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"content": "\u003cp>When Toni Morrison received her Nobel Prize in Literature in 1993, \u003ca href=\"http://www.nobelprize.org/nobel_prizes/literature/laureates/1993/morrison-lecture.html\">her remarks \u003c/a>began with a reflection on the phrase \u003cem>once upon a time. \u003c/em>In her signature, measured cadence, Morrison told the Swedish Academy she believed these were some of the first words we remember from our childhoods. She was 88.\u003c/p>\n\u003cp>Morrison died Monday night at Montefiore Medical Center in New York, according to her publisher Penguin Random House. Her work focused on African-American life and culture, and she dominated an industry in which depictions of black life were often limited and rooted in stereotype.\u003c/p>\n\u003cp>Her masterwork,\u003cem> Beloved,\u003c/em> was awarded the Pulitzer Prize for Fiction in 1988. A decade later, Oprah Winfrey produced and starred in a movie based on the book.\u003c/p>\n\u003cp>Morrison was 56 when \u003cem>Beloved\u003c/em> was published in 1987, but she’d been living with stories since childhood. Born Chloe Wofford, she grew up with tales being told all around her in her hometown of Lorain, Ohio. Her grandparents, like millions of blacks, left the segregated South for the North, during the Great Migration.\u003c/p>\n\u003cp>“I lived in a little, working-class town that had no black neighborhoods at all …” Morrison told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 2015. “We all played together. Everybody was either somebody from the South or an immigrant from East Europe or from Mexico.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says she wasn’t particularly aware of segregation growing up, but that her father “was very, very serious in his hatred of white people.” Her mother mitigated that. “Everybody was an individual whom she approved of or disapproved of based on her perception of them as individuals,” Morrison recalled.\u003c/p>\n\u003cp>As a child, young Chloe listened when the adults told stories about their southern homes. In a 2010 interview, she said their language stayed with her. Within her own family, she said. “There was street language, there was sermonic language. You know, people actually quoted the Bible to you.”\u003c/p>\n\u003cp>Wofford went to college at Howard University (where she became Toni, using the nickname of her baptismal saint, Anthony). It was there that she experienced, for the first time, a hierarchy of color within the African-American community. “On the campus, where I felt safe and welcome, I began to realize that this idea of the lighter the better and the darker the worse … really had an impact on sororities, on friendships, on all sorts of things, and it was stunning to me,” she said in 2015.\u003c/p>\n\u003cp>She earned her master’s at Cornell, and married architect Harold Morrison, with whom she had two sons. They divorced after seven years.\u003c/p>\n\u003cp>Morrison started her early publishing career as an editor, first in textbooks, then for general circulation books. She told an audience at the 92nd Street Y in New York that she wasn’t happy with how most black books were being edited back then: “I thought the editing was sloppy,” she recalled. “I thought the productions were mishandled, even the great books, like \u003cem>Roots\u003c/em>. … When you read them carefully, you’d see that nobody was paying any attention.”\u003c/p>\n\u003cp>So she consciously sought out excellent black authors, pulling them into what was — and mostly still is — the alabaster publishing industry. She edited Angela Davis, Muhammad Ali and the novelist Gayl Jones during the social upheaval of the late 1960s and early ’70s. Morrison saw this as her contribution to the Civil Rights movement.\u003c/p>\n\u003cp>“I made it my business to collect African-Americans who were vocal, either politically, or just writing wonderful fiction,” she said.\u003c/p>\n\u003cp>Even as she edited, Morrison secretly wrote for herself, getting up before her children were awake. She later said that when she wrote, she was free from pain. “It’s where I have control,” she said. “It’s where nobody tells me what to do. It’s where my imagination is fecund and I am really at my best. … I’m thinking up dangerous, difficult things, but it is also extremely safe for me to be in that place.”\u003c/p>\n\u003cp>Her first book, \u003cem>The Bluest Eye,\u003c/em> was published in 1970. It’s a tale about a dark-skinned little girl who believes blue eyes will make her beautiful and cherished.\u003c/p>\n\u003cp>Piper Huguley, a professor at Spelman College in Atlanta, remembers how she felt when she read \u003cem>The Bluest Eye\u003c/em> as a college student. It helped her see “colorism and its connection to self-loathing, and how deeply embedded that could go,” she says. It was a theme Morrison explored further in her 2015 book \u003cem>God Help the Child.\u003c/em>\u003c/p>\n\u003cp>Huguley says that kind of frankness about race has made Morrison’s work essential reading. “She exists in a class we call Seminal Writers, that every English major must take,” Huguley explains. “That means she belongs for us here at Spelman, and no doubt elsewhere, as part of the African-American literary canon, that is, an author who \u003cem>must\u003c/em> be read.”\u003c/p>\n\u003cp>Morrison’s stories weave between the familiar and the fantastical: In \u003cem>Song of Solomon,\u003c/em> a key element was an ancient folk tale about black people flying away from enslavement and back home to Africa. The theme of mother-daughter love runs through several books, such as \u003cem>Beloved\u003c/em> and \u003cem>A Mercy,\u003c/em> in which women make terrible sacrifices for their children.\u003c/p>\n\u003cp>These are books that focus, without apology or explanation, on black lives. And in 1998, she told talk show host Charlie Rose she had no interest in making white characters more central to her stories.\u003c/p>\n\u003cp>“I’ve spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books,” she said.”\u003c/p>\n\u003cp>Morrison was grounded in the black cultural liberationist art of the 1960s, says Richard Yarborough, who teaches African-American literature at UCLA. She and others in that generation “expressed their mission” by focusing on black lives, he says.\u003c/p>\n\u003cp>And generations of black women writers, no matter their genre, have been touched by her: “Morrison is such a monumental figure, that there is no way you could write about black women’s experiences without taking her into account,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She showed, by example, the validity of black, female lives. And through her many “once upon a times,” Morrison’s expansive vision of black humanity now resonates around the globe. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Toni+Morrison%2C+Whose+Soaring+Novels+Were+Rooted+In+Black+Lives%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says she wasn’t particularly aware of segregation growing up, but that her father “was very, very serious in his hatred of white people.” Her mother mitigated that. “Everybody was an individual whom she approved of or disapproved of based on her perception of them as individuals,” Morrison recalled.\u003c/p>\n\u003cp>As a child, young Chloe listened when the adults told stories about their southern homes. In a 2010 interview, she said their language stayed with her. Within her own family, she said. “There was street language, there was sermonic language. You know, people actually quoted the Bible to you.”\u003c/p>\n\u003cp>Wofford went to college at Howard University (where she became Toni, using the nickname of her baptismal saint, Anthony). It was there that she experienced, for the first time, a hierarchy of color within the African-American community. “On the campus, where I felt safe and welcome, I began to realize that this idea of the lighter the better and the darker the worse … really had an impact on sororities, on friendships, on all sorts of things, and it was stunning to me,” she said in 2015.\u003c/p>\n\u003cp>She earned her master’s at Cornell, and married architect Harold Morrison, with whom she had two sons. They divorced after seven years.\u003c/p>\n\u003cp>Morrison started her early publishing career as an editor, first in textbooks, then for general circulation books. She told an audience at the 92nd Street Y in New York that she wasn’t happy with how most black books were being edited back then: “I thought the editing was sloppy,” she recalled. “I thought the productions were mishandled, even the great books, like \u003cem>Roots\u003c/em>. … When you read them carefully, you’d see that nobody was paying any attention.”\u003c/p>\n\u003cp>So she consciously sought out excellent black authors, pulling them into what was — and mostly still is — the alabaster publishing industry. She edited Angela Davis, Muhammad Ali and the novelist Gayl Jones during the social upheaval of the late 1960s and early ’70s. Morrison saw this as her contribution to the Civil Rights movement.\u003c/p>\n\u003cp>“I made it my business to collect African-Americans who were vocal, either politically, or just writing wonderful fiction,” she said.\u003c/p>\n\u003cp>Even as she edited, Morrison secretly wrote for herself, getting up before her children were awake. She later said that when she wrote, she was free from pain. “It’s where I have control,” she said. “It’s where nobody tells me what to do. It’s where my imagination is fecund and I am really at my best. … I’m thinking up dangerous, difficult things, but it is also extremely safe for me to be in that place.”\u003c/p>\n\u003cp>Her first book, \u003cem>The Bluest Eye,\u003c/em> was published in 1970. It’s a tale about a dark-skinned little girl who believes blue eyes will make her beautiful and cherished.\u003c/p>\n\u003cp>Piper Huguley, a professor at Spelman College in Atlanta, remembers how she felt when she read \u003cem>The Bluest Eye\u003c/em> as a college student. It helped her see “colorism and its connection to self-loathing, and how deeply embedded that could go,” she says. It was a theme Morrison explored further in her 2015 book \u003cem>God Help the Child.\u003c/em>\u003c/p>\n\u003cp>Huguley says that kind of frankness about race has made Morrison’s work essential reading. “She exists in a class we call Seminal Writers, that every English major must take,” Huguley explains. “That means she belongs for us here at Spelman, and no doubt elsewhere, as part of the African-American literary canon, that is, an author who \u003cem>must\u003c/em> be read.”\u003c/p>\n\u003cp>Morrison’s stories weave between the familiar and the fantastical: In \u003cem>Song of Solomon,\u003c/em> a key element was an ancient folk tale about black people flying away from enslavement and back home to Africa. The theme of mother-daughter love runs through several books, such as \u003cem>Beloved\u003c/em> and \u003cem>A Mercy,\u003c/em> in which women make terrible sacrifices for their children.\u003c/p>\n\u003cp>These are books that focus, without apology or explanation, on black lives. And in 1998, she told talk show host Charlie Rose she had no interest in making white characters more central to her stories.\u003c/p>\n\u003cp>“I’ve spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books,” she said.”\u003c/p>\n\u003cp>Morrison was grounded in the black cultural liberationist art of the 1960s, says Richard Yarborough, who teaches African-American literature at UCLA. She and others in that generation “expressed their mission” by focusing on black lives, he says.\u003c/p>\n\u003cp>And generations of black women writers, no matter their genre, have been touched by her: “Morrison is such a monumental figure, that there is no way you could write about black women’s experiences without taking her into account,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She showed, by example, the validity of black, female lives. And through her many “once upon a times,” Morrison’s expansive vision of black humanity now resonates around the globe. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Toni+Morrison%2C+Whose+Soaring+Novels+Were+Rooted+In+Black+Lives%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Hands Up, Don't Shoot' Examines What Led to Ferguson and Baltimore Protests",
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"content": "\u003cp>If the past five or so years have taught America anything about policing, it’s that a lack of trust between police and communities of color is an ongoing problem. But why?\u003c/p>\n\u003cp>In her tightly focused and morally important book, \u003cem>Hands Up, Don’t Shoot\u003c/em>, Jennifer E. Cobbina, associate professor in the School of Criminal Justice at Michigan State University, analyzes how the deaths of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/11/24/366370100/grand-jury-reaches-decision-in-michael-brown-case\">Michael Brown\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/18/486460729/most-senior-police-officer-in-freddie-gray-case-is-found-not-guilty-of-manslaugh\">Freddie Gray\u003c/a> at the hands of police resulted in sustained protests in Ferguson, Mo., and in Baltimore — and how we got there.\u003c/p>\n\u003cfigure id=\"attachment_13862943\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg\" alt=\"'Hands Up Don't Shoot,' Jennifer E. Cobbina. \" width=\"259\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg 259w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot-160x240.jpg 160w\" sizes=\"(max-width: 259px) 100vw, 259px\">\u003cfigcaption class=\"wp-caption-text\">‘Hands Up Don’t Shoot,’ Jennifer E. Cobbina.\u003c/figcaption>\u003c/figure>\n\u003cp>What recommends the book in part is that, unlike many academic books, it doesn’t presume prior knowledge on the part of the reader. To her credit, Cobbina is careful to establish historical and cultural context for the deep-seated distrust so many African Americans feel toward law enforcement in a way that makes the book accessible to a wide readership (a paperback version is available for a significantly lower price than the hardcover).\u003c/p>\n\u003cp>She begins with the historically unjust, power-imbalanced relationship African Americans have had with the police, writing that the “relationship between Blacks and law enforcement has been contentious throughout American history … Faced with the threat of slave insurrection and the chronic problem of slaves fleeing captivity, many state legislatures in the South in the 1700s passed restrictive laws controlling and regulating the movement of slaves through what was known as ‘slave patrol.'”\u003c/p>\n\u003cp>She goes on to note that after slavery, during Reconstruction, numerous Southern states moved to pass what were known as “Black Codes,” which were “criminal laws that created new offenses, such as ‘loitering’ and ‘vagrancy,’ punishable by fines, imprisonment, and forced labor for up to one year … Black Codes opened up a market for convict leasing, in which people in prison were contracted out as laborers to the highest private bidder for state profit.” Chillingly, she concludes that “while Black people were rarely imprisoned during the era of slavery, criminalization had become the resolution for dealing with freed Blacks.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast-forward from Reconstruction to our era of mass incarceration today — and problems of policing and justice pertaining to race persist. Cobbina chooses to focus on Ferguson and Baltimore as representative cases for good reason: Both are African American-majority cities with high poverty and histories of racial disparity, and both experienced high-profile deaths of African Americans involving police that catalyzed large-scale protests. And protesters had a lot to protest about. In reports from \u003ca href=\"https://www.justice.gov/sites/default/files/opa/press-releases/attachments/2015/03/04/ferguson_police_department_report.pdf\">2015 \u003c/a>and \u003ca href=\"https://www.justice.gov/crt/file/883296/download\">2016\u003c/a> respectively, the Department of Justice found significant evidence of racial bias in policing in Ferguson and, in Baltimore, policing that stood in violation of federal anti-discrimination law and the Constitution. [aside postid='arts_13852433']\u003c/p>\n\u003cp>Given all of this injustice, Cobbina does something else that sets her book apart: She gives a voice to people directly affected by law enforcement practices by allowing them to speak for themselves.\u003c/p>\n\u003cp>For instance, Justin, a black resident of Baltimore, recounts how he was walking with a friend who was carrying a crushed empty beer can in a bag he was going to throw away across the street when a police officer arrived and said “get on the ground” more than once. Justin was confused by the seemingly disproportionate command, and confused, he couldn’t square the officer’s tone with the still nebulous offense. Then, according to Justin, the officer said, “If I tell you to get on the ground again, I’m going to shoot you in the back.”\u003c/p>\n\u003cp>Then there are outright claims of violence, such as this one from Darryl, a black resident of Ferguson:\u003c/p>\n\u003cblockquote class=\"edTag\">\n\u003cdiv>\n\u003cp>“I mean, I got locked [up] by them before where they beat me up, man, when I had a seizure … When they released me to the hospital I still had active warrants … [When] I came back to file a complaint they locked me up again … and I got assaulted again … I had knots on my head when I got out of there.”\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>When Michael Brown in Ferguson and Freddie Gray in Baltimore died at the hands of the police, each community decided it was time to act. Tremaine, a black Baltimore protester, put it simply: “It is our duty. This is our duty, I believe that if someone — if you, for instance, committed a crime, and I saw it and did nothing I am worse than you.”\u003c/p>\n\u003cp>Some eyewitnesses to Brown’s death say he had his hands up before he was shot repeatedly. Cobbina writes that in Ferguson, the “initial shock of Brown’s violent death turned into disbelief and seething rage. Not only did many perceive that a deep sense of injustice had taken place but … they also found themselves the recipients of unjustifiable police contact.” According to Cobbina’s research (for the book, she drew from interviews of nearly 200 residents of Ferguson and Baltimore within two months of the deaths of Michael Brown and Freddie Gray), among Ferguson protesters “63 percent reported personal and 76 percent reported vicarious experiences with police that were negative in nature prior to Brown’s death.” [aside postid='arts_13862605']\u003c/p>\n\u003cp>In Baltimore, many residents and protesters were angered by what they saw as the inhumane treatment that led to Gray’s death. And, like in Ferguson, prior negative experience with police led protesters out into the streets there, too. In Baltimore, like in Ferguson, the protests served a dual purpose. They were expressions of outrage at the specific deaths of African Americans at the hands of the police, yes. But they were also about reforming (or abolishing) a system of policing and criminal justice that is historically and therefore structurally in no small measure set against the interests and the well-being of African Americans.\u003c/p>\n\u003cp>After police violence in Ferguson and Baltimore, communities protested in anger and defiance. And that anger was just the beginning; the end will only come when black lives are consistently treated as equal in value to white lives in the eyes of the law. There’s a lot of history to face before America gets there, but the protests in Ferguson and Baltimore set the country further on the way.\u003c/p>\n\u003cp>Cobbina aptly quotes Maya Angelou, who wrote that “history, despite its wrenching pain, cannot be unlived, but if faced with courage, need not be lived again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\">NPR\u003c/a>.\u003c/p>\n\u003cdiv id=\"storytext\" class=\"storytext storylocation linkLocation\">\n\u003cp>\u003cem>Nicholas Cannariato is a writer and editor based in Chicago.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the past five or so years have taught America anything about policing, it’s that a lack of trust between police and communities of color is an ongoing problem. But why?\u003c/p>\n\u003cp>In her tightly focused and morally important book, \u003cem>Hands Up, Don’t Shoot\u003c/em>, Jennifer E. Cobbina, associate professor in the School of Criminal Justice at Michigan State University, analyzes how the deaths of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/11/24/366370100/grand-jury-reaches-decision-in-michael-brown-case\">Michael Brown\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/18/486460729/most-senior-police-officer-in-freddie-gray-case-is-found-not-guilty-of-manslaugh\">Freddie Gray\u003c/a> at the hands of police resulted in sustained protests in Ferguson, Mo., and in Baltimore — and how we got there.\u003c/p>\n\u003cfigure id=\"attachment_13862943\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg\" alt=\"'Hands Up Don't Shoot,' Jennifer E. Cobbina. \" width=\"259\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot.jpg 259w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hands-up-dont-shoot-160x240.jpg 160w\" sizes=\"(max-width: 259px) 100vw, 259px\">\u003cfigcaption class=\"wp-caption-text\">‘Hands Up Don’t Shoot,’ Jennifer E. Cobbina.\u003c/figcaption>\u003c/figure>\n\u003cp>What recommends the book in part is that, unlike many academic books, it doesn’t presume prior knowledge on the part of the reader. To her credit, Cobbina is careful to establish historical and cultural context for the deep-seated distrust so many African Americans feel toward law enforcement in a way that makes the book accessible to a wide readership (a paperback version is available for a significantly lower price than the hardcover).\u003c/p>\n\u003cp>She begins with the historically unjust, power-imbalanced relationship African Americans have had with the police, writing that the “relationship between Blacks and law enforcement has been contentious throughout American history … Faced with the threat of slave insurrection and the chronic problem of slaves fleeing captivity, many state legislatures in the South in the 1700s passed restrictive laws controlling and regulating the movement of slaves through what was known as ‘slave patrol.'”\u003c/p>\n\u003cp>She goes on to note that after slavery, during Reconstruction, numerous Southern states moved to pass what were known as “Black Codes,” which were “criminal laws that created new offenses, such as ‘loitering’ and ‘vagrancy,’ punishable by fines, imprisonment, and forced labor for up to one year … Black Codes opened up a market for convict leasing, in which people in prison were contracted out as laborers to the highest private bidder for state profit.” Chillingly, she concludes that “while Black people were rarely imprisoned during the era of slavery, criminalization had become the resolution for dealing with freed Blacks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast-forward from Reconstruction to our era of mass incarceration today — and problems of policing and justice pertaining to race persist. Cobbina chooses to focus on Ferguson and Baltimore as representative cases for good reason: Both are African American-majority cities with high poverty and histories of racial disparity, and both experienced high-profile deaths of African Americans involving police that catalyzed large-scale protests. And protesters had a lot to protest about. In reports from \u003ca href=\"https://www.justice.gov/sites/default/files/opa/press-releases/attachments/2015/03/04/ferguson_police_department_report.pdf\">2015 \u003c/a>and \u003ca href=\"https://www.justice.gov/crt/file/883296/download\">2016\u003c/a> respectively, the Department of Justice found significant evidence of racial bias in policing in Ferguson and, in Baltimore, policing that stood in violation of federal anti-discrimination law and the Constitution. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given all of this injustice, Cobbina does something else that sets her book apart: She gives a voice to people directly affected by law enforcement practices by allowing them to speak for themselves.\u003c/p>\n\u003cp>For instance, Justin, a black resident of Baltimore, recounts how he was walking with a friend who was carrying a crushed empty beer can in a bag he was going to throw away across the street when a police officer arrived and said “get on the ground” more than once. Justin was confused by the seemingly disproportionate command, and confused, he couldn’t square the officer’s tone with the still nebulous offense. Then, according to Justin, the officer said, “If I tell you to get on the ground again, I’m going to shoot you in the back.”\u003c/p>\n\u003cp>Then there are outright claims of violence, such as this one from Darryl, a black resident of Ferguson:\u003c/p>\n\u003cblockquote class=\"edTag\">\n\u003cdiv>\n\u003cp>“I mean, I got locked [up] by them before where they beat me up, man, when I had a seizure … When they released me to the hospital I still had active warrants … [When] I came back to file a complaint they locked me up again … and I got assaulted again … I had knots on my head when I got out of there.”\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>When Michael Brown in Ferguson and Freddie Gray in Baltimore died at the hands of the police, each community decided it was time to act. Tremaine, a black Baltimore protester, put it simply: “It is our duty. This is our duty, I believe that if someone — if you, for instance, committed a crime, and I saw it and did nothing I am worse than you.”\u003c/p>\n\u003cp>Some eyewitnesses to Brown’s death say he had his hands up before he was shot repeatedly. Cobbina writes that in Ferguson, the “initial shock of Brown’s violent death turned into disbelief and seething rage. Not only did many perceive that a deep sense of injustice had taken place but … they also found themselves the recipients of unjustifiable police contact.” According to Cobbina’s research (for the book, she drew from interviews of nearly 200 residents of Ferguson and Baltimore within two months of the deaths of Michael Brown and Freddie Gray), among Ferguson protesters “63 percent reported personal and 76 percent reported vicarious experiences with police that were negative in nature prior to Brown’s death.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Baltimore, many residents and protesters were angered by what they saw as the inhumane treatment that led to Gray’s death. And, like in Ferguson, prior negative experience with police led protesters out into the streets there, too. In Baltimore, like in Ferguson, the protests served a dual purpose. They were expressions of outrage at the specific deaths of African Americans at the hands of the police, yes. But they were also about reforming (or abolishing) a system of policing and criminal justice that is historically and therefore structurally in no small measure set against the interests and the well-being of African Americans.\u003c/p>\n\u003cp>After police violence in Ferguson and Baltimore, communities protested in anger and defiance. And that anger was just the beginning; the end will only come when black lives are consistently treated as equal in value to white lives in the eyes of the law. There’s a lot of history to face before America gets there, but the protests in Ferguson and Baltimore set the country further on the way.\u003c/p>\n\u003cp>Cobbina aptly quotes Maya Angelou, who wrote that “history, despite its wrenching pain, cannot be unlived, but if faced with courage, need not be lived again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>ISSUES, the Oakland print emporium and newsstand, returned to Piedmont Avenue in June after one year in the shipping-container complex MacArthur Annex. Now, though, its short-lived shipping-container location is reopening as Hubris + Sons, a used bookshop and publisher run by ISSUES co-owner Joe Colley, with live music on Saturday, Aug. 3.\u003c/p>\n\u003cp>\u003ca href=\"https://issuesshop.com/\">ISSUES\u003c/a> proprietors Colley and Noelle Teele, who \u003ca href=\"https://www.eastbayexpress.com/oakland/after-eleven-years-beloved-print-retailer-issues-relocates-and-downsizes/Content?oid=17254559\">opened\u003c/a> the exhaustively stocked shop off Piedmont Avenue in 2007, found the MacArthur Annex location too small for customers to comfortably browse thousands of titles. Hubris + Sons, by contrast, will stock a specialized selection of used books on subjects including art, philosophy, occult and counterculture history, Colley explained.\u003c/p>\n\u003cp>The shop will also publish facsimile reproductions of lost countercultural texts, he said. Tabling for ISSUES at the San Francisco Art Book Fair this past weekend, Colley quietly debuted the first two titles, both from the 1970s: \u003cem>The Natural Childbirth of Tara\u003c/em>, a couple’s journal of their earthy approach to pregnancy (with vivid photography), and \u003cem>The Book of the Mother\u003c/em>, a California commune’s spiritual manifesto (with psychedelic parenting advice).\u003c/p>\n\u003cp>They’re rare titles that Colley believes should be available to researchers. “They happen to deal with children only by coincidence,” he said, adding that maybe “‘hubris’ applies to me for even trying to start this venture. And no, I have no children or sons.”\u003c/p>\n\u003cp>The grand opening party for Hubris + Sons: Shop for Creative Research, co-presented by neighboring Contact Records, occurs Saturday, Aug. 3 in the MacArthur Annex courtyard with a performance by Oakland synth-pop duo \u003ca href=\"https://vvdwndws.bandcamp.com/album/vvd-wndws\">VVD WNDWS\u003c/a>.\u003cem>—Sam Lefebvre\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>ISSUES, the Oakland print emporium and newsstand, returned to Piedmont Avenue in June after one year in the shipping-container complex MacArthur Annex. Now, though, its short-lived shipping-container location is reopening as Hubris + Sons, a used bookshop and publisher run by ISSUES co-owner Joe Colley, with live music on Saturday, Aug. 3.\u003c/p>\n\u003cp>\u003ca href=\"https://issuesshop.com/\">ISSUES\u003c/a> proprietors Colley and Noelle Teele, who \u003ca href=\"https://www.eastbayexpress.com/oakland/after-eleven-years-beloved-print-retailer-issues-relocates-and-downsizes/Content?oid=17254559\">opened\u003c/a> the exhaustively stocked shop off Piedmont Avenue in 2007, found the MacArthur Annex location too small for customers to comfortably browse thousands of titles. Hubris + Sons, by contrast, will stock a specialized selection of used books on subjects including art, philosophy, occult and counterculture history, Colley explained.\u003c/p>\n\u003cp>The shop will also publish facsimile reproductions of lost countercultural texts, he said. Tabling for ISSUES at the San Francisco Art Book Fair this past weekend, Colley quietly debuted the first two titles, both from the 1970s: \u003cem>The Natural Childbirth of Tara\u003c/em>, a couple’s journal of their earthy approach to pregnancy (with vivid photography), and \u003cem>The Book of the Mother\u003c/em>, a California commune’s spiritual manifesto (with psychedelic parenting advice).\u003c/p>\n\u003cp>They’re rare titles that Colley believes should be available to researchers. “They happen to deal with children only by coincidence,” he said, adding that maybe “‘hubris’ applies to me for even trying to start this venture. And no, I have no children or sons.”\u003c/p>\n\u003cp>The grand opening party for Hubris + Sons: Shop for Creative Research, co-presented by neighboring Contact Records, occurs Saturday, Aug. 3 in the MacArthur Annex courtyard with a performance by Oakland synth-pop duo \u003ca href=\"https://vvdwndws.bandcamp.com/album/vvd-wndws\">VVD WNDWS\u003c/a>.\u003cem>—Sam Lefebvre\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Shame is a cruel thing,” writes George Takei in \u003cem>They Called Us Enemy\u003c/em>, his new graphic novel about his childhood years in an American concentration camp during World War II. “It should rest on the perpetrators, but they don’t carry it the way the victims do.”\u003c/p>\n\u003cp>This irony becomes most evident at the conclusion of Takei’s book, where he depicts the U.S. government’s tardy attempts to establish a sense of collective shame about America’s wartime internment of Japanese Americans. “Here we admit a wrong: Here we reaffirm our commitment as a nation to equal justice under law,” President Reagan is shown saying in 1988. But no matter how polished his words — or how many zeros on the restitution check Takei receives in 1991 — such attempts at official remorse ring hollow. What the government did to Takei and some 120,000 other Japanese Americans can’t be undone, no matter how many speeches public officials deliver or how many checks they send. [aside postid='arts_13859566']\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13861818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-800x248.jpg\" alt=\"\" width=\"800\" height=\"248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-800x248.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-160x50.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-768x238.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper. [aside postid='arts_13859794']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13861817\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-800x246.jpg\" alt=\"\" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-800x246.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-768x236.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Copyright \u003ca href=\"http://npr.org\">NPR\u003c/a> 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13861818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-800x248.jpg\" alt=\"\" width=\"800\" height=\"248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-800x248.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-160x50.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85-768x238.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-d82701819430df1e1e6572493bdefbe45f9b2d16-s1500-c85.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13861817\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-800x246.jpg\" alt=\"\" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-800x246.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85-768x236.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-5aa39eb42faa4e2b2d51b8ec4d513451189a2d36-s1500-c85.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Copyright \u003ca href=\"http://npr.org\">NPR\u003c/a> 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Weekend Picks for July 19–21",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "A celebration at Lake Merritt, a Green Day side project, an art book extravaganza and more this weekend.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "george-takei-recalls-time-in-an-american-internment-camp-in-they-called-us-enemy",
"title": "George Takei Recalls Time In An American Internment Camp In 'They Called Us Enemy'",
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"headTitle": "George Takei Recalls Time In An American Internment Camp In ‘They Called Us Enemy’ | KQED",
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"content": "\u003cfigure id=\"attachment_13861576\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/theycalledusenemy-cover-800x1158.jpeg\" alt=\"'They Called Us Enemy' by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\" width=\"800\" height=\"1158\">\u003cfigcaption class=\"wp-caption-text\">‘They Called Us Enemy’\u003cbr>by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\u003c/figcaption>\u003c/figure>\n\u003cp>“Shame is a cruel thing,” writes George Takei in \u003cem>They Called Us Enemy\u003c/em>, his new graphic novel about his childhood years in an American concentration camp during World War II. “It should rest on the perpetrators, but they don’t carry it the way the victims do.”\u003c/p>\n\u003cp>This irony becomes most evident at the conclusion of Takei’s book, where he depicts the U.S. government’s tardy attempts to establish a sense of collective shame about America’s wartime internment of Japanese Americans. “Here we admit a wrong: Here we reaffirm our commitment as a nation to equal justice under law,” President Reagan is shown saying in 1988. But no matter how polished his words — or how many zeros on the restitution check Takei receives in 1991 — such attempts at official remorse ring hollow. What the government did to Takei and some 120,000 other Japanese Americans can’t be undone, no matter how many speeches public officials deliver or how many checks they send.\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cfigure id=\"attachment_13861572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg\" alt=\"An image from 'They Called Us Enemy.'\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-768x237.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy.’ \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper.\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cfigure id=\"attachment_13861573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg\" alt=\"An image from 'They Called Us Enemy,' by George Takei. \" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-768x236.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy,’ by George Takei. \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Through his graphic memoir, the 'Star Trek' actor-turned-author shows that while it may be too late to undo the WWII incarceration of Japanese Americans, it's not too late to learn from it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13861576\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/theycalledusenemy-cover-800x1158.jpeg\" alt=\"'They Called Us Enemy' by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\" width=\"800\" height=\"1158\">\u003cfigcaption class=\"wp-caption-text\">‘They Called Us Enemy’\u003cbr>by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\u003c/figcaption>\u003c/figure>\n\u003cp>“Shame is a cruel thing,” writes George Takei in \u003cem>They Called Us Enemy\u003c/em>, his new graphic novel about his childhood years in an American concentration camp during World War II. “It should rest on the perpetrators, but they don’t carry it the way the victims do.”\u003c/p>\n\u003cp>This irony becomes most evident at the conclusion of Takei’s book, where he depicts the U.S. government’s tardy attempts to establish a sense of collective shame about America’s wartime internment of Japanese Americans. “Here we admit a wrong: Here we reaffirm our commitment as a nation to equal justice under law,” President Reagan is shown saying in 1988. But no matter how polished his words — or how many zeros on the restitution check Takei receives in 1991 — such attempts at official remorse ring hollow. What the government did to Takei and some 120,000 other Japanese Americans can’t be undone, no matter how many speeches public officials deliver or how many checks they send.\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cfigure id=\"attachment_13861572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg\" alt=\"An image from 'They Called Us Enemy.'\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-768x237.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy.’ \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper.\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cfigure id=\"attachment_13861573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg\" alt=\"An image from 'They Called Us Enemy,' by George Takei. \" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-768x236.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy,’ by George Takei. \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\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>Mike Nicholls is the founder of \u003ca href=\"https://www.umbermagazine.net/\">\u003cem>Umber\u003c/em>\u003c/a> magazine, and my conversation with him covered much more than we can fit into this show: it went from Porky Pig being an inspiration to stuttering kids to the fact that there’s an “Oakland” font. My mind was blown.\u003c/p>\n\u003cp>But the central focus of our conversation was \u003cem>Umber\u003c/em>. Nicholls’ Oakland-based publication toes the line between magazine and coffee table book: you can only find it in print, it’s printed with intention entirely in black and brown ink, and its features on artists of color from around the nation can’t be found anywhere online. \u003c/p>\n\u003cp>Each issue of \u003cem>Umber\u003c/em> has a theme. For the magazine’s third issue, released just a few weeks ago, that theme is Sound. \u003ca href=\"https://thisismikenicholls.com/\">Nicholls\u003c/a>, who grew up with an intense stutter, says he’s always found it easier to express himself through written word—hence his passion for graffiti and typography. But he’s always been interested in digging into sound, especially as a method for overcoming stuttering.\u003c/p>\n\u003cp>The current issue’s pages cover the likes of East Bay drummer \u003ca href=\"https://www.instagram.com/badassthomaspridgen/?hl=en\">Thomas Pridgen\u003c/a>, and a very talented vocalist named \u003ca href=\"https://www.yasmeena.me/\">Yasmeena\u003c/a>. And Nicholls himself opens up in the magazine’s pages to write about overcoming stuttering. As Mike told me, “It’s like there’s a million words in my head, and I just want one!” He laughed, and continued by saying, “You know, I don’t stutter when I’m by myself.”\u003c/p>\n\u003cp>A release party for the latest issue of \u003cem>Umber\u003c/em> gets underway Monday, July 19, at Bandcamp in Oakland. The show runs from 6pm-9pm and features live performances from Mani Draper, Nina Sol and Yasmeena. \u003ca href=\"https://www.eventbrite.com/e/umbers-the-sound-issue-release-party-at-bandcamp-tickets-63282958031?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=escb&utm-source=cp&utm-term=listing\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click on the audio link above hear the full story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Nicholls is the founder of \u003ca href=\"https://www.umbermagazine.net/\">\u003cem>Umber\u003c/em>\u003c/a> magazine, and my conversation with him covered much more than we can fit into this show: it went from Porky Pig being an inspiration to stuttering kids to the fact that there’s an “Oakland” font. My mind was blown.\u003c/p>\n\u003cp>But the central focus of our conversation was \u003cem>Umber\u003c/em>. Nicholls’ Oakland-based publication toes the line between magazine and coffee table book: you can only find it in print, it’s printed with intention entirely in black and brown ink, and its features on artists of color from around the nation can’t be found anywhere online. \u003c/p>\n\u003cp>Each issue of \u003cem>Umber\u003c/em> has a theme. For the magazine’s third issue, released just a few weeks ago, that theme is Sound. \u003ca href=\"https://thisismikenicholls.com/\">Nicholls\u003c/a>, who grew up with an intense stutter, says he’s always found it easier to express himself through written word—hence his passion for graffiti and typography. But he’s always been interested in digging into sound, especially as a method for overcoming stuttering.\u003c/p>\n\u003cp>The current issue’s pages cover the likes of East Bay drummer \u003ca href=\"https://www.instagram.com/badassthomaspridgen/?hl=en\">Thomas Pridgen\u003c/a>, and a very talented vocalist named \u003ca href=\"https://www.yasmeena.me/\">Yasmeena\u003c/a>. And Nicholls himself opens up in the magazine’s pages to write about overcoming stuttering. As Mike told me, “It’s like there’s a million words in my head, and I just want one!” He laughed, and continued by saying, “You know, I don’t stutter when I’m by myself.”\u003c/p>\n\u003cp>A release party for the latest issue of \u003cem>Umber\u003c/em> gets underway Monday, July 19, at Bandcamp in Oakland. The show runs from 6pm-9pm and features live performances from Mani Draper, Nina Sol and Yasmeena. \u003ca href=\"https://www.eventbrite.com/e/umbers-the-sound-issue-release-party-at-bandcamp-tickets-63282958031?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=escb&utm-source=cp&utm-term=listing\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Debut Book Tells of the Real-Life Longings and Frustrations of 'Three Women'",
"headTitle": "Debut Book Tells of the Real-Life Longings and Frustrations of ‘Three Women’ | KQED",
"content": "\u003cp>Female desire has been seen as a problem since long before Freud, vexed, wondered what on Earth women want.\u003c/p>\n\u003cp>Entire vocabularies of insult are devoted to girls and women who dare to proclaim their existence as sexual beings. The protagonists in Lisa Taddeo’s new book, \u003cem>Three Women\u003c/em>, are not unusual in their complicated sexual histories; what makes their stories revolutionary is the exquisite candor with which Taddeo gives them voice. \u003c/p>\n\u003cfigure id=\"attachment_13860949\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/three-women-book-cover-800x1193.jpg\" alt=\"'Three Women,' Lisa Taddeo.\" width=\"800\" height=\"1193\" class=\"size-medium wp-image-13860949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-768x1145.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Three Women,’ Lisa Taddeo. \u003ccite>(Avid Reader Press / Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the tradition of Adrian Nicole LeBlanc’s \u003cem>Random Family\u003c/em> or Katherine Boo’s \u003cem>Behind the Beautiful Forevers\u003c/em>, Taddeo’s book—her first—is a work of deep observation, long conversations, and a kind of journalistic alchemy. Taddeo spent years with the subjects of \u003cem>Three Women\u003c/em>, and the investment pays off. As she writes in the book’s prologue, “it’s the quotidian minutes of our lives that will go on forever, that will tell us who we were,” and she seamlessly weaves together everyday details and startlingly intimate moments into narratives that feel as real, as vital, as the pulse in your wrist.\u003c/p>\n\u003cp>The women she profiles are not diverse in most demographic senses—all are white, for instance—but each inhabits a different life trajectory. There’s Sloane, a glamorous and successful restaurateur whose marriage includes sexual relationships with third parties, voyeurism, and a dawning realization (when reading \u003cem>Fifty Shades of Grey\u003c/em>) that she is a submissive to her husband’s dominant. There’s a poor little rich girl aspect to her story. Sloane’s privileged childhood included brittle and distracted parents, and by adolescence she was “not only an anorexic-bulimic, but the absolute best anorexic-bulimic she could be.” Of the three, Sloane’s tale feels the least satisfying, or perhaps the most perplexing, but it also allows Taddeo to practice a lack of judgment that seems almost radical: As long as things are working for all the adults involved, and nobody is being harmed, then sex and relationships can take many forms.\u003c/p>\n\u003cp>Lina (like Sloane, this is a pseudonym) is also sleeping with someone outside her marriage, but after that their stories diverge. Married for more than a decade to a man who won’t kiss her, she loves her children but the rest of her life is suffocating her. “She wishes she could stop caring everything,” Taddeo writes. “She wishes she could burn the house down.” She reconnects online with her first love, who as a boy in high school had been “strong and hot and extremely quiet so that every time he opens his mouth it’s exciting.” Years of emotional and physical neglect, during which time she’s also developed a panoply of aches and pains, have primed Lina for the glory of their reunion. Their affair is passionate, the attraction magnetic. Aidan is still hot as far as Lina is concerned, still quiet, withholding. He’s married, too, and their meetings become an excruciating waiting game, one Lina worries she’s losing. “Even in love Lina understands there is competition—a frantic need to be the one who will hurt less than the other.” There’s a kind of sexual idealism in Lina’s yearning, and the reader aches to see what she doesn’t, the disregard lurking behind Aidan’s laconic “Hey, Kid” when he sees her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there’s Maggie—alone among the women, her real name is used, partly because of the extensive public record due to court proceedings in her case. When she first meets English teacher Aaron Knodel in the second semester of her freshman year, Knodel is considered the hot teacher at the North Dakota school Maggie attends; Maggie is “at that precipice, possessing, still, the dreams of a child, but now able to press them up against the potential of an adult.” The teacher is “wholesomely carnal, wearing a drugstore cologne but possessing the strut of a movie star,” in the eyes of his enthralled student. Over the course of high school, Aaron draws Maggie closer and closer, beguiling and seducing her—although refusing, in a kind of parody of principle, to let her unzip his pants. They do everything else, until his wife catches them.\u003c/p>\n\u003cp>The book begins with Maggie, now in her early 20s, headed to the courtroom, seeking some justice for what has been done to her, to her heart, to her trust, to her reputation. She knows the world sees her as “crazy and broken,” the same world that named Knodel teacher of the year. As the three women’s tales alternate, Taddeo narrates with a magically light touch, inhabiting each so fully we feel as if we’re living alongside them. The book is sexually explicit—you might blush when reading it—but it never feels gratuitous or clinical.\u003c/p>\n\u003cp>Its prose is gorgeous, nearly lyrical as it describes the longings and frustrations that propel these ordinary women. Blending the skills of an ethnographer and a poet, Taddeo renders them extraordinary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.npr.org/2019/07/08/739523657/katetuttle.net\">Kate Tuttle\u003c/a> has written about books for the \u003c/em>Boston Globe, The New York Times,\u003cem> the \u003c/em>Los Angeles Times,\u003cem> the \u003c/em>Washington Post, Salon and Atlantic.com\u003cem>, among others.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>2019 Copyright \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Author Lisa Taddeo traveled the country to study the intricacies of how desire impacts three women's lives. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Female desire has been seen as a problem since long before Freud, vexed, wondered what on Earth women want.\u003c/p>\n\u003cp>Entire vocabularies of insult are devoted to girls and women who dare to proclaim their existence as sexual beings. The protagonists in Lisa Taddeo’s new book, \u003cem>Three Women\u003c/em>, are not unusual in their complicated sexual histories; what makes their stories revolutionary is the exquisite candor with which Taddeo gives them voice. \u003c/p>\n\u003cfigure id=\"attachment_13860949\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/three-women-book-cover-800x1193.jpg\" alt=\"'Three Women,' Lisa Taddeo.\" width=\"800\" height=\"1193\" class=\"size-medium wp-image-13860949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/three-women-book-cover-768x1145.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Three Women,’ Lisa Taddeo. \u003ccite>(Avid Reader Press / Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the tradition of Adrian Nicole LeBlanc’s \u003cem>Random Family\u003c/em> or Katherine Boo’s \u003cem>Behind the Beautiful Forevers\u003c/em>, Taddeo’s book—her first—is a work of deep observation, long conversations, and a kind of journalistic alchemy. Taddeo spent years with the subjects of \u003cem>Three Women\u003c/em>, and the investment pays off. As she writes in the book’s prologue, “it’s the quotidian minutes of our lives that will go on forever, that will tell us who we were,” and she seamlessly weaves together everyday details and startlingly intimate moments into narratives that feel as real, as vital, as the pulse in your wrist.\u003c/p>\n\u003cp>The women she profiles are not diverse in most demographic senses—all are white, for instance—but each inhabits a different life trajectory. There’s Sloane, a glamorous and successful restaurateur whose marriage includes sexual relationships with third parties, voyeurism, and a dawning realization (when reading \u003cem>Fifty Shades of Grey\u003c/em>) that she is a submissive to her husband’s dominant. There’s a poor little rich girl aspect to her story. Sloane’s privileged childhood included brittle and distracted parents, and by adolescence she was “not only an anorexic-bulimic, but the absolute best anorexic-bulimic she could be.” Of the three, Sloane’s tale feels the least satisfying, or perhaps the most perplexing, but it also allows Taddeo to practice a lack of judgment that seems almost radical: As long as things are working for all the adults involved, and nobody is being harmed, then sex and relationships can take many forms.\u003c/p>\n\u003cp>Lina (like Sloane, this is a pseudonym) is also sleeping with someone outside her marriage, but after that their stories diverge. Married for more than a decade to a man who won’t kiss her, she loves her children but the rest of her life is suffocating her. “She wishes she could stop caring everything,” Taddeo writes. “She wishes she could burn the house down.” She reconnects online with her first love, who as a boy in high school had been “strong and hot and extremely quiet so that every time he opens his mouth it’s exciting.” Years of emotional and physical neglect, during which time she’s also developed a panoply of aches and pains, have primed Lina for the glory of their reunion. Their affair is passionate, the attraction magnetic. Aidan is still hot as far as Lina is concerned, still quiet, withholding. He’s married, too, and their meetings become an excruciating waiting game, one Lina worries she’s losing. “Even in love Lina understands there is competition—a frantic need to be the one who will hurt less than the other.” There’s a kind of sexual idealism in Lina’s yearning, and the reader aches to see what she doesn’t, the disregard lurking behind Aidan’s laconic “Hey, Kid” when he sees her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s Maggie—alone among the women, her real name is used, partly because of the extensive public record due to court proceedings in her case. When she first meets English teacher Aaron Knodel in the second semester of her freshman year, Knodel is considered the hot teacher at the North Dakota school Maggie attends; Maggie is “at that precipice, possessing, still, the dreams of a child, but now able to press them up against the potential of an adult.” The teacher is “wholesomely carnal, wearing a drugstore cologne but possessing the strut of a movie star,” in the eyes of his enthralled student. Over the course of high school, Aaron draws Maggie closer and closer, beguiling and seducing her—although refusing, in a kind of parody of principle, to let her unzip his pants. They do everything else, until his wife catches them.\u003c/p>\n\u003cp>The book begins with Maggie, now in her early 20s, headed to the courtroom, seeking some justice for what has been done to her, to her heart, to her trust, to her reputation. She knows the world sees her as “crazy and broken,” the same world that named Knodel teacher of the year. As the three women’s tales alternate, Taddeo narrates with a magically light touch, inhabiting each so fully we feel as if we’re living alongside them. The book is sexually explicit—you might blush when reading it—but it never feels gratuitous or clinical.\u003c/p>\n\u003cp>Its prose is gorgeous, nearly lyrical as it describes the longings and frustrations that propel these ordinary women. Blending the skills of an ethnographer and a poet, Taddeo renders them extraordinary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.npr.org/2019/07/08/739523657/katetuttle.net\">Kate Tuttle\u003c/a> has written about books for the \u003c/em>Boston Globe, The New York Times,\u003cem> the \u003c/em>Los Angeles Times,\u003cem> the \u003c/em>Washington Post, Salon and Atlantic.com\u003cem>, among others.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>2019 Copyright \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Ayesha at Last,' a Take on Austen That's Sparky and Sensitive",
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"content": "\u003cfigure id=\"attachment_13859377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ayesha-at-last-800x1200.jpg\" alt=\"'Ayesha at Last' by Uzma Jalaluddin. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Ayesha at Last’ by Uzma Jalaluddin.\u003c/figcaption>\u003c/figure>\n\u003cp>South Asian adaptations of Jane Austen’s timeless \u003cem>Pride and Prejudice \u003c/em>have become quite popular recently — and no, watching the 2005 Bollywood-style token film \u003cem>Bride and Prejudice\u003c/em> — the only famous Indian adaptation of Austen’s novel — doesn’t mean we’ve seen it all. Uzma Jalaluddin’s debut novel \u003cem>Ayesha at Last\u003c/em> — which reads like an Indian soap opera with a dash of Shakespeare — stands out beautifully in the crowd.\u003c/p>\n\u003cp>The novel kicks off with Khalid Mirza and Ayesha Shamsi, two Muslims living in Toronto, who clash at every turn over different interpretations of their faith. Khalid, who’s more conservative, is content with allowing his controlling mother to run his life and arrange his marriage because “love comes after marriage.” Ayesha, on the other hand, is a fiercely independent poet on the rise, who would much rather focus on her career and find a husband on her own than be pressured into a relationship by her gossipy community, just because she’s getting older.\u003c/p>\n\u003cp>When they’re forced to work on a conference together at their mosque, judgmental glares and biting remarks give way to a burgeoning attraction that leaves Khalid confused; after all, his mother has always warned him about the dangers of pre-marital love. “These Western ideas of romantic love are utter nonsense. Just look at the American divorce rate,” his Ammi says. [aside postid='news_11753466']\u003c/p>\n\u003cp>Understandably, we don’t see traditionally sexy scenes in \u003cem>Ayesha at Last\u003c/em>, but the palpable friction between Khalid and Ayesha as they dance around like two magnets desperate to connect creates a whole new level of non-physical seduction. Jalaluddin carefully teases out their romance, taking just enough time and adding just enough heat to make it rise as gracefully as Ayesha’s grandmother’s parathas.\u003c/p>\n\u003cp>Their encounters overflow with tension — which reaches a peak when Khalid’s mother sets him up with Ayesha’s younger (and wealthier) cousin Hafsa, thereby forcing them to admit their feelings and look past their differences, or lose each other for good. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the similarities in the premises, \u003cem>Ayesha at Last \u003c/em>is more than just a Muslim retelling of Austen’s work; Jalaluddin constructs a timely and enlightening narrative that validates the experiences of many South Asians and Muslims today, while weaving in universal themes of identity, class, and discrimination. Though the topic of arranged marriage is prominent in the story, it acts more as a conduit to start lively debates about tradition and change among the different generations. And by highlighting ideological differences between many of the Muslim characters, particularly Ayesha and Khalid, Jalaluddin helps dismantle the misconception that all Muslims are alike. [aside postid='arts_13858424']\u003c/p>\n\u003cp>Even so, our romantic duo experiences their fair share of microaggressions and discrimination because of their culture and religious attire; in fact, Khalid’s supervisor at work goes to extreme lengths to sabotage him, and the uncertainty that constantly follows him at the office — coupled with the private workplace conversations we hear about him — is heartbreaking. Jalaluddin, however, empowers her characters to stand up to injustice and practice their religion with pride instead of staying silent. They don’t ask why they’re being victimized, rather, they want to know how they can speak up, educate others, and be authentic to themselves. [aside postid='arts_13859162']\u003c/p>\n\u003cp>By actively discussing their faith, Ayesha and Khalid begin to change the xenophobic narrative that so often surrounds Islam. In many ways, \u003cem>Ayesha at Last\u003c/em>‘s fictional universe acts as a microcosm of a diverse and oft-misunderstood community, and Jalaluddin’s compassionate and sensitive writing about it radiates off the page.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Kamrun Nesa is a freelance writer based in New York. Her work has been featured in \u003c/em>The Washington Post\u003cem>, \u003c/em>Bustle\u003cem>, \u003c/em>PopSugar\u003cem>, and \u003c/em>HelloGiggles\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright to \u003ca href=\"http://npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> 2019.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even so, our romantic duo experiences their fair share of microaggressions and discrimination because of their culture and religious attire; in fact, Khalid’s supervisor at work goes to extreme lengths to sabotage him, and the uncertainty that constantly follows him at the office — coupled with the private workplace conversations we hear about him — is heartbreaking. Jalaluddin, however, empowers her characters to stand up to injustice and practice their religion with pride instead of staying silent. They don’t ask why they’re being victimized, rather, they want to know how they can speak up, educate others, and be authentic to themselves. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By actively discussing their faith, Ayesha and Khalid begin to change the xenophobic narrative that so often surrounds Islam. In many ways, \u003cem>Ayesha at Last\u003c/em>‘s fictional universe acts as a microcosm of a diverse and oft-misunderstood community, and Jalaluddin’s compassionate and sensitive writing about it radiates off the page.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Kamrun Nesa is a freelance writer based in New York. Her work has been featured in \u003c/em>The Washington Post\u003cem>, \u003c/em>Bustle\u003cem>, \u003c/em>PopSugar\u003cem>, and \u003c/em>HelloGiggles\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright to \u003ca href=\"http://npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> 2019.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>[aside postID='arts_13857445' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/09-TRIPLE-ELVIS_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Filth Elder' John Waters Says There Are Still 'Plenty Of Rules' Left To Break",
"headTitle": "‘Filth Elder’ John Waters Says There Are Still ‘Plenty Of Rules’ Left To Break | KQED",
"content": "\u003cp>Cult filmmaker and self-described “filth elder” John Waters, 73, has plenty of ideas about what older people should and shouldn’t do.\u003c/p>\n\u003cp>The worst thing, he says, is to get a convertible: “Because believe me, old age and windswept do not go hand in hand. It’s really a bad look! You can’t be trying too hard to rebel [when] you’re older.”\u003c/p>\n\u003cp>Waters knows about being a rebel. He became famous for his 1972 film \u003cem>Pink Flamingos,\u003c/em> in which the characters compete for the title of filthiest person alive. That film became a midnight movie classic and led to other films, including \u003cem>Female Trouble\u003c/em> and \u003cem>Hairspray\u003c/em>.\u003c/p>\n\u003cp>Along the way, Waters became accepted in the mainstream more than he ever expected. \u003cem>Hairspray \u003c/em>was adapted into a Broadway musical, and he has also given a\u003ca href=\"https://vimeo.com/129312307\"> commencement address\u003c/a> and had museum retrospectives.\u003c/p>\n\u003cp>Though he jokes that he can’t be anarchist — “I have three homes!” — he adds, “There’s plenty of rules that you can still break. … I think you have to use humor and you can’t be so angry about it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “… what parent would be happy their child made ‘Pink Flamingos’? Really, none.”—John Waters [/pullquote]\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! 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I just want the day I was born and the day I died and my name. I don’t want like, “That’s all, folks!” or anything like that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Filth+Elder%27+John+Waters+Says+There+Are+Still+%27Plenty+Of+Rules%27+Left+To+Break&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The cult filmmaker, 73, has plenty of ideas about what older people should and shouldn't do. \"You can't be trying too hard to rebel [when] you're older,\" Waters says. His new book is 'Mr. Know-It-All.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cult filmmaker and self-described “filth elder” John Waters, 73, has plenty of ideas about what older people should and shouldn’t do.\u003c/p>\n\u003cp>The worst thing, he says, is to get a convertible: “Because believe me, old age and windswept do not go hand in hand. It’s really a bad look! You can’t be trying too hard to rebel [when] you’re older.”\u003c/p>\n\u003cp>Waters knows about being a rebel. He became famous for his 1972 film \u003cem>Pink Flamingos,\u003c/em> in which the characters compete for the title of filthiest person alive. That film became a midnight movie classic and led to other films, including \u003cem>Female Trouble\u003c/em> and \u003cem>Hairspray\u003c/em>.\u003c/p>\n\u003cp>Along the way, Waters became accepted in the mainstream more than he ever expected. \u003cem>Hairspray \u003c/em>was adapted into a Broadway musical, and he has also given a\u003ca href=\"https://vimeo.com/129312307\"> commencement address\u003c/a> and had museum retrospectives.\u003c/p>\n\u003cp>Though he jokes that he can’t be anarchist — “I have three homes!” — he adds, “There’s plenty of rules that you can still break. … I think you have to use humor and you can’t be so angry about it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": " “… what parent would be happy their child made ‘Pink Flamingos’? Really, none.”—John Waters ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! This is the perfect contemporary art!” … It hasn’t spread. None of my guests have been rushed to the hospital from it. But I liked the idea that it’s a dangerous painting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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