 'Little Women' Remained a Cultural Touchstone for Over 150 Years",
"headTitle": "How ‘Little Women’ Remained a Cultural Touchstone for Over 150 Years | KQED",
"content": "\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\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>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Louisa May Alcott's \"Little Women\" continues to find an audience in those eager for nuanced portrayals of girlhood. New York's ALL ARTS asked experts why.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\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>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-holiday-feast-of-fry-bread-yes-please",
"title": "A Holiday Feast Of 'Fry Bread'? Yes, Please!",
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"content": "\u003cp>Confession: I’ve turned into a last-minute holiday shopper.\u003c/p>\n\u003cp>It wasn’t always this way, I swear, but almost a decade of parenting has taught me that what a kid likes in June is most definitely not what a kid will like in December (\u003cem>Star Wars\u003c/em> excepted, of course), so I can either waste money and save time, or wait until the last minute and waste slightly less money. Whether it’s toys or books, it’s always the same, so I wait. I wait until the “may not arrive until after Christmas” warnings start coming, and then I panic, do a quick survey of what my kids are obsessed with RIGHT THIS SECOND, pull out the checkbook and hope for the best.\u003c/p>\n\u003cp>I know I can count on anything in Tui Sutherland’s \u003cem>Wings of Fire \u003c/em>series for my son, and Amy Krouse Rosenthal’s latest utensil drama, \u003cem>Chopsticks\u003c/em>, for my youngest, but my middle baby was a doozy this year.\u003c/p>\n\u003cp>I’m holding a little black book in my hand. It’s hardcover with an imprinted gold title on the front and the spine. It can’t be more than 6 by 4 inches, and the text on its 313 pages (not counting the index) is tiny and dense. I found my 7-year-old reading this book a few weeks ago, and she hasn’t put it down since. It’s not exactly a children’s book.\u003c/p>\n\u003cp>She’s reading \u003cem>From the Deep Woods to Civilization \u003c/em>by Charles Alexander Eastman, the Santee Dakota writer and physician.\u003c/p>\n\u003cp>I mean, she’s all about it. One of her most prized possessions is a bag my Monacan grandmother made from a turtle shell. This year she made — almost completely by herself, mind you — a \u003ca href=\"https://cooking.nytimes.com/recipes/1016956-three-sisters-stew\">Three Sisters stew\u003c/a> to take to her Thanksgiving party at school, she desperately wants my father to take his beaded breastplate out of its glass case (that’s not going to happen) and she is more than willing to go toe to toe if someone makes a crack about how long her brother’s hair is.\u003c/p>\n\u003cp>She’s tough and proud and interested, but Charles Alexander Eastman? I wasn’t prepared for her to read his works until at least third grade (ha!).\u003c/p>\n\u003cp>But surprisingly, if taken slowly and thoughtfully, \u003cem>From the Deep Woods\u003c/em> is not the worst book in the world for children, and I am thrilled my little girl is showing such interest in her heritage. I am also thrilled that her interest came so close to the holidays — it made picking a present easy.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Juanita Giles']‘The family in \u003cem>\u003cstrong>Fry Bread\u003c/strong>\u003c/em> eats it just the way my family does: Sweet with honey or preserves, savory with meat and tomatoes, and they eat it with thanks and happiness.’[/pullquote]\u003c/p>\n\u003cp>In addition to the Three Sisters stew she took to school for Thanksgiving, my daughter also had me bring in fry bread. I ALWAYS bring in fry bread, and bless their hearts, those little children go crazy for it. “She made the bread; she made the bread!!!” The second grade was practically swarming, and I felt super bad for whichever parent brought in candy corn because it was knocked to the floor in the ensuing melee to get to the fry bread. (My daughter asked in a whisper, “You DID make extra for supper, didn’t you?” Yes, honey, I did.)\u003c/p>\n\u003cp>So \u003cem>Fry Bread: A Native American Family Story\u003c/em> was waiting for her under the tree this year.\u003c/p>\n\u003cp>I don’t know if Kevin Noble Maillard actually intended for a 7-year-old to drop dough into a cast iron skillet full of hot oil, but I can tell you that’s exactly what happened in my house on Christmas afternoon after my daughter opened \u003cem>Fry Bread\u003c/em>. For my little girl, Maillard hasn’t written a book to expand the diversity of her bookshelf or explain a culture about which she may know little to nothing — Maillard has written a book about HER life and HER family, not to mention a book about one of her all-time favorite foods (which she has been begging me to let her make by herself, but eh … “fry bread is sound … sizzling oil popping” so, we’ll just have to see about that.)\u003c/p>\n\u003cp>My kids are often told they don’t look “Indian enough,” but illustrator Juana Martinez-Neal doesn’t brook any such nonsense. The Native American family in \u003cem>Fry Bread \u003c/em>is just like our own family (OK, a tad more well-behaved): There is blond hair, cornrows, red hair and yes, straight, black hair (such is the legacy of First Contact). My kids love seeing themselves included, and I love sharing that moment with them.\u003c/p>\n\u003cp>[aside tag='native-american, book-review, the-great-american-read' label='More Stories You'll Like']\u003c/p>\n\u003cp>As happy as my kids are with this book, make no mistake, \u003cem>Fry Bread\u003c/em> isn’t merely a feel-good story about a picturesque Native American family cooking together with joyful abandon and minimal mess. Fry bread is not the least divisive of foods: Born of mortal necessity, fry bread might seem the last food Native Americans would choose to celebrate (and many people choose not to). My children know fry bread isn’t “traditional,” and they know why. To his credit, Maillard doesn’t shy away from tackling that issue. “Fry bread is history … the long walk, the stolen land … with unknown food we made new recipes from what we had.”\u003c/p>\n\u003cp>Also to Maillard’s credit, he doesn’t leave it there. Fry bread IS worth celebrating. That diverse Native American family that means so much to my kids? Fry bread is instrumental to its very existence. The 19th-century boyhood of Charles Eastman is gone: The wild rice, the bison, the venison, the fish, the ducks, the huckleberries — all gone. But Maillard takes the food of necessity and places it directly on the table of plenty. The family in \u003cem>Fry Bread\u003c/em> eats it just the way my family does: Sweet with honey or preserves, savory with meat and tomatoes, and they eat it with thanks and happiness.\u003c/p>\n\u003cp>So yes, \u003cem>Fry Bread: A Native American Family Story\u003c/em> is the perfect gift for my little girl, for all my children. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Confession: I’ve turned into a last-minute holiday shopper.\u003c/p>\n\u003cp>It wasn’t always this way, I swear, but almost a decade of parenting has taught me that what a kid likes in June is most definitely not what a kid will like in December (\u003cem>Star Wars\u003c/em> excepted, of course), so I can either waste money and save time, or wait until the last minute and waste slightly less money. Whether it’s toys or books, it’s always the same, so I wait. I wait until the “may not arrive until after Christmas” warnings start coming, and then I panic, do a quick survey of what my kids are obsessed with RIGHT THIS SECOND, pull out the checkbook and hope for the best.\u003c/p>\n\u003cp>I know I can count on anything in Tui Sutherland’s \u003cem>Wings of Fire \u003c/em>series for my son, and Amy Krouse Rosenthal’s latest utensil drama, \u003cem>Chopsticks\u003c/em>, for my youngest, but my middle baby was a doozy this year.\u003c/p>\n\u003cp>I’m holding a little black book in my hand. It’s hardcover with an imprinted gold title on the front and the spine. It can’t be more than 6 by 4 inches, and the text on its 313 pages (not counting the index) is tiny and dense. I found my 7-year-old reading this book a few weeks ago, and she hasn’t put it down since. It’s not exactly a children’s book.\u003c/p>\n\u003cp>She’s reading \u003cem>From the Deep Woods to Civilization \u003c/em>by Charles Alexander Eastman, the Santee Dakota writer and physician.\u003c/p>\n\u003cp>I mean, she’s all about it. One of her most prized possessions is a bag my Monacan grandmother made from a turtle shell. This year she made — almost completely by herself, mind you — a \u003ca href=\"https://cooking.nytimes.com/recipes/1016956-three-sisters-stew\">Three Sisters stew\u003c/a> to take to her Thanksgiving party at school, she desperately wants my father to take his beaded breastplate out of its glass case (that’s not going to happen) and she is more than willing to go toe to toe if someone makes a crack about how long her brother’s hair is.\u003c/p>\n\u003cp>She’s tough and proud and interested, but Charles Alexander Eastman? I wasn’t prepared for her to read his works until at least third grade (ha!).\u003c/p>\n\u003cp>But surprisingly, if taken slowly and thoughtfully, \u003cem>From the Deep Woods\u003c/em> is not the worst book in the world for children, and I am thrilled my little girl is showing such interest in her heritage. I am also thrilled that her interest came so close to the holidays — it made picking a present easy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the Three Sisters stew she took to school for Thanksgiving, my daughter also had me bring in fry bread. I ALWAYS bring in fry bread, and bless their hearts, those little children go crazy for it. “She made the bread; she made the bread!!!” The second grade was practically swarming, and I felt super bad for whichever parent brought in candy corn because it was knocked to the floor in the ensuing melee to get to the fry bread. (My daughter asked in a whisper, “You DID make extra for supper, didn’t you?” Yes, honey, I did.)\u003c/p>\n\u003cp>So \u003cem>Fry Bread: A Native American Family Story\u003c/em> was waiting for her under the tree this year.\u003c/p>\n\u003cp>I don’t know if Kevin Noble Maillard actually intended for a 7-year-old to drop dough into a cast iron skillet full of hot oil, but I can tell you that’s exactly what happened in my house on Christmas afternoon after my daughter opened \u003cem>Fry Bread\u003c/em>. For my little girl, Maillard hasn’t written a book to expand the diversity of her bookshelf or explain a culture about which she may know little to nothing — Maillard has written a book about HER life and HER family, not to mention a book about one of her all-time favorite foods (which she has been begging me to let her make by herself, but eh … “fry bread is sound … sizzling oil popping” so, we’ll just have to see about that.)\u003c/p>\n\u003cp>My kids are often told they don’t look “Indian enough,” but illustrator Juana Martinez-Neal doesn’t brook any such nonsense. The Native American family in \u003cem>Fry Bread \u003c/em>is just like our own family (OK, a tad more well-behaved): There is blond hair, cornrows, red hair and yes, straight, black hair (such is the legacy of First Contact). My kids love seeing themselves included, and I love sharing that moment with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As happy as my kids are with this book, make no mistake, \u003cem>Fry Bread\u003c/em> isn’t merely a feel-good story about a picturesque Native American family cooking together with joyful abandon and minimal mess. Fry bread is not the least divisive of foods: Born of mortal necessity, fry bread might seem the last food Native Americans would choose to celebrate (and many people choose not to). My children know fry bread isn’t “traditional,” and they know why. To his credit, Maillard doesn’t shy away from tackling that issue. “Fry bread is history … the long walk, the stolen land … with unknown food we made new recipes from what we had.”\u003c/p>\n\u003cp>Also to Maillard’s credit, he doesn’t leave it there. Fry bread IS worth celebrating. That diverse Native American family that means so much to my kids? Fry bread is instrumental to its very existence. The 19th-century boyhood of Charles Eastman is gone: The wild rice, the bison, the venison, the fish, the ducks, the huckleberries — all gone. But Maillard takes the food of necessity and places it directly on the table of plenty. The family in \u003cem>Fry Bread\u003c/em> eats it just the way my family does: Sweet with honey or preserves, savory with meat and tomatoes, and they eat it with thanks and happiness.\u003c/p>\n\u003cp>So yes, \u003cem>Fry Bread: A Native American Family Story\u003c/em> is the perfect gift for my little girl, for all my children. Long after the Legos or dolls are set aside and forgotten, \u003cem>Fry Bread\u003c/em> will be brought down from the cookbook shelf (yes, Maillard includes his own recipe!), thumbed through with floury hands searching for the words “Monacan Indian Nation” inside the cover, and splattered with oil as it sits by my old cast iron skillet. I hope Kevin Maillard will excuse me for wrapping up a splatter screen along with the book.\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\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Cats Purring, Nutcrackers Twirling and More for Dec. 12-19",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "6 Bay Area Books to Make Great Gifts",
"headTitle": "6 Bay Area Books to Make Great Gifts | KQED",
"content": "\u003cp>A robber baron who wrested control of Oakland’s waterfront, a Sunset District-raised single mother serving consecutive life sentences, an artist-naturalist politicized by Mount Diablo—in fiction and nonfiction alike, writers continue to use small patches of the Bay Area to explore sprawling political and ecological systems of critical importance to California and beyond.\u003c/p>\n\u003cp>Some of the books below attempt to invent new genres—there’s a polemic atlas, a trio of unreliable memoirs and a sort of self-help guide for activists along with novels and biographies—but they have a common interest in bringing to life local neighborhoods, people, and natural settings.\u003c/p>\n\u003cfigure id=\"attachment_13856338\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856338 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/How-To-Do-Nothing_BookCover-160x242.jpg\" alt=\"Jenny Odell's 'How to Do Nothing: Resisting the Attention Economy.'\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/How-To-Do-Nothing_BookCover-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/How-To-Do-Nothing_BookCover.jpg 640w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Odell’s ‘How to Do Nothing: Resisting the Attention Economy.’ \u003ccite>(Courtesy of Melville House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jenny Odell, ‘How to Do Nothing: Resisting the Attention Economy’ (Melville House)\u003c/h2>\n\u003cp>In \u003cem>How to Do Nothing\u003c/em>, Jenny Odell argues that by capturing and monetizing the impulse to build community, social media companies siphon our capacity to collectively build real power. She proposes instead rootedness and refusal in place, incorporating the composer-philosopher Pauline Oliveros’ concept of “deep listening” as well as bioregionalism, a way to look at human culture in its immediate natural context, as a repertoire of strategies for “resisting the attention economy.” Odell points out that the “nothing” she prescribes is only nothing from the view of capitalist productivity, and tellingly describes her book as a sort of self-help guide for activists.\u003c/p>\n\u003cp>[aside postID='pop_14155,news_11712325' label='More Holiday Fun on KQED']\u003c/p>\n\u003cp>The Oakland artist and writer, who grew up in the Bay Area, illustrates many of her ideas with birdwatching, contrasting the observational practice’s generative depth with the mere units of time that social media companies consider “attention”; for advertising-sales purposes, all attention that’s quantifiable is equal. (This helps show how many “mindfulness” products and services—say, apps that restrict social media usage—overlook the problem they’re supposed to solve.) Similarly, Odell persuasively argues against “dropping out.” Righteous social-media abstention is a privilege, often performed online once someone marshals enough cultural capital to forego one platform or another. She also rejects the historical connotations of going back to the land, examining the failures and libertarian underpinnings of several utopian communes. Rather, Odell believes in overcoming the alienating undertow of social-media, with its machinations of persuasive design, by embracing the land beneath our feet, especially right here in the city.\u003c/p>\n\u003cfigure id=\"attachment_13870453\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13870453 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/State-of-Water-160x224.jpg\" alt=\"Obi Kaufmann's 'The State of Water.'\" width=\"160\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/State-of-Water-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/State-of-Water.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/State-of-Water-768x1075.jpg 768w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Obi Kaufmann’s ‘The State of Water.’ \u003ccite>(Courtesy Heyday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Obi Kaufmann, ‘The State of Water’ (Heyday)\u003c/h2>\n\u003cp>Obi Kaufmann grew up near Mount Diablo, where the Central Valley meets the San Francisco Bay Area, learning the names of plants and animals and creating maps of its trails. Now based in Oakland, the artist and writer eventually broadened his attention to all of California, and learning to identify the state’s flora and wildlife deepened his fascination with the complex, vulnerable ecological systems to which they belong. The contemporary artist-naturalist’s lush watercolor trail paintings and state maps fill the bestselling \u003cem>California Field Atlas\u003c/em>, a meditation on the state’s overlapping, and often discordant, natural and political features, published by the Berkeley company Heyday Books. This year Kaufmann followed up with the relatively slender yet pointed \u003cem>The State of Water: Understanding California’s Most Precious Resource\u003c/em>. The book finds Kaufmann using gorgeous maps to show the state’s water infrastructure as well as form solution-based arguments for conservation and restoration.\u003c/p>\n\u003cfigure id=\"attachment_13870458\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13870458 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Fascination-160x240.jpg\" alt=\"Kevin Killian's 'Fascination.'\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Fascination-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Fascination.jpg 550w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Killian’s ‘Fascination.’ \u003ccite>(Courtesy publisher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Killian, ‘Fascination’ (Semiotext(e))\u003c/h2>\n\u003cp>Kevin Killian, the multi-hyphenate writer who died in 2019, authored three novels, a memoir, three short-story collections, four books of poetry, countless pieces of criticism and more than 30 plays for the San Francisco Poets Theater, along with thousands of Amazon reviews. He also had a vast influence as a mentor, collaborator and leading figure of the Bay Area literary movement known as new narrative. So where to begin? \u003cem>Fascination\u003c/em>, published in 2018, brings together three memoirs, however unreliable, centered on his life of boozy abandon in 1970s Long Island. The winking, lyrical prose, which seems to revel in its own creation, conveys Killian’s interior life, relationships and outrageous sexual encounters with a palpable thrill of discovery. Killian’s work is suffused with literary and pop culture references, interpretive aids to guide the reader along, and the collection’s final piece, \u003cem>Triangles in the Sand\u003c/em>, recounts his awkward, reluctant affair with the cellist and composer Arthur Russell.\u003c/p>\n\u003cfigure id=\"attachment_13870459\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13870459 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/The-Mars-Room-160x242.jpg\" alt=\"Rachel Kushner's 'The Mars Room.'\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-794x1200.jpg 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room.jpg 1400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kushner’s ‘The Mars Room.’ \u003ccite>(Courtesy Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rachel Kushner, ‘The Mars Room’ (Scribner)\u003c/h2>\n\u003cp>\u003cem>The Mars Room\u003c/em>, the latest novel by \u003cem>The Flamethrowers\u003c/em> author Rachel Kushner, follows Romy Hall from her time as a single mother and stripper in San Francisco to her life as a prisoner serving consecutive life sentences in Stanville Women’s Correctional Facility in the Central Valley. The story unfolds through flashbacks that withhold the pivotal event in order to explore its two main settings, depicting San Francisco and prison along one trajectory. It’s refreshing to read about an adolescent’s \u003cem>specifically\u003c/em> Sunset District upbringing in the 1990s (the tech industry is hardly mentioned), even if her experiences there are thoroughly dispiriting. Kushner’s rendering of prison, researched through correspondence and visits, comes similarly freighted with arresting detail. \u003cem>The Mars Room\u003c/em> presents incarceration as a system of compounding injustice, nakedly cruel, and illustrates points similar to those of activists calling for prison’s abolition, not mere reform.\u003c/p>\n\u003cfigure id=\"attachment_13870460\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13870460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Journalist-of-Castro-Street-160x242.jpg\" alt=\"Andrew Stoner's 'The Journalist of Castro Street: The Life of Randy Shilts.'\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Journalist-of-Castro-Street-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Journalist-of-Castro-Street.jpg 500w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Stoner’s ‘The Journalist of Castro Street: The Life of Randy Shilts.’ \u003ccite>(Courtesy University of Illinois Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Andrew Stoner, ‘The Journalist of Castro Street: The Life of Randy Shilts’ (University of Illinois Press)\u003c/h2>\n\u003cp>When Randy Shilts started working as a reporter at the \u003cem>San Francisco Chronicle\u003c/em> in 1981—he’s considered the first openly gay journalist on the gay beat at a major daily—he had only an inkling of the darkness gathering over his subject and community. Gay men were then developing rare forms of pneumonia and skin cancer, stoking prejudice against the “homosexual lifestyle.” Shilts foresaw what wasn’t yet known as AIDS as a public health crisis, and agitated for prominent coverage. His reporting on the epidemic’s social and political effects culminated in the 1987 tome \u003cem>And the Band Played On\u003c/em>, which showed how bigotry hastened AIDS’ spread. Throughout his career, Shilts advocated for the gay community to the famously indifferent political establishment (Ronald Reagan refused to acknowledge AIDS for years), and navigated controversies within the gay community itself. \u003cem>The Journalist of Castro Street: The Life of Randy Shilts\u003c/em>, a new biography by Andrew Stoner, charts his short life: Shilts was diagnosed HIV-positive in 1987, the year his groundbreaking book published, and died in 1994. He was 42.\u003c/p>\n\u003cfigure id=\"attachment_13870462\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13870462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/American-Disruptor-160x237.jpg\" alt=\"Roland De Wolk's 'American Disruptor: The Scandalous Life of Leland Stanford.'\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-800x1183.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-768x1136.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-1020x1508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-811x1200.jpg 811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor.jpg 1731w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Roland De Wolk’s ‘American Disruptor: The Scandalous Life of Leland Stanford.’ \u003ccite>(Courtesy University of California Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Roland De Wolk, ‘American Disruptor: The Scandalous Life of Leland Stanford’ (University of California Press)\u003c/h2>\n\u003cp>The \u003ca href=\"https://eastbayyesterday.com/episodes/eby-qa-6/\">original tech bro\u003c/a>? Leland Stanford, co-founder of Stanford University, emerges as a spiritual forefather of Silicon Valley-style monopolism, exploitation and conflicts of interest in this dramatic new biography by Bay Area journalism professor Roland De Wolk. Stanford, working from Sacramento following the Gold Rush, wrested control of the expanding railroad by buying competitors, bribing regulators and, in a brazen feat of corruption, using his tenure as California governor to consolidate power. He was a known liar and racist who inveighed against Chinese immigrants and led state government as it incentivized the genocide of Native Americans. He commissioned depictions of himself as a deity, among other decadent gestures. And as De Wolk’s biography makes clear, Stanford’s influence pervades modern California, not least the Bay Area: His railroad ending in Oakland led to the city becoming a stronghold of African American trade unionism, and oriented much of West Oakland’s extant street grid. Stanford University, though, is his most visible artifact, a key node in what critics call our new Gilded Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A holiday gift guide filled with books that bring to life local neighborhoods and natural settings. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A robber baron who wrested control of Oakland’s waterfront, a Sunset District-raised single mother serving consecutive life sentences, an artist-naturalist politicized by Mount Diablo—in fiction and nonfiction alike, writers continue to use small patches of the Bay Area to explore sprawling political and ecological systems of critical importance to California and beyond.\u003c/p>\n\u003cp>Some of the books below attempt to invent new genres—there’s a polemic atlas, a trio of unreliable memoirs and a sort of self-help guide for activists along with novels and biographies—but they have a common interest in bringing to life local neighborhoods, people, and natural settings.\u003c/p>\n\u003cfigure id=\"attachment_13856338\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856338 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/How-To-Do-Nothing_BookCover-160x242.jpg\" alt=\"Jenny Odell's 'How to Do Nothing: Resisting the Attention Economy.'\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/How-To-Do-Nothing_BookCover-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/How-To-Do-Nothing_BookCover.jpg 640w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Odell’s ‘How to Do Nothing: Resisting the Attention Economy.’ \u003ccite>(Courtesy of Melville House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jenny Odell, ‘How to Do Nothing: Resisting the Attention Economy’ (Melville House)\u003c/h2>\n\u003cp>In \u003cem>How to Do Nothing\u003c/em>, Jenny Odell argues that by capturing and monetizing the impulse to build community, social media companies siphon our capacity to collectively build real power. She proposes instead rootedness and refusal in place, incorporating the composer-philosopher Pauline Oliveros’ concept of “deep listening” as well as bioregionalism, a way to look at human culture in its immediate natural context, as a repertoire of strategies for “resisting the attention economy.” Odell points out that the “nothing” she prescribes is only nothing from the view of capitalist productivity, and tellingly describes her book as a sort of self-help guide for activists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Oakland artist and writer, who grew up in the Bay Area, illustrates many of her ideas with birdwatching, contrasting the observational practice’s generative depth with the mere units of time that social media companies consider “attention”; for advertising-sales purposes, all attention that’s quantifiable is equal. (This helps show how many “mindfulness” products and services—say, apps that restrict social media usage—overlook the problem they’re supposed to solve.) Similarly, Odell persuasively argues against “dropping out.” Righteous social-media abstention is a privilege, often performed online once someone marshals enough cultural capital to forego one platform or another. She also rejects the historical connotations of going back to the land, examining the failures and libertarian underpinnings of several utopian communes. Rather, Odell believes in overcoming the alienating undertow of social-media, with its machinations of persuasive design, by embracing the land beneath our feet, especially right here in the city.\u003c/p>\n\u003cfigure id=\"attachment_13870453\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13870453 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/State-of-Water-160x224.jpg\" alt=\"Obi Kaufmann's 'The State of Water.'\" width=\"160\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/State-of-Water-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/State-of-Water.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/State-of-Water-768x1075.jpg 768w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Obi Kaufmann’s ‘The State of Water.’ \u003ccite>(Courtesy Heyday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Obi Kaufmann, ‘The State of Water’ (Heyday)\u003c/h2>\n\u003cp>Obi Kaufmann grew up near Mount Diablo, where the Central Valley meets the San Francisco Bay Area, learning the names of plants and animals and creating maps of its trails. Now based in Oakland, the artist and writer eventually broadened his attention to all of California, and learning to identify the state’s flora and wildlife deepened his fascination with the complex, vulnerable ecological systems to which they belong. The contemporary artist-naturalist’s lush watercolor trail paintings and state maps fill the bestselling \u003cem>California Field Atlas\u003c/em>, a meditation on the state’s overlapping, and often discordant, natural and political features, published by the Berkeley company Heyday Books. This year Kaufmann followed up with the relatively slender yet pointed \u003cem>The State of Water: Understanding California’s Most Precious Resource\u003c/em>. The book finds Kaufmann using gorgeous maps to show the state’s water infrastructure as well as form solution-based arguments for conservation and restoration.\u003c/p>\n\u003cfigure id=\"attachment_13870458\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13870458 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Fascination-160x240.jpg\" alt=\"Kevin Killian's 'Fascination.'\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Fascination-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Fascination.jpg 550w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Killian’s ‘Fascination.’ \u003ccite>(Courtesy publisher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Killian, ‘Fascination’ (Semiotext(e))\u003c/h2>\n\u003cp>Kevin Killian, the multi-hyphenate writer who died in 2019, authored three novels, a memoir, three short-story collections, four books of poetry, countless pieces of criticism and more than 30 plays for the San Francisco Poets Theater, along with thousands of Amazon reviews. He also had a vast influence as a mentor, collaborator and leading figure of the Bay Area literary movement known as new narrative. So where to begin? \u003cem>Fascination\u003c/em>, published in 2018, brings together three memoirs, however unreliable, centered on his life of boozy abandon in 1970s Long Island. The winking, lyrical prose, which seems to revel in its own creation, conveys Killian’s interior life, relationships and outrageous sexual encounters with a palpable thrill of discovery. Killian’s work is suffused with literary and pop culture references, interpretive aids to guide the reader along, and the collection’s final piece, \u003cem>Triangles in the Sand\u003c/em>, recounts his awkward, reluctant affair with the cellist and composer Arthur Russell.\u003c/p>\n\u003cfigure id=\"attachment_13870459\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13870459 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/The-Mars-Room-160x242.jpg\" alt=\"Rachel Kushner's 'The Mars Room.'\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room-794x1200.jpg 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/The-Mars-Room.jpg 1400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kushner’s ‘The Mars Room.’ \u003ccite>(Courtesy Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rachel Kushner, ‘The Mars Room’ (Scribner)\u003c/h2>\n\u003cp>\u003cem>The Mars Room\u003c/em>, the latest novel by \u003cem>The Flamethrowers\u003c/em> author Rachel Kushner, follows Romy Hall from her time as a single mother and stripper in San Francisco to her life as a prisoner serving consecutive life sentences in Stanville Women’s Correctional Facility in the Central Valley. The story unfolds through flashbacks that withhold the pivotal event in order to explore its two main settings, depicting San Francisco and prison along one trajectory. It’s refreshing to read about an adolescent’s \u003cem>specifically\u003c/em> Sunset District upbringing in the 1990s (the tech industry is hardly mentioned), even if her experiences there are thoroughly dispiriting. Kushner’s rendering of prison, researched through correspondence and visits, comes similarly freighted with arresting detail. \u003cem>The Mars Room\u003c/em> presents incarceration as a system of compounding injustice, nakedly cruel, and illustrates points similar to those of activists calling for prison’s abolition, not mere reform.\u003c/p>\n\u003cfigure id=\"attachment_13870460\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13870460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Journalist-of-Castro-Street-160x242.jpg\" alt=\"Andrew Stoner's 'The Journalist of Castro Street: The Life of Randy Shilts.'\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Journalist-of-Castro-Street-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Journalist-of-Castro-Street.jpg 500w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Stoner’s ‘The Journalist of Castro Street: The Life of Randy Shilts.’ \u003ccite>(Courtesy University of Illinois Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Andrew Stoner, ‘The Journalist of Castro Street: The Life of Randy Shilts’ (University of Illinois Press)\u003c/h2>\n\u003cp>When Randy Shilts started working as a reporter at the \u003cem>San Francisco Chronicle\u003c/em> in 1981—he’s considered the first openly gay journalist on the gay beat at a major daily—he had only an inkling of the darkness gathering over his subject and community. Gay men were then developing rare forms of pneumonia and skin cancer, stoking prejudice against the “homosexual lifestyle.” Shilts foresaw what wasn’t yet known as AIDS as a public health crisis, and agitated for prominent coverage. His reporting on the epidemic’s social and political effects culminated in the 1987 tome \u003cem>And the Band Played On\u003c/em>, which showed how bigotry hastened AIDS’ spread. Throughout his career, Shilts advocated for the gay community to the famously indifferent political establishment (Ronald Reagan refused to acknowledge AIDS for years), and navigated controversies within the gay community itself. \u003cem>The Journalist of Castro Street: The Life of Randy Shilts\u003c/em>, a new biography by Andrew Stoner, charts his short life: Shilts was diagnosed HIV-positive in 1987, the year his groundbreaking book published, and died in 1994. He was 42.\u003c/p>\n\u003cfigure id=\"attachment_13870462\" class=\"wp-caption alignleft\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13870462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/American-Disruptor-160x237.jpg\" alt=\"Roland De Wolk's 'American Disruptor: The Scandalous Life of Leland Stanford.'\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-800x1183.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-768x1136.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-1020x1508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor-811x1200.jpg 811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/American-Disruptor.jpg 1731w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Roland De Wolk’s ‘American Disruptor: The Scandalous Life of Leland Stanford.’ \u003ccite>(Courtesy University of California Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Roland De Wolk, ‘American Disruptor: The Scandalous Life of Leland Stanford’ (University of California Press)\u003c/h2>\n\u003cp>The \u003ca href=\"https://eastbayyesterday.com/episodes/eby-qa-6/\">original tech bro\u003c/a>? Leland Stanford, co-founder of Stanford University, emerges as a spiritual forefather of Silicon Valley-style monopolism, exploitation and conflicts of interest in this dramatic new biography by Bay Area journalism professor Roland De Wolk. Stanford, working from Sacramento following the Gold Rush, wrested control of the expanding railroad by buying competitors, bribing regulators and, in a brazen feat of corruption, using his tenure as California governor to consolidate power. He was a known liar and racist who inveighed against Chinese immigrants and led state government as it incentivized the genocide of Native Americans. He commissioned depictions of himself as a deity, among other decadent gestures. And as De Wolk’s biography makes clear, Stanford’s influence pervades modern California, not least the Bay Area: His railroad ending in Oakland led to the city becoming a stronghold of African American trade unionism, and oriented much of West Oakland’s extant street grid. Stanford University, though, is his most visible artifact, a key node in what critics call our new Gilded Age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. [aside postID=arts_13870226,arts_12248119,arts_13389908]\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the spring of 2018, 2-year-old Parker Curry visited the National Portrait Gallery in Washington, D.C., with her mom, her sister and her best friend. They saw a lot of artwork that day—but it was \u003ca href=\"https://www.npr.org/2018/02/13/585299081/obama-portraits-unveiled-at-national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Sherald’s portrait of first lady Michelle Obama\u003c/a> that made Parker stop in her tracks and look up in awe.\u003c/p>\n\u003cp>“The portrait of the first lady Michelle Obama loomed before me,” Parker recalls. Now 4, Parker says the painting made her feel inspired. Also, she adds, Michelle Obama is now \u003cem>her friend.\u003c/em>\u003c/p>\n\u003cp>That’s because Parker became \u003ca href=\"https://www.washingtonpost.com/local/a-moment-of-awe-photo-of-little-girl-staring-at-michelle-obama-portrait-goes-viral/2018/03/04/4e5a4548-1ff2-11e8-94da-ebf9d112159c_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a viral sensation\u003c/a> when a fellow museum-goer took a picture of her standing there, spellbound. Less than a week later, \u003ca href=\"https://www.instagram.com/p/Bf_WsiYAiZu/?utm_source=ig_embed&utm_medium=loading\" target=\"_blank\" rel=\"noopener noreferrer\">Parker got to meet\u003c/a>—and dance—with Obama.\u003c/p>\n\u003cp>The experience has inspired a picture book—\u003cem>Parker Looks Up\u003c/em>—written by Parker and her mom, Jessica Curry Morton, and illustrated by Brittany Jackson.\u003c/p>\n\u003cp>“It’s fun working with my mommy!” Parker says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s fun working with you, too,” Curry Morton replies.\u003c/p>\n\u003cp>In \u003cem>Parker Looks Up\u003c/em>, Jackson depicted a number of the Portrait Gallery’s famous paintings. She says it was a challenge to translate these artworks into a book for kids.\u003c/p>\n\u003cp>“Naturally I want to do everything justice and show respect to Amy Sherald …” Jackson says. “I just drew it in my style which is just a little bit cartoonized or more playful.”\u003c/p>\n\u003cp>Jackson depicts Parker’s journey through the museum in vivid colors. And there was one other technique she used to add “a little extra character” to the book.\u003c/p>\n\u003cp>“Whenever Parker is spellbound, or she sees something that is inspiring to her, you see these sparkles, and these little confetti pieces,” Jackson says. Attentive readers will notice that the pieces of confetti match the colors from Michelle Obama’s dress.\u003c/p>\n\u003cp>These illustrations “make the story,” Curry Morton says. She remembers watching 2-year-old Parker looking up at Sherald’s portrait of Obama and says Jackson’s images bring “the magic of that moment back to life again.”\u003c/p>\n\u003cp>Jackson is familiar with that stop-in-your-tracks, spellbound feeling.\u003c/p>\n\u003cp>“I know what it feels like to be young and to see something that inspires you,” she says. “That’s part of the reason why I got into doing illustrations is because I was awestruck by other artists’ work.”\u003c/p>\n\u003cp>“When I look at that picture today I smile and get teary eyed,” Curry Morton says. “Because it’s a moment that will hopefully inspire children and people for many, many generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Barrie Hardymon edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=In+%27Parker+Looks+Up%2C%27+A+2-Year-Old+Shares+A+Moment+With+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the spring of 2018, 2-year-old Parker Curry visited the National Portrait Gallery in Washington, D.C., with her mom, her sister and her best friend. They saw a lot of artwork that day—but it was \u003ca href=\"https://www.npr.org/2018/02/13/585299081/obama-portraits-unveiled-at-national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Sherald’s portrait of first lady Michelle Obama\u003c/a> that made Parker stop in her tracks and look up in awe.\u003c/p>\n\u003cp>“The portrait of the first lady Michelle Obama loomed before me,” Parker recalls. Now 4, Parker says the painting made her feel inspired. Also, she adds, Michelle Obama is now \u003cem>her friend.\u003c/em>\u003c/p>\n\u003cp>That’s because Parker became \u003ca href=\"https://www.washingtonpost.com/local/a-moment-of-awe-photo-of-little-girl-staring-at-michelle-obama-portrait-goes-viral/2018/03/04/4e5a4548-1ff2-11e8-94da-ebf9d112159c_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a viral sensation\u003c/a> when a fellow museum-goer took a picture of her standing there, spellbound. Less than a week later, \u003ca href=\"https://www.instagram.com/p/Bf_WsiYAiZu/?utm_source=ig_embed&utm_medium=loading\" target=\"_blank\" rel=\"noopener noreferrer\">Parker got to meet\u003c/a>—and dance—with Obama.\u003c/p>\n\u003cp>The experience has inspired a picture book—\u003cem>Parker Looks Up\u003c/em>—written by Parker and her mom, Jessica Curry Morton, and illustrated by Brittany Jackson.\u003c/p>\n\u003cp>“It’s fun working with my mommy!” Parker says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s fun working with you, too,” Curry Morton replies.\u003c/p>\n\u003cp>In \u003cem>Parker Looks Up\u003c/em>, Jackson depicted a number of the Portrait Gallery’s famous paintings. She says it was a challenge to translate these artworks into a book for kids.\u003c/p>\n\u003cp>“Naturally I want to do everything justice and show respect to Amy Sherald …” Jackson says. “I just drew it in my style which is just a little bit cartoonized or more playful.”\u003c/p>\n\u003cp>Jackson depicts Parker’s journey through the museum in vivid colors. And there was one other technique she used to add “a little extra character” to the book.\u003c/p>\n\u003cp>“Whenever Parker is spellbound, or she sees something that is inspiring to her, you see these sparkles, and these little confetti pieces,” Jackson says. Attentive readers will notice that the pieces of confetti match the colors from Michelle Obama’s dress.\u003c/p>\n\u003cp>These illustrations “make the story,” Curry Morton says. She remembers watching 2-year-old Parker looking up at Sherald’s portrait of Obama and says Jackson’s images bring “the magic of that moment back to life again.”\u003c/p>\n\u003cp>Jackson is familiar with that stop-in-your-tracks, spellbound feeling.\u003c/p>\n\u003cp>“I know what it feels like to be young and to see something that inspires you,” she says. “That’s part of the reason why I got into doing illustrations is because I was awestruck by other artists’ work.”\u003c/p>\n\u003cp>“When I look at that picture today I smile and get teary eyed,” Curry Morton says. “Because it’s a moment that will hopefully inspire children and people for many, many generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Barrie Hardymon edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=In+%27Parker+Looks+Up%2C%27+A+2-Year-Old+Shares+A+Moment+With+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's ABO Comix Publishes, Advocates for LGBTQ Prisoners",
"headTitle": "Oakland’s ABO Comix Publishes, Advocates for LGBTQ Prisoners | KQED",
"content": "\u003cp>The comic publisher ABO Comix faces unique obstacles: Its authors communicate by mail, but they’re prohibited from earning a meaningful income, so they struggle to afford postage, let alone art supplies. Also, government censors read every letter, sometimes refusing deliveries. Yet the Oakland publisher supports dozens of incarcerated queer and transgender artists nationwide, distributing collections of their autobiographical work to other LGBTQ prisoners. [aside postID=arts_13863810]\u003c/p>\n\u003cp>The perfect-bound collections are resources for and reflections of their primary audience: E.L. Tedana offers tips for the cell-bound illustrator, while Sirbrian Spease’s series \u003cem>Homo Thug’s Swagger\u003c/em> explores queer cliques and relationships behind bars. Jamie Diaz stylishly deflects pejoratives for trans women while her swooshing coif provokes the ire of prison officials. One strip of Kinoko’s camp \u003cem>Mami Mamasita and the Booyah Girlz\u003c/em> shows the prison yard as a stage, watchtowers shining spotlights, and H. Lee draws someone mailing themselves to a pen pal.\u003c/p>\n\u003cp>ABO’s existence is a reminder that LGBTQ people are incarcerated at twice the rate of the general population in the United States, according to the 2015 U.S. Transgender Survey, and the comics describe the medical neglect, sexual predation and violence they often face inside. The latest collection is dedicated to Joseph Oguntodu, a contributor who was killed in prison weeks before his parole in March after complaining in letters to ABO about racist, homophobic bullying.\u003c/p>\n\u003cp>“I want the queer community to be united,” reads a quote from one of Oguntodu’s many letters to ABO beneath his smiling portrait. “I love each of you. Don’t forget to do something kind.”\u003c/p>\n\u003cfigure id=\"attachment_13870953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO-1-800x545.jpg\" alt=\"Artwork by ABO contributors Metro (L) and Kinoko (R).\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by ABO contributors Metro (L) and Kinoko (R). \u003ccite>(Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casper Cendre, 29, who moved to Oakland from San Diego in 2015, co-founded \u003ca href=\"http://www.abocomix.com/\">ABO Comix\u003c/a> with Io Ascarium and Woof (who’ve both since stepped back from day-to-day operations). They launched the publisher with a call for submissions through the prison abolitionist organizations Black and Pink and Critical Resistance in 2017. “We thought it’d be a one-off collection,” Cendre recalled. “And then the P.O. box was just flooded.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ABO has since paid incarcerated artists roughly $15,000 for contributions to standalone collections and three anthologies. The growing nonprofit, sponsored by the Queer Cultural Center, was recently awarded a California Arts Council grant to develop prison-based graphic-novel curriculum. It’s also received more than 1,200 pieces of mail from prisoners. On Saturday, Dec. 14, ABO celebrates the \u003ca href=\"http://www.abocomix.com/store/p38/abo3.html\">third anthology\u003c/a>’s release at Classic Cars West with a set by punk band Anti-Repression Music, which collaborates with incarcerated writers.\u003c/p>\n\u003cp>ABO is part of a larger movement centering prison abolition, the belief that the prison-industrial complex must be dismantled instead of reformed, in the struggle for queer and transgender liberation in light of the way LGBTQ people are disproportionately policed and incarcerated. \u003ca href=\"https://www.blackandpink.org/\">Black and Pink\u003c/a>, one of the national organizations that inspired ABO, boasts more than 10,000 members “on the inside,” and describes its mission as to “abolish the criminal punishment system.”\u003c/p>\n\u003cp>Popular media such as \u003cem>Orange is the New Black\u003c/em> have also buoyed trans prisoner visibility. Rachel Kushner set much of her abolition-inflected 2018 novel \u003cem>The Mars Room\u003c/em> in a California women’s prison, and included a trans-masculine character named Conan. Early in the book, while discussing muscle cars, Conan passingly references how the prison system invalidates his gender identity. “If I was a dude I’d be like I am right now,” he says. “‘Cept not locked up.”\u003c/p>\n\u003cfigure id=\"attachment_13870934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg\" alt=\"ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO.jpg 1829w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017. \u003ccite>(Casper Cendre/Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movement is deeply rooted in the Bay Area: The Oakland-headquartered \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a> popularized the phrase “prison-industrial complex,” and local writers Eric A. Stanley and Nat Smith co-edited \u003cem>Captive Genders\u003c/em>, an influential collection of essays on trans-embodiment and incarceration published by AK Press in 2015. One strategy these activists promote in order to mitigate state violence against LGBTQ prisoners is writing letters.\u003c/p>\n\u003cp>Many ABO artists are serving life sentences; often they’ve been incarcerated for decades, and their ties to outside kin are broken. “So mostly we form friendships, send birthday and holiday cards, or reference photos for their art,” Cendre said. “Basic human needs.” In prison, word of reliable pen pals travels, and ABO’s contributor clusters have spread from Texas and California to throughout the country.\u003c/p>\n\u003cp>Because ABO’s main audience is prisoners—it sends publications free upon request, and earns money when people buy them online on prisoners’ behalf—the publisher self-censors content, such as nudity, to accommodate prison guidelines. Yet facilities in states such as Kentucky and Nebraska still reject mailings for “inciting violence” or “overt sexuality”—examples, according to Cendre, of how prison administrators perceive any challenge to gender normativity as a threat.\u003c/p>\n\u003cfigure id=\"attachment_13870952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg\" alt=\"Casper Cendre co-founded ABO Comix in 2017.\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1200x1037.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casper Cendre co-founded ABO Comix in 2017. \u003ccite>(Illustration: Sabine Teyssonneyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ABO also plays the role of advocate. For example, when Cendre learned a pen pal suffered a stroke while isolation, through word from another prisoner, ABO volunteers inundated the facility with phone calls. (According to Black and Pink, queer prisoners are more likely to experience solitary confinement.) “Only then, days after the stroke, did he get any medical care,” Cendre said. Pressure from the outside, according to Cendre, can be more effective than from within because corrections officials tend to consider prisoner complaints illegitimate.\u003c/p>\n\u003cp>The publisher received more submissions for its first anthology than it could publish, but Cendre and other volunteers responded to every letter, often returning detailed feedback on the artwork. Sirbrian Spease, author of the \u003cem>Homo Thug’s Swagger\u003c/em> strip, sent his first-ever drawings, and then dozens more over the course of a year. His crude outlines developed into intricate shading and perspective, and facial expressions subtle enough to convey the kind of joy found in hell.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>ABO itself is often cast in the comic depictions of queer life in prison, referenced in speech bubbles and drawings of outgoing mail (or, in one strip, as the brand name of toiletries). \u003cem>Me and My Jelly Roll\u003c/em>, Jamie Diaz’s contribution to the third anthology about her “extreme hairstyle,” seems to be written with the confidence that, through ABO Comix, the author’s grievance will reach the outside world: “I want people to know what is going on in here with girls like us.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The comic publisher ABO Comix faces unique obstacles: Its authors communicate by mail, but they’re prohibited from earning a meaningful income, so they struggle to afford postage, let alone art supplies. Also, government censors read every letter, sometimes refusing deliveries. Yet the Oakland publisher supports dozens of incarcerated queer and transgender artists nationwide, distributing collections of their autobiographical work to other LGBTQ prisoners. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The perfect-bound collections are resources for and reflections of their primary audience: E.L. Tedana offers tips for the cell-bound illustrator, while Sirbrian Spease’s series \u003cem>Homo Thug’s Swagger\u003c/em> explores queer cliques and relationships behind bars. Jamie Diaz stylishly deflects pejoratives for trans women while her swooshing coif provokes the ire of prison officials. One strip of Kinoko’s camp \u003cem>Mami Mamasita and the Booyah Girlz\u003c/em> shows the prison yard as a stage, watchtowers shining spotlights, and H. Lee draws someone mailing themselves to a pen pal.\u003c/p>\n\u003cp>ABO’s existence is a reminder that LGBTQ people are incarcerated at twice the rate of the general population in the United States, according to the 2015 U.S. Transgender Survey, and the comics describe the medical neglect, sexual predation and violence they often face inside. The latest collection is dedicated to Joseph Oguntodu, a contributor who was killed in prison weeks before his parole in March after complaining in letters to ABO about racist, homophobic bullying.\u003c/p>\n\u003cp>“I want the queer community to be united,” reads a quote from one of Oguntodu’s many letters to ABO beneath his smiling portrait. “I love each of you. Don’t forget to do something kind.”\u003c/p>\n\u003cfigure id=\"attachment_13870953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO-1-800x545.jpg\" alt=\"Artwork by ABO contributors Metro (L) and Kinoko (R).\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by ABO contributors Metro (L) and Kinoko (R). \u003ccite>(Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Casper Cendre, 29, who moved to Oakland from San Diego in 2015, co-founded \u003ca href=\"http://www.abocomix.com/\">ABO Comix\u003c/a> with Io Ascarium and Woof (who’ve both since stepped back from day-to-day operations). They launched the publisher with a call for submissions through the prison abolitionist organizations Black and Pink and Critical Resistance in 2017. “We thought it’d be a one-off collection,” Cendre recalled. “And then the P.O. box was just flooded.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ABO has since paid incarcerated artists roughly $15,000 for contributions to standalone collections and three anthologies. The growing nonprofit, sponsored by the Queer Cultural Center, was recently awarded a California Arts Council grant to develop prison-based graphic-novel curriculum. It’s also received more than 1,200 pieces of mail from prisoners. On Saturday, Dec. 14, ABO celebrates the \u003ca href=\"http://www.abocomix.com/store/p38/abo3.html\">third anthology\u003c/a>’s release at Classic Cars West with a set by punk band Anti-Repression Music, which collaborates with incarcerated writers.\u003c/p>\n\u003cp>ABO is part of a larger movement centering prison abolition, the belief that the prison-industrial complex must be dismantled instead of reformed, in the struggle for queer and transgender liberation in light of the way LGBTQ people are disproportionately policed and incarcerated. \u003ca href=\"https://www.blackandpink.org/\">Black and Pink\u003c/a>, one of the national organizations that inspired ABO, boasts more than 10,000 members “on the inside,” and describes its mission as to “abolish the criminal punishment system.”\u003c/p>\n\u003cp>Popular media such as \u003cem>Orange is the New Black\u003c/em> have also buoyed trans prisoner visibility. Rachel Kushner set much of her abolition-inflected 2018 novel \u003cem>The Mars Room\u003c/em> in a California women’s prison, and included a trans-masculine character named Conan. Early in the book, while discussing muscle cars, Conan passingly references how the prison system invalidates his gender identity. “If I was a dude I’d be like I am right now,” he says. “‘Cept not locked up.”\u003c/p>\n\u003cfigure id=\"attachment_13870934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg\" alt=\"ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/By-Casper-Cendre-Courtesy-ABO.jpg 1829w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABO Comix has received more than 1,200 pieces of mail from LGBTQ prisoners since 2017. \u003ccite>(Casper Cendre/Courtesy ABO Comix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movement is deeply rooted in the Bay Area: The Oakland-headquartered \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a> popularized the phrase “prison-industrial complex,” and local writers Eric A. Stanley and Nat Smith co-edited \u003cem>Captive Genders\u003c/em>, an influential collection of essays on trans-embodiment and incarceration published by AK Press in 2015. One strategy these activists promote in order to mitigate state violence against LGBTQ prisoners is writing letters.\u003c/p>\n\u003cp>Many ABO artists are serving life sentences; often they’ve been incarcerated for decades, and their ties to outside kin are broken. “So mostly we form friendships, send birthday and holiday cards, or reference photos for their art,” Cendre said. “Basic human needs.” In prison, word of reliable pen pals travels, and ABO’s contributor clusters have spread from Texas and California to throughout the country.\u003c/p>\n\u003cp>Because ABO’s main audience is prisoners—it sends publications free upon request, and earns money when people buy them online on prisoners’ behalf—the publisher self-censors content, such as nudity, to accommodate prison guidelines. Yet facilities in states such as Kentucky and Nebraska still reject mailings for “inciting violence” or “overt sexuality”—examples, according to Cendre, of how prison administrators perceive any challenge to gender normativity as a threat.\u003c/p>\n\u003cfigure id=\"attachment_13870952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg\" alt=\"Casper Cendre co-founded ABO Comix in 2017.\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper-1200x1037.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/ABO.Casper.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Casper Cendre co-founded ABO Comix in 2017. \u003ccite>(Illustration: Sabine Teyssonneyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>ABO also plays the role of advocate. For example, when Cendre learned a pen pal suffered a stroke while isolation, through word from another prisoner, ABO volunteers inundated the facility with phone calls. (According to Black and Pink, queer prisoners are more likely to experience solitary confinement.) “Only then, days after the stroke, did he get any medical care,” Cendre said. Pressure from the outside, according to Cendre, can be more effective than from within because corrections officials tend to consider prisoner complaints illegitimate.\u003c/p>\n\u003cp>The publisher received more submissions for its first anthology than it could publish, but Cendre and other volunteers responded to every letter, often returning detailed feedback on the artwork. Sirbrian Spease, author of the \u003cem>Homo Thug’s Swagger\u003c/em> strip, sent his first-ever drawings, and then dozens more over the course of a year. His crude outlines developed into intricate shading and perspective, and facial expressions subtle enough to convey the kind of joy found in hell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bedlam and Broomsticks: A 12-Year-Old Fan Reviews 'Harry Potter and the Cursed Child'",
"headTitle": "Bedlam and Broomsticks: A 12-Year-Old Fan Reviews ‘Harry Potter and the Cursed Child’ | KQED",
"content": "\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alan Chazaro is a world-traveling poet from the East Bay. I met up with him to break bread and discuss his first book, \u003ca href=\"https://www.blacklawrence.com/this-is-not-a-frank-ocean-cover-album/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This Is Not a Frank Ocean Cover Album\u003c/em>\u003c/a>, in which he writes about his Mexican-American identity, Hip-Hop and deconstructing concepts of masculinity.\u003c/p>\n\u003cp>Raised alongside his older brother by a single father, Chazaro says he was inundated with stereotypical aspects of machismo from a young age, boxing and gangsta rap were the norm. But when he found poetry, he also found a way to critically look at his upbringing, as well as the world around him.\u003c/p>\n\u003cp>Now Chazaro, a former English teacher, has recently left the Bay Area to spend time in Latin America, giving him an opportunity to get to know his roots and \u003ca href=\"https://www.palettepoetry.com/alan-chazaros-pocho-boy/\">write\u003c/a> about his adventures.\u003c/p>\n\u003cp>But before he left, he dropped a few words of wisdom over a plate of G-Fire chicken wings.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Aug 16, 2019.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alan Chazaro is a world-traveling poet from the East Bay. I met up with him to break bread and discuss his first book, \u003ca href=\"https://www.blacklawrence.com/this-is-not-a-frank-ocean-cover-album/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This Is Not a Frank Ocean Cover Album\u003c/em>\u003c/a>, in which he writes about his Mexican-American identity, Hip-Hop and deconstructing concepts of masculinity.\u003c/p>\n\u003cp>Raised alongside his older brother by a single father, Chazaro says he was inundated with stereotypical aspects of machismo from a young age, boxing and gangsta rap were the norm. But when he found poetry, he also found a way to critically look at his upbringing, as well as the world around him.\u003c/p>\n\u003cp>Now Chazaro, a former English teacher, has recently left the Bay Area to spend time in Latin America, giving him an opportunity to get to know his roots and \u003ca href=\"https://www.palettepoetry.com/alan-chazaros-pocho-boy/\">write\u003c/a> about his adventures.\u003c/p>\n\u003cp>But before he left, he dropped a few words of wisdom over a plate of G-Fire chicken wings.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Aug 16, 2019.\u003c/em>\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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