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"content": "\u003cp>Philip Roth, the prize-winning novelist and fearless narrator of sex, death, assimilation and fate, from the comic madness of \u003cem>Portnoy’s Complaint\u003c/em> to the elegiac lyricism of \u003cem>American Pastoral\u003c/em>, died Tuesday night at age 85.\u003c/p>\n\u003cp>Roth’s literary agent, Andrew Wylie, said that the author died in a New York City hospital of congestive heart failure.\u003c/p>\n\u003cp>Author of more than 25 books, Roth was a fierce satirist and uncompromising realist, confronting readers in a bold, direct style that scorned false sentiment or hopes for heavenly reward. He was an atheist who swore allegiance to earthly imagination, whether devising pornographic functions for raw liver or indulging romantic fantasies about Anne Frank. In \u003cem>The Plot Against America\u003c/em>, published in 2004, he placed his own family under the anti-Semitic reign of President Charles Lindbergh. In 2010, in \u003cem>Nemesis\u003c/em>, he subjected his native New Jersey to a polio epidemic.\u003c/p>\n\u003cp>He was among the greatest writers never to win the Nobel Prize. But he received virtually every other literary honor, including two National Book Awards, two National Book Critics Circle prizes and, in 1998, the Pulitzer for \u003cem>American Pastoral\u003c/em>. He was in his 20s when he won his first award and awed critics and fellow writers by producing some of his most acclaimed novels in his 60s and 70s, including \u003cem>The Human Stain\u003c/em> and \u003cem>Sabbath’s Theater\u003c/em>, a savage narrative of lust and mortality he considered his finest work.\u003c/p>\n\u003cp>He identified himself as an American writer, not a Jewish one, but for Roth the American experience and the Jewish experience were often the same. While predecessors such as Saul Bellow and Bernard Malamud wrote of the Jews’ painful adjustment from immigrant life, Roth’s characters represented the next generation. Their first language was English, and they spoke without accents. They observed no rituals and belonged to no synagogues. The American dream, or nightmare, was to become “a Jew without Jews, without Judaism, without Zionism, without Jewishness.” The reality, more often, was to be regarded as a Jew among gentiles and a gentile among Jews.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the novel \u003cem>The Ghost Writer\u003c/em> he quoted one of his heroes, Franz Kafka: “We should only read those books that bite and sting us.” For his critics, his books were to be repelled like a swarm of bees.\u003c/p>\n\u003cp>Feminists, Jews and one ex-wife attacked him in print, and sometimes in person. Women in his books were at times little more than objects of desire and rage and The Village Voice once put his picture on its cover, condemning him as a misogynist. A panel moderator berated him for his comic portrayals of Jews, asking Roth if he would have written the same books in Nazi Germany. The Jewish scholar Gershom Scholem called \u003cem>Portnoy’s Complaint\u003c/em> the “book for which all anti-Semites have been praying.” When Roth won the Man Booker International Prize, in 2011, a judge resigned, alleging that the author suffered from terminal solipsism and went “on and on and on about the same subject in almost every single book.” In \u003cem>Sabbath’s Theater\u003c/em>, Roth imagines the inscription for his title character’s headstone: “Sodomist, Abuser of Women, Destroyer of Morals.”\u003c/p>\n\u003cp>Ex-wife Claire Bloom wrote a best-selling memoir, \u003cem>Leaving a Doll’s House\u003c/em>, in which the actress remembered reading the manuscript of his novel \u003cem>Deception\u003c/em>. With horror, she discovered his characters included a boring middle-aged wife named Claire, married to an adulterous writer named Philip. Bloom also described her ex-husband as cold, manipulative and unstable. (Although, alas, she still loved him). The book was published by Virago Press, whose founder, Carmen Callil, was the same judge who quit years later from the Booker committee.\u003c/p>\n\u003cp>Roth’s wars also originated from within. He survived a burst appendix in the late 1960s and near-suicidal depression in 1987. After the disappointing reaction to his 1993 novel, \u003cem>Operation Shylock\u003c/em>, he fell again into severe depression and for years rarely communicated with the media. For all the humor in his work — and, friends would say, in private life — jacket photos usually highlighted the author’s tense, dark-eyed glare. In 2012, he announced that he had stopped writing fiction and would instead dedicate himself to helping biographer Blake Bailey complete his life story, one he openly wished would not come out while he was alive. By 2015, he had retired from public life altogether.\u003c/p>\n\u003cp>He never promised to be his readers’ friend; writing was its own reward, the narration of “life, in all its shameless impurity.” Until his abrupt retirement, Roth was a dedicated, prolific author who often published a book a year and was generous to writers from other countries. For years, he edited the \u003cem>Writers from the Other Europe\u003c/em> series, in which authors from Eastern Europe received exposure to American readers; Milan Kundera was among the beneficiaries. Roth also helped bring a wider readership to the acclaimed Israeli writer Aharon Appelfeld.\u003c/p>\n\u003cp>Roth began his career in rebellion against the conformity of the 1950s and ended it in defense of the security of the 1940s; he was never warmer than when writing about his childhood, or more sorrowful, and enraged, than when narrating the shock of innocence lost.\u003c/p>\n\u003cp>Roth was born in 1933 in Newark, New Jersey, a time and place he remembered lovingly in \u003cem>The Facts\u003c/em>, \u003cem>American Pastoral \u003c/em>and other works. The scolding, cartoonish parents of his novels were pure fiction. He adored his parents, especially his father, an insurance salesman to whom he paid tribute in the memoir \u003cem>Patrimony\u003c/em>. Roth would describe his childhood as “intensely secure and protected,” at least at home. He was outgoing and brilliant and, tall and dark-haired, especially attractive to girls. In his teens he presumed he would become a lawyer, a most respectable profession in his family’s world.\u003c/p>\n\u003cp>But after a year at Newark College of Rutgers University, Roth emulated an early literary hero, James Joyce, and fled his hometown. He transferred to Bucknell College in Pennsylvania and only returned to Newark on paper. By his early 20s, Roth was writing fiction — at first casually, soon with primary passion, with Roth observing he could never really be happy unless working on a novel, inside the “fun house” of his imagination. “The unlived, the surmise, fully drawn in print on paper, is the life whose meaning comes to matter most,” he wrote in the novel \u003cem>Exit Ghost\u003c/em>.\u003c/p>\n\u003cp>After receiving a master’s degree in English from the University of Chicago, he began publishing stories in The Paris Review and elsewhere. Bellow was an early influence, as were Thomas Wolfe, Flaubert, Henry James and Kafka, whose picture Roth hung in his writing room.\u003c/p>\n\u003cp>Acclaim and controversy were inseparable. A short story about Jews in the military, \u003cem>Defender of the Faith\u003c/em>, introduced Roth to accusations of Jewish self-hatred. His debut collection, published in 1959, was \u003cem>Goodbye, Columbus\u003c/em>, featuring a love (and lust) title story about a working class Jew and his wealthier girlfriend. It brought the writer a National Book Award and some extra-literary criticism.\u003c/p>\n\u003cp>The aunt of the main character, Neil Klugman, is a meddling worrywart, and the upper-middle-class relatives of Neil’s girlfriend are satirized as shallow materialists. Roth believed he was simply writing about people he knew, but some Jews saw him as a traitor, subjecting his brethren to ridicule before the gentile world. A rabbi accused him of distorting the lives of Orthodox Jews. At a writers conference in the early 1960s, he was relentlessly accused of creating stories that affirmed the worst Nazi stereotypes.\u003c/p>\n\u003cp>But Roth insisted writing should express, not sanitize. After two relatively tame novels, \u003cem>Letting Go\u003c/em> and \u003cem>When She was Good\u003c/em>, he abandoned his good manners with \u003cem>Portnoy’s Complaint\u003c/em>, his ode to blasphemy against the “unholy trinity of “father, mother and Jewish son.” Published in 1969, a great year for rebellion, it was an event, a birth, a summation, Roth’s triumph over “the awesome graduate school authority of Henry James,” as if history’s lid had blown open and out erupted a generation of Jewish guilt and desire.\u003c/p>\n\u003cp>As narrated by Alexander Portnoy, from a psychiatrist’s couch, Roth’s novel satirized the dull expectations heaped upon “nice Jewish boys” and immortalized the most ribald manifestations of sexual obsession. His manic tour of one man’s onanistic adventures led Jacqueline Susann to comment that “Philip Roth is a good writer, but I wouldn’t want to shake hands with him.” Although \u003cem>Portnoy’s Complaint\u003c/em> was banned in Australia and attacked by Scholem and others, many critics welcomed the novel as a declaration of creative freedom. \u003cem>Portnoy’s Complaint\u003c/em> sold millions, making Roth wealthy, and, more important, famous. The writer, an observer by nature, was now observed. He was an item in gossip columns, a name debated at parties. Strangers called out to him in the streets. Roth would remember hailing a taxi and, seeing that the driver’s last name was Portnoy, commiserating over the book’s notoriety.\u003c/p>\n\u003cp>In an Oval Office recording from November 1971, President Richard Nixon and White House chief of staff H.R. Haldeman discussed the famous author, whom Nixon apparently confused with the pornographer Samuel Roth.\u003c/p>\n\u003cblockquote>\u003cp>Haldeman: I never read “Portnoy’s Complaint,” but I understand it was a well written book but just sickeningly filthy.\u003cbr>\nNixon: Roth is of course a Jew.\u003cbr>\nHaldeman: Oh, yes … He’s brilliant in a sick way.\u003cbr>\nNixon: Oh, I know —\u003cbr>\nHaldeman: Everything he’s written has been sick …\u003c/p>\u003c/blockquote>\n\u003cp>With Roth finding himself asked whether he really was Portnoy, several of his post-Portnoy novels amounted to a dare: Is it fact of fiction? In \u003cem>The Anatomy Lesson\u003c/em>, \u003cem>The Counterlife\u003c/em> and other novels, the featured character is a Jewish writer from New Jersey named Nathan Zuckerman. He is a man of similar age to Roth who just happened to have written a “dirty” best seller, \u003cem>Carnovsky\u003c/em>, and is lectured by friends and family for putting their lives into his books.\u003c/p>\n\u003cp>\u003cem>Operation Skylock\u003c/em> featured a middle-aged writer named Philip Roth, haunted by an impersonator in Israel who has a wild plan to lead the Jews back to Europe. In interviews, Roth claimed (not very convincingly) the story was true, lamenting that only when he wrote fiction did people think he was writing about his life.\u003c/p>\n\u003cp>Even when Roth wrote non-fiction, the game continued. At the end of his autobiography, \u003cem>The Facts\u003c/em>, Roth included a disclaimer by Nathan Zuckerman himself, chastising his creator for a self-serving, inhibited piece of storytelling.\u003c/p>\n\u003cp>“As for characterization, you, Roth, are the least completely rendered of all your protagonists,” Zuckerman tells him.\u003c/p>\n\u003cp>In the 1990s, after splitting with Bloom and again living fulltime in the United States (he had been spending much of his time in England), Roth reconnected with the larger world and culture of his native country. \u003cem>American Pastoral\u003c/em> narrated a decent man’s decline from high school sports star to victim of the ’60s and the “indigenous American berserk.” In \u003cem>The Human Stain\u003c/em>, he raged against the impeachment of President Clinton over his affair with a White House intern. “The fantasy of purity is appalling. It’s insane,” he wrote.\u003c/p>\n\u003cp>In recent years, Roth was increasingly preoccupied with history and its sucker punch, how ordinary people were defeated by events beyond their control, like the Jews in \u003cem>The Plot Against America\u003c/em> or the college student in \u003cem>Indignation\u003c/em> who dies in the Korean War. Mortality, “the inevitable onslaught that is the end of life,” became another subject, in \u003cem>Everyman\u003c/em> and \u003cem>The Humbling\u003c/em>, despairing chronicles as told by a non-believer.\u003c/p>\n\u003cp>Writing proved the author’s most enduring relationship. Roth, who married Bloom in 1990, had one previous wife. In 1959, he was married to the former Margaret Martinson Williams, a time remembered bitterly in \u003cem>The Facts\u003c/em> and in his novel \u003cem>My Life as a Man\u003c/em>. They were legally separated in 1963 and she died in a car crash five years later. There were no children from either marriage.\u003c/p>\n\u003cp>Roth’s non-literary life could be as strange, if not stranger than his fiction. In the mid-’90s, he split up with Bloom, whose acting roles included a part in Woody Allen’s \u003cem>Crimes and Misdemeanors\u003c/em>. Roth then reportedly dated Mia Farrow, the ex-lover of Allen, who in another movie played a writer with the last name Roth.\u003c/p>\n\u003cp>Bloom turned her marriage into a memoir, and Roth turned her memoir into fiction. In the novel \u003cem>I Married a Communist\u003c/em>, one character just happens to have been married to an actress who wrote a book about him after their divorce.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“How could she publish this book and not expect him to do something?” he asks. “Did she imagine this openly aggressive hothead was going to do nothing in response?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Philip Roth, the prize-winning novelist and fearless narrator of sex, death, assimilation and fate, from the comic madness of \u003cem>Portnoy’s Complaint\u003c/em> to the elegiac lyricism of \u003cem>American Pastoral\u003c/em>, died Tuesday night at age 85.\u003c/p>\n\u003cp>Roth’s literary agent, Andrew Wylie, said that the author died in a New York City hospital of congestive heart failure.\u003c/p>\n\u003cp>Author of more than 25 books, Roth was a fierce satirist and uncompromising realist, confronting readers in a bold, direct style that scorned false sentiment or hopes for heavenly reward. He was an atheist who swore allegiance to earthly imagination, whether devising pornographic functions for raw liver or indulging romantic fantasies about Anne Frank. In \u003cem>The Plot Against America\u003c/em>, published in 2004, he placed his own family under the anti-Semitic reign of President Charles Lindbergh. In 2010, in \u003cem>Nemesis\u003c/em>, he subjected his native New Jersey to a polio epidemic.\u003c/p>\n\u003cp>He was among the greatest writers never to win the Nobel Prize. But he received virtually every other literary honor, including two National Book Awards, two National Book Critics Circle prizes and, in 1998, the Pulitzer for \u003cem>American Pastoral\u003c/em>. He was in his 20s when he won his first award and awed critics and fellow writers by producing some of his most acclaimed novels in his 60s and 70s, including \u003cem>The Human Stain\u003c/em> and \u003cem>Sabbath’s Theater\u003c/em>, a savage narrative of lust and mortality he considered his finest work.\u003c/p>\n\u003cp>He identified himself as an American writer, not a Jewish one, but for Roth the American experience and the Jewish experience were often the same. While predecessors such as Saul Bellow and Bernard Malamud wrote of the Jews’ painful adjustment from immigrant life, Roth’s characters represented the next generation. Their first language was English, and they spoke without accents. They observed no rituals and belonged to no synagogues. The American dream, or nightmare, was to become “a Jew without Jews, without Judaism, without Zionism, without Jewishness.” The reality, more often, was to be regarded as a Jew among gentiles and a gentile among Jews.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the novel \u003cem>The Ghost Writer\u003c/em> he quoted one of his heroes, Franz Kafka: “We should only read those books that bite and sting us.” For his critics, his books were to be repelled like a swarm of bees.\u003c/p>\n\u003cp>Feminists, Jews and one ex-wife attacked him in print, and sometimes in person. Women in his books were at times little more than objects of desire and rage and The Village Voice once put his picture on its cover, condemning him as a misogynist. A panel moderator berated him for his comic portrayals of Jews, asking Roth if he would have written the same books in Nazi Germany. The Jewish scholar Gershom Scholem called \u003cem>Portnoy’s Complaint\u003c/em> the “book for which all anti-Semites have been praying.” When Roth won the Man Booker International Prize, in 2011, a judge resigned, alleging that the author suffered from terminal solipsism and went “on and on and on about the same subject in almost every single book.” In \u003cem>Sabbath’s Theater\u003c/em>, Roth imagines the inscription for his title character’s headstone: “Sodomist, Abuser of Women, Destroyer of Morals.”\u003c/p>\n\u003cp>Ex-wife Claire Bloom wrote a best-selling memoir, \u003cem>Leaving a Doll’s House\u003c/em>, in which the actress remembered reading the manuscript of his novel \u003cem>Deception\u003c/em>. With horror, she discovered his characters included a boring middle-aged wife named Claire, married to an adulterous writer named Philip. Bloom also described her ex-husband as cold, manipulative and unstable. (Although, alas, she still loved him). The book was published by Virago Press, whose founder, Carmen Callil, was the same judge who quit years later from the Booker committee.\u003c/p>\n\u003cp>Roth’s wars also originated from within. He survived a burst appendix in the late 1960s and near-suicidal depression in 1987. After the disappointing reaction to his 1993 novel, \u003cem>Operation Shylock\u003c/em>, he fell again into severe depression and for years rarely communicated with the media. For all the humor in his work — and, friends would say, in private life — jacket photos usually highlighted the author’s tense, dark-eyed glare. In 2012, he announced that he had stopped writing fiction and would instead dedicate himself to helping biographer Blake Bailey complete his life story, one he openly wished would not come out while he was alive. By 2015, he had retired from public life altogether.\u003c/p>\n\u003cp>He never promised to be his readers’ friend; writing was its own reward, the narration of “life, in all its shameless impurity.” Until his abrupt retirement, Roth was a dedicated, prolific author who often published a book a year and was generous to writers from other countries. For years, he edited the \u003cem>Writers from the Other Europe\u003c/em> series, in which authors from Eastern Europe received exposure to American readers; Milan Kundera was among the beneficiaries. Roth also helped bring a wider readership to the acclaimed Israeli writer Aharon Appelfeld.\u003c/p>\n\u003cp>Roth began his career in rebellion against the conformity of the 1950s and ended it in defense of the security of the 1940s; he was never warmer than when writing about his childhood, or more sorrowful, and enraged, than when narrating the shock of innocence lost.\u003c/p>\n\u003cp>Roth was born in 1933 in Newark, New Jersey, a time and place he remembered lovingly in \u003cem>The Facts\u003c/em>, \u003cem>American Pastoral \u003c/em>and other works. The scolding, cartoonish parents of his novels were pure fiction. He adored his parents, especially his father, an insurance salesman to whom he paid tribute in the memoir \u003cem>Patrimony\u003c/em>. Roth would describe his childhood as “intensely secure and protected,” at least at home. He was outgoing and brilliant and, tall and dark-haired, especially attractive to girls. In his teens he presumed he would become a lawyer, a most respectable profession in his family’s world.\u003c/p>\n\u003cp>But after a year at Newark College of Rutgers University, Roth emulated an early literary hero, James Joyce, and fled his hometown. He transferred to Bucknell College in Pennsylvania and only returned to Newark on paper. By his early 20s, Roth was writing fiction — at first casually, soon with primary passion, with Roth observing he could never really be happy unless working on a novel, inside the “fun house” of his imagination. “The unlived, the surmise, fully drawn in print on paper, is the life whose meaning comes to matter most,” he wrote in the novel \u003cem>Exit Ghost\u003c/em>.\u003c/p>\n\u003cp>After receiving a master’s degree in English from the University of Chicago, he began publishing stories in The Paris Review and elsewhere. Bellow was an early influence, as were Thomas Wolfe, Flaubert, Henry James and Kafka, whose picture Roth hung in his writing room.\u003c/p>\n\u003cp>Acclaim and controversy were inseparable. A short story about Jews in the military, \u003cem>Defender of the Faith\u003c/em>, introduced Roth to accusations of Jewish self-hatred. His debut collection, published in 1959, was \u003cem>Goodbye, Columbus\u003c/em>, featuring a love (and lust) title story about a working class Jew and his wealthier girlfriend. It brought the writer a National Book Award and some extra-literary criticism.\u003c/p>\n\u003cp>The aunt of the main character, Neil Klugman, is a meddling worrywart, and the upper-middle-class relatives of Neil’s girlfriend are satirized as shallow materialists. Roth believed he was simply writing about people he knew, but some Jews saw him as a traitor, subjecting his brethren to ridicule before the gentile world. A rabbi accused him of distorting the lives of Orthodox Jews. At a writers conference in the early 1960s, he was relentlessly accused of creating stories that affirmed the worst Nazi stereotypes.\u003c/p>\n\u003cp>But Roth insisted writing should express, not sanitize. After two relatively tame novels, \u003cem>Letting Go\u003c/em> and \u003cem>When She was Good\u003c/em>, he abandoned his good manners with \u003cem>Portnoy’s Complaint\u003c/em>, his ode to blasphemy against the “unholy trinity of “father, mother and Jewish son.” Published in 1969, a great year for rebellion, it was an event, a birth, a summation, Roth’s triumph over “the awesome graduate school authority of Henry James,” as if history’s lid had blown open and out erupted a generation of Jewish guilt and desire.\u003c/p>\n\u003cp>As narrated by Alexander Portnoy, from a psychiatrist’s couch, Roth’s novel satirized the dull expectations heaped upon “nice Jewish boys” and immortalized the most ribald manifestations of sexual obsession. His manic tour of one man’s onanistic adventures led Jacqueline Susann to comment that “Philip Roth is a good writer, but I wouldn’t want to shake hands with him.” Although \u003cem>Portnoy’s Complaint\u003c/em> was banned in Australia and attacked by Scholem and others, many critics welcomed the novel as a declaration of creative freedom. \u003cem>Portnoy’s Complaint\u003c/em> sold millions, making Roth wealthy, and, more important, famous. The writer, an observer by nature, was now observed. He was an item in gossip columns, a name debated at parties. Strangers called out to him in the streets. Roth would remember hailing a taxi and, seeing that the driver’s last name was Portnoy, commiserating over the book’s notoriety.\u003c/p>\n\u003cp>In an Oval Office recording from November 1971, President Richard Nixon and White House chief of staff H.R. Haldeman discussed the famous author, whom Nixon apparently confused with the pornographer Samuel Roth.\u003c/p>\n\u003cblockquote>\u003cp>Haldeman: I never read “Portnoy’s Complaint,” but I understand it was a well written book but just sickeningly filthy.\u003cbr>\nNixon: Roth is of course a Jew.\u003cbr>\nHaldeman: Oh, yes … He’s brilliant in a sick way.\u003cbr>\nNixon: Oh, I know —\u003cbr>\nHaldeman: Everything he’s written has been sick …\u003c/p>\u003c/blockquote>\n\u003cp>With Roth finding himself asked whether he really was Portnoy, several of his post-Portnoy novels amounted to a dare: Is it fact of fiction? In \u003cem>The Anatomy Lesson\u003c/em>, \u003cem>The Counterlife\u003c/em> and other novels, the featured character is a Jewish writer from New Jersey named Nathan Zuckerman. He is a man of similar age to Roth who just happened to have written a “dirty” best seller, \u003cem>Carnovsky\u003c/em>, and is lectured by friends and family for putting their lives into his books.\u003c/p>\n\u003cp>\u003cem>Operation Skylock\u003c/em> featured a middle-aged writer named Philip Roth, haunted by an impersonator in Israel who has a wild plan to lead the Jews back to Europe. In interviews, Roth claimed (not very convincingly) the story was true, lamenting that only when he wrote fiction did people think he was writing about his life.\u003c/p>\n\u003cp>Even when Roth wrote non-fiction, the game continued. At the end of his autobiography, \u003cem>The Facts\u003c/em>, Roth included a disclaimer by Nathan Zuckerman himself, chastising his creator for a self-serving, inhibited piece of storytelling.\u003c/p>\n\u003cp>“As for characterization, you, Roth, are the least completely rendered of all your protagonists,” Zuckerman tells him.\u003c/p>\n\u003cp>In the 1990s, after splitting with Bloom and again living fulltime in the United States (he had been spending much of his time in England), Roth reconnected with the larger world and culture of his native country. \u003cem>American Pastoral\u003c/em> narrated a decent man’s decline from high school sports star to victim of the ’60s and the “indigenous American berserk.” In \u003cem>The Human Stain\u003c/em>, he raged against the impeachment of President Clinton over his affair with a White House intern. “The fantasy of purity is appalling. It’s insane,” he wrote.\u003c/p>\n\u003cp>In recent years, Roth was increasingly preoccupied with history and its sucker punch, how ordinary people were defeated by events beyond their control, like the Jews in \u003cem>The Plot Against America\u003c/em> or the college student in \u003cem>Indignation\u003c/em> who dies in the Korean War. Mortality, “the inevitable onslaught that is the end of life,” became another subject, in \u003cem>Everyman\u003c/em> and \u003cem>The Humbling\u003c/em>, despairing chronicles as told by a non-believer.\u003c/p>\n\u003cp>Writing proved the author’s most enduring relationship. Roth, who married Bloom in 1990, had one previous wife. In 1959, he was married to the former Margaret Martinson Williams, a time remembered bitterly in \u003cem>The Facts\u003c/em> and in his novel \u003cem>My Life as a Man\u003c/em>. They were legally separated in 1963 and she died in a car crash five years later. There were no children from either marriage.\u003c/p>\n\u003cp>Roth’s non-literary life could be as strange, if not stranger than his fiction. In the mid-’90s, he split up with Bloom, whose acting roles included a part in Woody Allen’s \u003cem>Crimes and Misdemeanors\u003c/em>. Roth then reportedly dated Mia Farrow, the ex-lover of Allen, who in another movie played a writer with the last name Roth.\u003c/p>\n\u003cp>Bloom turned her marriage into a memoir, and Roth turned her memoir into fiction. In the novel \u003cem>I Married a Communist\u003c/em>, one character just happens to have been married to an actress who wrote a book about him after their divorce.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“How could she publish this book and not expect him to do something?” he asks. “Did she imagine this openly aggressive hothead was going to do nothing in response?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I talk to the dead, sometimes I talk to people I know, like my grandmother. Other times I talk to women who I don’t want forgotten, like the immigrants who didn’t make it across the border, or the reporters—like \u003ca href=\"https://www.thedailybeast.com/she-tweeted-against-the-mexican-cartels-they-tweeted-her-murder\" target=\"_blank\" rel=\"noopener\">Felina\u003c/a>—who died covering narco violence, or the disappeared in Tamaulipas, Mexico.\u003c/p>\n\u003cp>I talk to them in my writing, in my research and through my stories. Sometimes I talk to them in what Catholics would describe as prayers, and which Brujas (the Spanish word for witch) would describe as spells.\u003c/p>\n\u003cp>I’m not alone in this practice. I’m going to tell you a story about Brujería, Curanderismo, and the local Latinx artists finding their voices in these alternative spiritualities. And I’m not going to italicize the words from my culture. Let the words wash over you, and maybe, this story will help you learn to listen to voices we once thought were silent. \u003c/p>\n\u003cfigure id=\"attachment_13832717\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200.jpg\" alt=\"Photo by Kristina Bakrevski, 'Mar. 31 Moon Cloth.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Kristina Bakrevski, ‘Mar. 31 Moon Cloth.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spiritual narratives remade in ancestors’ images\u003c/h2>\n\u003cp>You can find active Brujería communities practicing forms of Latin American witchcraft and engaging in Curanderismo (folk healing) in the American Southwest, Latin America, the Caribbean, and throughout California. These spiritualities give disenfranchised people a sense of community and a way to voice their resistance.\u003c/p>\n\u003cp>Recently, the influence of Brujería and Curanderismo can be seen in both pop culture and politics. Orichas, or Santería folk saints, \u003ca href=\"https://www.pbs.org/newshour/arts/what-beyonce-teaches-us-about-the-african-diaspora-in-lemonade\" target=\"_blank\" rel=\"noopener\">made cameos in Beyoncé music videos\u003c/a>, while witches across the Americas \u003ca href=\"https://www.vox.com/2017/6/20/15830312/magicresistance-restance-witches-magic-spell-to-bind-donald-trump-mememagic\" target=\"_blank\" rel=\"noopener\">cast spells against Trump every month\u003c/a> to remove him from the White House.\u003c/p>\n\u003cfigure id=\"attachment_13832726\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832726\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/vela.jpg\" alt=\"Still from Nina Reyes Rosenberg's short film 'Invisible Men.'\" width=\"2048\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1200x506.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1920x810.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1180x498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-960x405.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-520x219.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Still from Nina Reyes Rosenberg’s short film ‘Invisible Men.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More traditionally, Curanderos, those who engage in folk healing, pray to Catholic saints and practice herbalism. Others channel the dead in order to heal their patients, taking the illness or evil into their own bodies. The “performance” of healing, and the relationship of trust or faith between Curandero and patient is as important to the healing process as the medicine itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Latinx of the Bay Area, Brujería and Curanderismo connect us to a history in which our ancestors resisted colonization and found ways to keep their stories and spiritual practices alive under the guise of Catholicism. By practicing rituals, herbalism and folk healing, we are honoring our ancestors, and retelling our stories in our image. And as we write these stories—through film, fiction, sound and image—more and more Latinx artists in the Bay Area are paying homage to the Brujas and Curanderas who inspire their art.\u003c/p>\n\u003ch2>Symbolism informs divination—and fiction\u003c/h2>\n\u003cfigure id=\"attachment_13832711\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Ingrid_500.jpg\" alt=\"A photograph by Ingrid Rojas Contreras' partner Jeremiah Barber, who wanted to create a portrait that spoke of her background. \" width=\"500\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500-375x593.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">A photograph by Ingrid Rojas Contreras’ partner Jeremiah Barber, who wanted to create a portrait that spoke of her background. \u003ccite>(Courtesy of Ingrid Rojas Contreras)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colombian-born, San Francisco-based writer \u003ca href=\"https://www.ingridrojascontreras.com/\" target=\"_blank\" rel=\"noopener\">Ingrid Rojas Contreras\u003c/a> is the author of \u003cem>Fruit of the Drunken Tree\u003c/em>, a novel based on the writer’s life, centering on two young girls who are split apart in the wake of violence in Colombia. (She is also a regular \u003ca href=\"https://www.kqed.org/author/irojascontreras\" target=\"_blank\" rel=\"noopener\">KQED Arts contributor\u003c/a>).\u003c/p>\n\u003cp>Curanderismo is not only a prominent subject of her writing, it plays a vital role in the actual telling of her stories, which employ magic realism. Her grandfather was a Curandero in Colombia, and the people of his town \u003ca href=\"https://soundcloud.com/makingcontact/ingrid-rojas-contreras-making-contact-fellow\" target=\"_blank\" rel=\"noopener\">still prayed to him, even after he passed away\u003c/a>.\u003c/p>\n\u003cp>Rojas Contreras’ mother often assisted her father in his healings, although she does not consider herself a Curandera. It’s important to note that there is a difference between Curanderos, practitioners of herbalism, and laypeople. While Rojas Contreras’ mother was not a Curandera, she did pass on aspects of her father’s knowledge to family members. When Rojas Contreras was a teenager, her mother taught her how to use a regular deck of cards for divination, similar to the tarot, and to give readings.\u003c/p>\n\u003cp>Rojas Contreras says her mother told her, “If someone asks you: does this person like me? You’re going to know the answer, but you don’t give it to them. Everything that you give someone, it has to be given in a riddle or given in a hint, but you never tell them what you know. You guide them towards what it is.”\u003c/p>\n\u003cp>This concept became the framework for how Rojas Contreras approaches her storytelling. “It was a formative fiction writing lesson,” she says. “The things that she was telling me about narrative, hiding the true narrative in symbol, in riddles, and in hints is exactly what writing a novel is like.”\u003c/p>\n\u003ch2>Finding spiritual strength\u003c/h2>\n\u003cp>How Curanderismo or Brujería translate into an artist’s work completely depends on an artist’s relationship to their spirituality. For Mexican-American and Jewish filmmaker Nina Reyes Rosenberg, Brujería was a jumping off point for her short film, \u003cem>\u003ca href=\"https://vimeo.com/215448944/569f4e345a\" target=\"_blank\" rel=\"noopener\">Invisible Men\u003c/a>\u003c/em>, which recently premiered at the Roxie in San Francisco.\u003c/p>\n\u003cp>https://youtu.be/XxQkqoumMQs\u003c/p>\n\u003cp>Reyes Rosenberg doesn’t identify as a Bruja or Curandera, but she views the process of filmmaking as a spiritual experience. “A lot of my work tends to be a little bit surrealist or more magical realist,” she says. “For me it’s such a profound idea that someone you don’t even know could watch something and engage with something you’ve created and see the world a little bit differently. To me that’s magic. It’s very spiritual. I always say that movie theaters are like my church.”\u003c/p>\n\u003cp>\u003cem>Invisible Men\u003c/em> is a story about a young woman living in a #MeToo world. Disgusted by men, she visits a botanica to confide in a Curandera that she wishes all men would disappear. When she wears rose colored glasses, her wish comes true; she and her girlfriends rule the streets, \u003ca href=\"https://soundcloud.com/ms-niiina/ms-nina-chupa-chupa-prod-by-chico-sonido\" target=\"_blank\" rel=\"noopener\">dancing to the beats of reggaetonera Ms. Nina\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13832720\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832720 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Glasses_1200.jpg\" alt=\"Still from Nina Reyes Rosenberg's short film 'Invisible Men,' starring Hunny Tinted and Marlo Su.\" width=\"1200\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-800x337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-1180x498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-960x405.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-520x219.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Nina Reyes Rosenberg’s short film ‘Invisible Men,’ starring Hunny Tinted and Marlo Su. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When describing the concept behind the film, Reyes Rosenberg says it comes down to resisting mainstream narratives. “When do I go with the program, and when do I resist it?” she says. “That’s the core thinking behind \u003cem>Invisible Men\u003c/em>. It takes a lot of emotional courage and a lot of spiritual strength in order to be able to hold your own power as a woman.”\u003c/p>\n\u003ch2>Creating a space on the airwaves\u003c/h2>\n\u003cfigure id=\"attachment_13832721\" class=\"wp-caption alignright\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832721 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop.jpg\" alt=\"Imani Atlantic, Namaste Shawty (NoNo) and Queens D.Light of Las Brujas Radio.\" width=\"578\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-150x150.jpg 150w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Imani Atlantic, Namaste Shawty (NoNo) and Queens D.Light of Las Brujas Radio. \u003ccite>(Sasha Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Salvadorian DJ and radio producer Noamy “NoNo” Henriquez co-hosts \u003ca href=\"https://soundcloud.com/namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Las Brujas Radio\u003c/a> along with rapper Queens D.Light and activist Imani Atlantic. She found her spirituality, Lucumí, after a period of searching.\u003c/p>\n\u003cp>Lucumí is synonymous with Santería, but many practitioners of the Afro-Caribbean tradition prefer to call it La Regla Lucumí or “the order of Lucumí,” because the term Lucumí derives from a Yoruba greeting meaning, “my friend,” instead of centering around the Catholic saints in Santería.\u003c/p>\n\u003cp>“In my early twenties, I felt like I was floating and I didn’t have a solid foundation around a spiritual practice,” NoNo says. “So for a long time, I was trying to identify with something that was more like me, more earthy, more indigenous. You know, the colonizer’s religion didn’t resonate with me.”\u003c/p>\n\u003cp>They started Las Brujas Radio with the recognition that they didn’t need an outside authority to heal their trauma—they could heal themselves. “For me the intention of the show, how it began, was talking about our experiences as women of color and how we get through life with these bodies and these identities in the most holistic ways possible.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/334064059″ params=”color=#902004&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In Las Brujas Radio, the three women hold space for each other, make room for self healing, and build community with femme-identifying listeners. A recent program called “\u003ca href=\"https://soundcloud.com/namasteshawty/las-brujas-radio-ep8-anger-faire?in=namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Anger Faire\u003c/a>” dealt with intergenerational trauma and anger transference, as well as the ways in which gentrification is particularly triggering to people of color, refugees and the continuously dispossessed.\u003c/p>\n\u003cp>“We’re doing this because we want to be doing it,” NoNo says. “And because it heals us, and we’re getting a lot of feedback that people want to hear it. That in itself is resistance and a big fuck you to the systems in power that don’t work for us—we made something for ourselves.”\u003c/p>\n\u003ch2>Creating autonomy through art\u003c/h2>\n\u003cp>Similar to NoNo’s search, the biracial Chicana and Macedonian photographer Kristina Bakrevski came to Brujería because she no longer identified with Christianity. “My relationship to Brujería is a lot of things, but it’s absolutely a form of resistance to the patriarchy and especially colonization,” she says. “Anything that empowers women is a threat to those systems, which is why I find a great deal of power and liberation in calling myself a Bruja.”\u003c/p>\n\u003cfigure id=\"attachment_13832722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/IMG_7876_1200.jpg\" alt=\"A photo by Kristina Bakrevski from Mexico City's Día de los Muertos celebration, 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Kristina Bakrevski from Mexico City’s Día de los Muertos celebration, 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Bakrevski’s covered \u003ca href=\"https://www.everfest.com/magazine/in-photos-this-is-how-mexico-city-does-dia-de-los-muertos\" target=\"_blank\" rel=\"noopener\">Día de los Muertos\u003c/a> in Mexico City, \u003ca href=\"http://remezcla.com/features/music/aj-davila-tour/\" target=\"_blank\" rel=\"noopener\">documented rock alternativo acts\u003c/a>, and \u003ca href=\"http://www.kristinabakrevski.com/#/travel/\" target=\"_blank\" rel=\"noopener\">captured images of the Cuban underground\u003c/a>. In her work, she is making space for herself, covering Latinx culture in the male-dominated industry of photojournalism.\u003c/p>\n\u003cp>“It’s still in my bloodline, so it kind of feels like an ancient remembering of lost wisdom,” she says of her connection to the spirituality of Brujería. “And by choosing to express myself artistically, it’s a way for me to honor my ancestors by owning my gifts. They’re my spirit guides. I get to make art for a living because they brought me here.”\u003c/p>\n\u003ch2>Honoring women on the page\u003c/h2>\n\u003cp>In my prayer and in my writing, I try to listen to the Latinx women who came before me. I try not to talk over their voices. I have an altar where I honor the women who have fallen, women who inspire me and women with unwritten histories. And each day, I try to write a page dedicated to them. Sometimes, the writing is very, very broken. Other times it’s poetry. But I am learning to listen to these women, and give them the space they deserve on the page.\u003c/p>\n\u003cp>I am trying to write them into the spell of memory.\u003c/p>\n\u003cp>When I listen to the words of the women who translate Brujería into their art, I hear a calling. The calling is to create, to act and to show up, especially for other women, especially for women of color. All of the women I interviewed in this piece are holding a sacred space, and teaching us how to hold our own.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Because when you honor spirits, you aren’t just honoring your ancestors, but the spirits all around you, who are empowering you to be free.\u003c/p>\n\n",
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"excerpt": "Local Latinx artists find inspiration and autonomy in the traditions of Brujería and Curanderismo as a community grows around these spiritualities.",
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"title": "With Art, Bay Area Brujas Honor Ancestors and Heal Themselves | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I talk to the dead, sometimes I talk to people I know, like my grandmother. Other times I talk to women who I don’t want forgotten, like the immigrants who didn’t make it across the border, or the reporters—like \u003ca href=\"https://www.thedailybeast.com/she-tweeted-against-the-mexican-cartels-they-tweeted-her-murder\" target=\"_blank\" rel=\"noopener\">Felina\u003c/a>—who died covering narco violence, or the disappeared in Tamaulipas, Mexico.\u003c/p>\n\u003cp>I talk to them in my writing, in my research and through my stories. Sometimes I talk to them in what Catholics would describe as prayers, and which Brujas (the Spanish word for witch) would describe as spells.\u003c/p>\n\u003cp>I’m not alone in this practice. I’m going to tell you a story about Brujería, Curanderismo, and the local Latinx artists finding their voices in these alternative spiritualities. And I’m not going to italicize the words from my culture. Let the words wash over you, and maybe, this story will help you learn to listen to voices we once thought were silent. \u003c/p>\n\u003cfigure id=\"attachment_13832717\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200.jpg\" alt=\"Photo by Kristina Bakrevski, 'Mar. 31 Moon Cloth.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mar31_MoonCloth_8607_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Kristina Bakrevski, ‘Mar. 31 Moon Cloth.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Spiritual narratives remade in ancestors’ images\u003c/h2>\n\u003cp>You can find active Brujería communities practicing forms of Latin American witchcraft and engaging in Curanderismo (folk healing) in the American Southwest, Latin America, the Caribbean, and throughout California. These spiritualities give disenfranchised people a sense of community and a way to voice their resistance.\u003c/p>\n\u003cp>Recently, the influence of Brujería and Curanderismo can be seen in both pop culture and politics. Orichas, or Santería folk saints, \u003ca href=\"https://www.pbs.org/newshour/arts/what-beyonce-teaches-us-about-the-african-diaspora-in-lemonade\" target=\"_blank\" rel=\"noopener\">made cameos in Beyoncé music videos\u003c/a>, while witches across the Americas \u003ca href=\"https://www.vox.com/2017/6/20/15830312/magicresistance-restance-witches-magic-spell-to-bind-donald-trump-mememagic\" target=\"_blank\" rel=\"noopener\">cast spells against Trump every month\u003c/a> to remove him from the White House.\u003c/p>\n\u003cfigure id=\"attachment_13832726\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832726\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/vela.jpg\" alt=\"Still from Nina Reyes Rosenberg's short film 'Invisible Men.'\" width=\"2048\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1200x506.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1920x810.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-1180x498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-960x405.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/vela-520x219.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Still from Nina Reyes Rosenberg’s short film ‘Invisible Men.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More traditionally, Curanderos, those who engage in folk healing, pray to Catholic saints and practice herbalism. Others channel the dead in order to heal their patients, taking the illness or evil into their own bodies. The “performance” of healing, and the relationship of trust or faith between Curandero and patient is as important to the healing process as the medicine itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Latinx of the Bay Area, Brujería and Curanderismo connect us to a history in which our ancestors resisted colonization and found ways to keep their stories and spiritual practices alive under the guise of Catholicism. By practicing rituals, herbalism and folk healing, we are honoring our ancestors, and retelling our stories in our image. And as we write these stories—through film, fiction, sound and image—more and more Latinx artists in the Bay Area are paying homage to the Brujas and Curanderas who inspire their art.\u003c/p>\n\u003ch2>Symbolism informs divination—and fiction\u003c/h2>\n\u003cfigure id=\"attachment_13832711\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Ingrid_500.jpg\" alt=\"A photograph by Ingrid Rojas Contreras' partner Jeremiah Barber, who wanted to create a portrait that spoke of her background. \" width=\"500\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ingrid_500-375x593.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">A photograph by Ingrid Rojas Contreras’ partner Jeremiah Barber, who wanted to create a portrait that spoke of her background. \u003ccite>(Courtesy of Ingrid Rojas Contreras)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colombian-born, San Francisco-based writer \u003ca href=\"https://www.ingridrojascontreras.com/\" target=\"_blank\" rel=\"noopener\">Ingrid Rojas Contreras\u003c/a> is the author of \u003cem>Fruit of the Drunken Tree\u003c/em>, a novel based on the writer’s life, centering on two young girls who are split apart in the wake of violence in Colombia. (She is also a regular \u003ca href=\"https://www.kqed.org/author/irojascontreras\" target=\"_blank\" rel=\"noopener\">KQED Arts contributor\u003c/a>).\u003c/p>\n\u003cp>Curanderismo is not only a prominent subject of her writing, it plays a vital role in the actual telling of her stories, which employ magic realism. Her grandfather was a Curandero in Colombia, and the people of his town \u003ca href=\"https://soundcloud.com/makingcontact/ingrid-rojas-contreras-making-contact-fellow\" target=\"_blank\" rel=\"noopener\">still prayed to him, even after he passed away\u003c/a>.\u003c/p>\n\u003cp>Rojas Contreras’ mother often assisted her father in his healings, although she does not consider herself a Curandera. It’s important to note that there is a difference between Curanderos, practitioners of herbalism, and laypeople. While Rojas Contreras’ mother was not a Curandera, she did pass on aspects of her father’s knowledge to family members. When Rojas Contreras was a teenager, her mother taught her how to use a regular deck of cards for divination, similar to the tarot, and to give readings.\u003c/p>\n\u003cp>Rojas Contreras says her mother told her, “If someone asks you: does this person like me? You’re going to know the answer, but you don’t give it to them. Everything that you give someone, it has to be given in a riddle or given in a hint, but you never tell them what you know. You guide them towards what it is.”\u003c/p>\n\u003cp>This concept became the framework for how Rojas Contreras approaches her storytelling. “It was a formative fiction writing lesson,” she says. “The things that she was telling me about narrative, hiding the true narrative in symbol, in riddles, and in hints is exactly what writing a novel is like.”\u003c/p>\n\u003ch2>Finding spiritual strength\u003c/h2>\n\u003cp>How Curanderismo or Brujería translate into an artist’s work completely depends on an artist’s relationship to their spirituality. For Mexican-American and Jewish filmmaker Nina Reyes Rosenberg, Brujería was a jumping off point for her short film, \u003cem>\u003ca href=\"https://vimeo.com/215448944/569f4e345a\" target=\"_blank\" rel=\"noopener\">Invisible Men\u003c/a>\u003c/em>, which recently premiered at the Roxie in San Francisco.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XxQkqoumMQs'\n title='//www.youtube.com/embed/XxQkqoumMQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reyes Rosenberg doesn’t identify as a Bruja or Curandera, but she views the process of filmmaking as a spiritual experience. “A lot of my work tends to be a little bit surrealist or more magical realist,” she says. “For me it’s such a profound idea that someone you don’t even know could watch something and engage with something you’ve created and see the world a little bit differently. To me that’s magic. It’s very spiritual. I always say that movie theaters are like my church.”\u003c/p>\n\u003cp>\u003cem>Invisible Men\u003c/em> is a story about a young woman living in a #MeToo world. Disgusted by men, she visits a botanica to confide in a Curandera that she wishes all men would disappear. When she wears rose colored glasses, her wish comes true; she and her girlfriends rule the streets, \u003ca href=\"https://soundcloud.com/ms-niiina/ms-nina-chupa-chupa-prod-by-chico-sonido\" target=\"_blank\" rel=\"noopener\">dancing to the beats of reggaetonera Ms. Nina\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13832720\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832720 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Glasses_1200.jpg\" alt=\"Still from Nina Reyes Rosenberg's short film 'Invisible Men,' starring Hunny Tinted and Marlo Su.\" width=\"1200\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-800x337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-1180x498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-960x405.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Glasses_1200-520x219.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Nina Reyes Rosenberg’s short film ‘Invisible Men,’ starring Hunny Tinted and Marlo Su. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When describing the concept behind the film, Reyes Rosenberg says it comes down to resisting mainstream narratives. “When do I go with the program, and when do I resist it?” she says. “That’s the core thinking behind \u003cem>Invisible Men\u003c/em>. It takes a lot of emotional courage and a lot of spiritual strength in order to be able to hold your own power as a woman.”\u003c/p>\n\u003ch2>Creating a space on the airwaves\u003c/h2>\n\u003cfigure id=\"attachment_13832721\" class=\"wp-caption alignright\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832721 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop.jpg\" alt=\"Imani Atlantic, Namaste Shawty (NoNo) and Queens D.Light of Las Brujas Radio.\" width=\"578\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Imani-NoNo-Queens-Dlight-Credit-Sasha-Kelly_crop-150x150.jpg 150w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Imani Atlantic, Namaste Shawty (NoNo) and Queens D.Light of Las Brujas Radio. \u003ccite>(Sasha Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Salvadorian DJ and radio producer Noamy “NoNo” Henriquez co-hosts \u003ca href=\"https://soundcloud.com/namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Las Brujas Radio\u003c/a> along with rapper Queens D.Light and activist Imani Atlantic. She found her spirituality, Lucumí, after a period of searching.\u003c/p>\n\u003cp>Lucumí is synonymous with Santería, but many practitioners of the Afro-Caribbean tradition prefer to call it La Regla Lucumí or “the order of Lucumí,” because the term Lucumí derives from a Yoruba greeting meaning, “my friend,” instead of centering around the Catholic saints in Santería.\u003c/p>\n\u003cp>“In my early twenties, I felt like I was floating and I didn’t have a solid foundation around a spiritual practice,” NoNo says. “So for a long time, I was trying to identify with something that was more like me, more earthy, more indigenous. You know, the colonizer’s religion didn’t resonate with me.”\u003c/p>\n\u003cp>They started Las Brujas Radio with the recognition that they didn’t need an outside authority to heal their trauma—they could heal themselves. “For me the intention of the show, how it began, was talking about our experiences as women of color and how we get through life with these bodies and these identities in the most holistic ways possible.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/334064059″&visual=true&”color=#902004&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/334064059″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In Las Brujas Radio, the three women hold space for each other, make room for self healing, and build community with femme-identifying listeners. A recent program called “\u003ca href=\"https://soundcloud.com/namasteshawty/las-brujas-radio-ep8-anger-faire?in=namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Anger Faire\u003c/a>” dealt with intergenerational trauma and anger transference, as well as the ways in which gentrification is particularly triggering to people of color, refugees and the continuously dispossessed.\u003c/p>\n\u003cp>“We’re doing this because we want to be doing it,” NoNo says. “And because it heals us, and we’re getting a lot of feedback that people want to hear it. That in itself is resistance and a big fuck you to the systems in power that don’t work for us—we made something for ourselves.”\u003c/p>\n\u003ch2>Creating autonomy through art\u003c/h2>\n\u003cp>Similar to NoNo’s search, the biracial Chicana and Macedonian photographer Kristina Bakrevski came to Brujería because she no longer identified with Christianity. “My relationship to Brujería is a lot of things, but it’s absolutely a form of resistance to the patriarchy and especially colonization,” she says. “Anything that empowers women is a threat to those systems, which is why I find a great deal of power and liberation in calling myself a Bruja.”\u003c/p>\n\u003cfigure id=\"attachment_13832722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/IMG_7876_1200.jpg\" alt=\"A photo by Kristina Bakrevski from Mexico City's Día de los Muertos celebration, 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_7876_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Kristina Bakrevski from Mexico City’s Día de los Muertos celebration, 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Bakrevski’s covered \u003ca href=\"https://www.everfest.com/magazine/in-photos-this-is-how-mexico-city-does-dia-de-los-muertos\" target=\"_blank\" rel=\"noopener\">Día de los Muertos\u003c/a> in Mexico City, \u003ca href=\"http://remezcla.com/features/music/aj-davila-tour/\" target=\"_blank\" rel=\"noopener\">documented rock alternativo acts\u003c/a>, and \u003ca href=\"http://www.kristinabakrevski.com/#/travel/\" target=\"_blank\" rel=\"noopener\">captured images of the Cuban underground\u003c/a>. In her work, she is making space for herself, covering Latinx culture in the male-dominated industry of photojournalism.\u003c/p>\n\u003cp>“It’s still in my bloodline, so it kind of feels like an ancient remembering of lost wisdom,” she says of her connection to the spirituality of Brujería. “And by choosing to express myself artistically, it’s a way for me to honor my ancestors by owning my gifts. They’re my spirit guides. I get to make art for a living because they brought me here.”\u003c/p>\n\u003ch2>Honoring women on the page\u003c/h2>\n\u003cp>In my prayer and in my writing, I try to listen to the Latinx women who came before me. I try not to talk over their voices. I have an altar where I honor the women who have fallen, women who inspire me and women with unwritten histories. And each day, I try to write a page dedicated to them. Sometimes, the writing is very, very broken. Other times it’s poetry. But I am learning to listen to these women, and give them the space they deserve on the page.\u003c/p>\n\u003cp>I am trying to write them into the spell of memory.\u003c/p>\n\u003cp>When I listen to the words of the women who translate Brujería into their art, I hear a calling. The calling is to create, to act and to show up, especially for other women, especially for women of color. All of the women I interviewed in this piece are holding a sacred space, and teaching us how to hold our own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because when you honor spirits, you aren’t just honoring your ancestors, but the spirits all around you, who are empowering you to be free.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beach-reads-and-beyond-five-literary-events-to-make-your-summer-sizzle",
"title": "Beach Reads and Beyond: Five Literary Events to Make Your Summer Sizzle",
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"headTitle": "Beach Reads and Beyond: Five Literary Events to Make Your Summer Sizzle | KQED",
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"content": "\u003cp>This summer, San Francisco boasts some of the best book releases of the year—and the best parties. Although we may not have as many sunny days as Southern California, the Bay Area’s literary scene is lit.\u003c/p>\n\u003cp>Here are five events book lovers should add to their calendars.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=-L81fAi3-7Y?rel=0]\u003c/p>\n\u003ch2>Radar’s Quinceañera\u003c/h2>\n\u003cp>\u003cem>June 7. San Francisco Public Library, San Francisco. Details \u003ca href=\"https://www.facebook.com/events/415521992250380/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the vein of coming-of-age quinceañera parties, RADAR Productions raises a glass to its 15th anniversary this June with cake, pink tulle, balloons and tiaras. With programming like the fabulous Drag Queen Story Hour (bringing drag queens to libraries and schools to read books to children), the Sister Spit Tour (which spotlights queer and trans authors of color) and monthly reading series spotlighting the hottest queer and feminist voices, RADAR is a tremendous organization. The party features performances by Grace Towers, Brontez Purnell, Jewelle Gomez and Arisa White, whom Roxane Gay called “exhilarating and memorable.” Oh, and there will be cake, and the first 40 people through the door get a tiara.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832739 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/z-dance-party-800x518.png\" alt=\"\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-1200x776.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-1180x764.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-960x621.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-240x155.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-375x243.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-520x336.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party.png 1530w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Zyzzyva’s Summer Dance Party\u003c/h2>\n\u003cp>\u003cem>June 15. Make Out Room (3225 22nd St) in San Francisco. Details \u003ca href=\"https://www.brownpapertickets.com/event/3379094\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There is no party like a Zyzzyva party. For the second year in a row, the literary magazine is throwing a dance party fundraiser, giving local authors and their readers a welcome opportunity to blow off some steam. Editor Oscar Villalón stated over e-mail: “Given the understandably anxious mood most of us share in the Bay Area these days—dread of the cost of living, dread of the authoritarian bent the country has taken, dread of all the things likely to go wrong under Trump—Laura and I thought maybe we should re-cast our traditional fundraiser as an opportunity for people to leave all that aside for a few hours and just enjoy themselves.”\u003c/p>\n\u003cp>The evening is hosted by Glen David Gold and features performances by Paul Beatty and Michelle Latiolais. Did I mention there’s a raffle to win a manuscript consultation with \u003cem>Sirens\u003c/em> author Joshua Mohr?\u003c/p>\n\u003cfigure id=\"attachment_13832557\" class=\"wp-caption alignleft\" style=\"max-width: 674px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh.jpg\" alt=\"\" width=\"674\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh.jpg 674w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-520x390.jpg 520w\" sizes=\"(max-width: 674px) 100vw, 674px\">\u003cfigcaption class=\"wp-caption-text\">Otessa Moshfegh.\u003c/figcaption>\u003c/figure>\n\u003ch2>Otessa Moshfegh’s \u003cem>My Year of Rest and Relaxation\u003c/em>\u003c/h2>\n\u003cp>\u003cem>July 11. Green Apple Books on the Park, San Francisco. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-ottessa-moshfegh-0\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>I’ve been waiting for Otessa Moshfegh’s \u003cem>My Year of Rest and Relaxation \u003c/em>since \u003ca href=\"https://www.vice.com/en_us/article/3kvgkv/an-excerpt-from-ottessa-moshfeghs-upcoming-novel-my-year-of-rest-and-relaxation-v24n10\">reading\u003c/a> an excerpt in VICE’s fiction issue last December. In \u003cem>My Year of Rest and Relaxation\u003c/em>, a woman decides she will go into hibernation by taking as many drugs as her (terrible) psychiatrist will prescribe to her. Hers is a constantly evanescing reality. She wakes up to herself on a train, for example, and wonders:\u003c/p>\n\u003cblockquote>\u003cp>Was the sun coming up, or was it setting? Which way was the train headed? I looked at my hands again, at the gray line of dirt under my chewed-up fingernails. When a man in uniform passed, I stopped him. I was too shy to ask the important questions—“What day is it? Where am I going? Is it night or morning?”—so I asked him what the next stop on the train would be instead.\u003c/p>\u003c/blockquote>\n\u003cp>Moshfegh writes dizzying whorls out of reality, and her characters are mystifying and absolutely alluring. I read her in a gulp.\u003c/p>\n\u003cfigure id=\"attachment_13832544\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.O. Kwon. \u003ccite>(Smeeta Mahanti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>R.O. Kwon’s \u003cem>The Incediaries\u003c/em>\u003c/h2>\n\u003cp>\u003cem>July 31, Green Apple Books on the Park, San Francisco. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-ro-kwon-book-release\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>R.O. Kwon’s novel, \u003cem>The Incediaries\u003c/em>, promises to be one of the most sizzling debuts of the summer. It’s a story about God, domestic terrorism, a cult and love—which is to say, the perfect read for relaxing in the sun. Kwon’s prose is elegant, addictive and profoundly affecting. For the release of her debut, Kwon will be in conversation with Esmé Weijun Wang (author of the \u003cem>Border of Paradise\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13832561\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832561 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virgie Tovar.\u003c/figcaption>\u003c/figure>\n\u003ch2>Virgie Tovar’s \u003cem>You Have a Right to Remain Fat\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 13. The Bindery, San Francisco. Details \u003ca href=\"https://www.booksmith.com/Bindery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Amid anxiety-inducing swimsuit season, if there was ever an ideal beach read, this is it. Tovar is a force. In the opening chapter, she writes:\u003c/p>\n\u003cblockquote>\u003cp>I think it’s almost a fact that everyone remembers that kid in their class who used to look up all the girls’ skirts… I don’t think it’s a coincidence that the boy who looked up skirts was also the first person who called me fat. After all, unsolicited masculine sexual attention and the drive to control feminine bodies go hand in hand.\u003c/p>\u003c/blockquote>\n\u003cp>Weaving personal stories with cultural critique, \u003cem>You Have the Right to Remain Fat \u003c/em>is as astute as it is refreshing.\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>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, San Francisco boasts some of the best book releases of the year—and the best parties. Although we may not have as many sunny days as Southern California, the Bay Area’s literary scene is lit.\u003c/p>\n\u003cp>Here are five events book lovers should add to their calendars.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-L81fAi3-7Y?rel=0'\n title='//www.youtube.com/embed/-L81fAi3-7Y?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>Radar’s Quinceañera\u003c/h2>\n\u003cp>\u003cem>June 7. San Francisco Public Library, San Francisco. Details \u003ca href=\"https://www.facebook.com/events/415521992250380/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the vein of coming-of-age quinceañera parties, RADAR Productions raises a glass to its 15th anniversary this June with cake, pink tulle, balloons and tiaras. With programming like the fabulous Drag Queen Story Hour (bringing drag queens to libraries and schools to read books to children), the Sister Spit Tour (which spotlights queer and trans authors of color) and monthly reading series spotlighting the hottest queer and feminist voices, RADAR is a tremendous organization. The party features performances by Grace Towers, Brontez Purnell, Jewelle Gomez and Arisa White, whom Roxane Gay called “exhilarating and memorable.” Oh, and there will be cake, and the first 40 people through the door get a tiara.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832739 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/z-dance-party-800x518.png\" alt=\"\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-1200x776.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-1180x764.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-960x621.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-240x155.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-375x243.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party-520x336.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/z-dance-party.png 1530w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Zyzzyva’s Summer Dance Party\u003c/h2>\n\u003cp>\u003cem>June 15. Make Out Room (3225 22nd St) in San Francisco. Details \u003ca href=\"https://www.brownpapertickets.com/event/3379094\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There is no party like a Zyzzyva party. For the second year in a row, the literary magazine is throwing a dance party fundraiser, giving local authors and their readers a welcome opportunity to blow off some steam. Editor Oscar Villalón stated over e-mail: “Given the understandably anxious mood most of us share in the Bay Area these days—dread of the cost of living, dread of the authoritarian bent the country has taken, dread of all the things likely to go wrong under Trump—Laura and I thought maybe we should re-cast our traditional fundraiser as an opportunity for people to leave all that aside for a few hours and just enjoy themselves.”\u003c/p>\n\u003cp>The evening is hosted by Glen David Gold and features performances by Paul Beatty and Michelle Latiolais. Did I mention there’s a raffle to win a manuscript consultation with \u003cem>Sirens\u003c/em> author Joshua Mohr?\u003c/p>\n\u003cfigure id=\"attachment_13832557\" class=\"wp-caption alignleft\" style=\"max-width: 674px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh.jpg\" alt=\"\" width=\"674\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh.jpg 674w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Ottessa-Moshfegh-520x390.jpg 520w\" sizes=\"(max-width: 674px) 100vw, 674px\">\u003cfigcaption class=\"wp-caption-text\">Otessa Moshfegh.\u003c/figcaption>\u003c/figure>\n\u003ch2>Otessa Moshfegh’s \u003cem>My Year of Rest and Relaxation\u003c/em>\u003c/h2>\n\u003cp>\u003cem>July 11. Green Apple Books on the Park, San Francisco. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-ottessa-moshfegh-0\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>I’ve been waiting for Otessa Moshfegh’s \u003cem>My Year of Rest and Relaxation \u003c/em>since \u003ca href=\"https://www.vice.com/en_us/article/3kvgkv/an-excerpt-from-ottessa-moshfeghs-upcoming-novel-my-year-of-rest-and-relaxation-v24n10\">reading\u003c/a> an excerpt in VICE’s fiction issue last December. In \u003cem>My Year of Rest and Relaxation\u003c/em>, a woman decides she will go into hibernation by taking as many drugs as her (terrible) psychiatrist will prescribe to her. Hers is a constantly evanescing reality. She wakes up to herself on a train, for example, and wonders:\u003c/p>\n\u003cblockquote>\u003cp>Was the sun coming up, or was it setting? Which way was the train headed? I looked at my hands again, at the gray line of dirt under my chewed-up fingernails. When a man in uniform passed, I stopped him. I was too shy to ask the important questions—“What day is it? Where am I going? Is it night or morning?”—so I asked him what the next stop on the train would be instead.\u003c/p>\u003c/blockquote>\n\u003cp>Moshfegh writes dizzying whorls out of reality, and her characters are mystifying and absolutely alluring. I read her in a gulp.\u003c/p>\n\u003cfigure id=\"attachment_13832544\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kwonheadshot-SmeetaMahanti.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.O. Kwon. \u003ccite>(Smeeta Mahanti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>R.O. Kwon’s \u003cem>The Incediaries\u003c/em>\u003c/h2>\n\u003cp>\u003cem>July 31, Green Apple Books on the Park, San Francisco. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-ro-kwon-book-release\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>R.O. Kwon’s novel, \u003cem>The Incediaries\u003c/em>, promises to be one of the most sizzling debuts of the summer. It’s a story about God, domestic terrorism, a cult and love—which is to say, the perfect read for relaxing in the sun. Kwon’s prose is elegant, addictive and profoundly affecting. For the release of her debut, Kwon will be in conversation with Esmé Weijun Wang (author of the \u003cem>Border of Paradise\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13832561\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832561 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/virgie-ebx_orig.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virgie Tovar.\u003c/figcaption>\u003c/figure>\n\u003ch2>Virgie Tovar’s \u003cem>You Have a Right to Remain Fat\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 13. The Bindery, San Francisco. Details \u003ca href=\"https://www.booksmith.com/Bindery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Amid anxiety-inducing swimsuit season, if there was ever an ideal beach read, this is it. Tovar is a force. In the opening chapter, she writes:\u003c/p>\n\u003cblockquote>\u003cp>I think it’s almost a fact that everyone remembers that kid in their class who used to look up all the girls’ skirts… I don’t think it’s a coincidence that the boy who looked up skirts was also the first person who called me fat. After all, unsolicited masculine sexual attention and the drive to control feminine bodies go hand in hand.\u003c/p>\u003c/blockquote>\n\u003cp>Weaving personal stories with cultural critique, \u003cem>You Have the Right to Remain Fat \u003c/em>is as astute as it is refreshing.\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>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-novel-changed-your-life",
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"content": "\u003cp>To mark the broadcast premiere of PBS’ \u003ca href=\"https://www.kqed.org/arts/series/greatamericanread\" target=\"_blank\" rel=\"noopener\">\u003cem>The Great American Read\u003c/em>\u003c/a>, a landmark TV series about America’s love of reading, we want to hear from you: \u003cstrong>What novel changed \u003cem>your\u003c/em> life?\u003c/strong>\u003c/p>\n\u003cp>Did discovering a certain author at a pivotal moment in your life change things for you? Perhaps the words you read in a book set you on an unexpected path, or identifying with a certain character taught you more about yourself. If so, we want to tell your story.\u003c/p>\n\u003cp>\u003cstrong>In 400-800 words, tell us about the novel that changed your life—and why. \u003c/strong> Your words could be featured on our website, KQED radio, TV or social media, so we’d love to hear from you before August 30. If you have any photographs you’d like to share to help tell your story, you can submit them here too.\u003c/p>\n\u003cp>https://docs.google.com/forms/d/e/1FAIpQLSdq9PdswKrqyO9Aod2VzIk3QPnbfWPt_8RcWQFk_2bckrHsyA/viewform?usp=sf_link\u003c/p>\n\u003cp>Prefer to use email? Contact us at \u003ca href=\"mailto:arts@kqed.org\">arts[at]kqed.org.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, vote in our national poll, choose a book below!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[telescope]\u003c/p>\n\n",
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"excerpt": "To mark the PBS premiere of ‘The Great American Read,’ we want to hear from you and find out what novels changed your life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To mark the broadcast premiere of PBS’ \u003ca href=\"https://www.kqed.org/arts/series/greatamericanread\" target=\"_blank\" rel=\"noopener\">\u003cem>The Great American Read\u003c/em>\u003c/a>, a landmark TV series about America’s love of reading, we want to hear from you: \u003cstrong>What novel changed \u003cem>your\u003c/em> life?\u003c/strong>\u003c/p>\n\u003cp>Did discovering a certain author at a pivotal moment in your life change things for you? Perhaps the words you read in a book set you on an unexpected path, or identifying with a certain character taught you more about yourself. If so, we want to tell your story.\u003c/p>\n\u003cp>\u003cstrong>In 400-800 words, tell us about the novel that changed your life—and why. \u003c/strong> Your words could be featured on our website, KQED radio, TV or social media, so we’d love to hear from you before August 30. If you have any photographs you’d like to share to help tell your story, you can submit them here too.\u003c/p>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe\n src='https://docs.google.com/forms/d/e/1FAIpQLSdq9PdswKrqyO9Aod2VzIk3QPnbfWPt_8RcWQFk_2bckrHsyA/viewform?usp=sf_link?embedded=true'\n title='https://docs.google.com/forms/d/e/1FAIpQLSdq9PdswKrqyO9Aod2VzIk3QPnbfWPt_8RcWQFk_2bckrHsyA/viewform?usp=sf_link'\n width='760' height='500'\n frameborder='0'\n marginheight='0' marginwidth='0'>\u003c/iframe>\u003c/div>\u003c/p>\u003cp>\u003cp>Prefer to use email? Contact us at \u003ca href=\"mailto:arts@kqed.org\">arts[at]kqed.org.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, vote in our national poll, choose a book below!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\n\u003cp>https://twitter.com/NIODamsterdam/status/996406382583742464\u003c/p>\n\u003cp>According to The Anne Frank House, the teenager often reread and edited her diary. She might have hidden these two original pages because she worried that the other seven people in the annex would read her diary. \u003c/p>\n\u003cp>After the group was discovered and deported, and Frank perished in Bergen-Belsen, Otto Frank, her father and the only surviving member of the family, edited and published his daughter’s writing. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Diary of a Young Girl\u003c/em> became one of the world’s most widely read books, available in more than 70 languages. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Newly+Uncovered+Pages+From+Anne+Frank%27s+Diary+Reveal+Risqu%C3%A9+Jokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>According to The Anne Frank House, the teenager often reread and edited her diary. She might have hidden these two original pages because she worried that the other seven people in the annex would read her diary. \u003c/p>\n\u003cp>After the group was discovered and deported, and Frank perished in Bergen-Belsen, Otto Frank, her father and the only surviving member of the family, edited and published his daughter’s writing. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Diary of a Young Girl\u003c/em> became one of the world’s most widely read books, available in more than 70 languages. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Newly+Uncovered+Pages+From+Anne+Frank%27s+Diary+Reveal+Risqu%C3%A9+Jokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Wolfe, Best-Selling Author And Genre-Breaking Journalist, Dies at 87",
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"content": "\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'A Lucky Man': A Feminist-Approved Book About Masculinity",
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"content": "\u003cp>We are in a cultural moment where men’s predatory behavior — in the workplace, at parties, in living rooms and in the White House — has wrung dry any grace that dictums like “boys will be boys” previously provided. Critics sportingly hunt down that dictum wherever it appears, and one only wishes it a rapid extinction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13831208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg\" alt=\"\" width=\"396\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-375x563.jpg 375w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003c/p>\n\u003cp>Personally, I hunger for more complicated views of masculinity. I couldn’t stop talking about \u003cem>Moonlight \u003c/em>after I saw it. I remember curling up with my blanket and emotions on an airplane, landing and renting it again as soon as I returned to my apartment. I paused only to appreciate the beauty of its tonal blues and tenderness; its achingly beautiful and wholly unpredictable grace.\u003c/p>\n\u003cp>\u003cem>A Lucky Man, \u003c/em>out this May, is the stunning debut short story collection by Jamel Brinkley, one that reminds me of \u003cem>Moonlight\u003c/em>. It is not a book about gay men, though. Rather, Brinkley explores black men under both the pressurized violence and bottled up tenderness that undoes them at every turn. This is a book that acknowledges male stereotypes while subverting them and exploring the psychic damage they leave in their wake.\u003c/p>\n\u003cp>Brinkley builds his stories over the lowly clatter of life: recent college graduates on the prowl for girls; teenage boys on the prowl for a glance up a skirt; small boys on the prowl for haircuts that will make them look like men; and grown men on the prowl for something, \u003cem>anything\u003c/em>, that will make them feel more whole.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brinkley describes women as men on the hunt might see them, except perhaps more admiringly. In “No More Than a Bubble,” two young men arrive at a Harvard party convinced the girls there “wore better, tinier underwear than the girls [they] knew” and were “mad geniuses of their bodies.” Women seen by the men in Brinkley’s stories are creatures full of wiles and mysterious ways. A classic male gaze. But even while writing from the points of view of his characters, Brinkley writes with precision about women, letting the men who hunger after them witness a complicated dimensionality. Each story also carries, even while traversing the superficiality of a college party, the profound tenor of old wounds (about race, family, and yearning).\u003c/p>\n\u003cp>All nine of the stories in this collection share an identical architecture, but Brinkley’s endings are so ethereal and luminous that one is hardly bothered. Brinkley’s stories find their footing on the violent edge of gender performativity and end in a reach for language to describe the incomprehensible.\u003c/p>\n\u003cp>One ending is so beautiful, I must share it. But will not give you any context so as not to ruin your reading:\u003c/p>\n\u003cblockquote>\u003cp>Claudius was sitting in the bed, staring at me. All at once an acute ugliness shuddered into being, a face revealed within a face, and he must have seen it within mine too. It has been that way with people in my life, with people I have loved: a fine dispersal, a rupture as quiet as two lips parting, a change so sudden one morning, so slight, you wonder if they had ever been beautiful at all.\u003c/p>\u003c/blockquote>\n\u003cp>Jamel Brinkley’s \u003cem>A Lucky Man\u003c/em> is as compulsive to read as an addictive novel. It is a gripping tapestry of boys at that juncture of life where the men they are to become “[begins] to erupt out of [them], like a flourish of horns.” It’s also a tapestry of those moments where the distances, hesitations and intimacies become the crack of these men’s breaking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.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>\u003cem>Catch Jamel Brinkley at the Booksmith (1644 Haight St) in San Francisco on May 7 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We are in a cultural moment where men’s predatory behavior — in the workplace, at parties, in living rooms and in the White House — has wrung dry any grace that dictums like “boys will be boys” previously provided. Critics sportingly hunt down that dictum wherever it appears, and one only wishes it a rapid extinction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13831208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg\" alt=\"\" width=\"396\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-375x563.jpg 375w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003c/p>\n\u003cp>Personally, I hunger for more complicated views of masculinity. I couldn’t stop talking about \u003cem>Moonlight \u003c/em>after I saw it. I remember curling up with my blanket and emotions on an airplane, landing and renting it again as soon as I returned to my apartment. I paused only to appreciate the beauty of its tonal blues and tenderness; its achingly beautiful and wholly unpredictable grace.\u003c/p>\n\u003cp>\u003cem>A Lucky Man, \u003c/em>out this May, is the stunning debut short story collection by Jamel Brinkley, one that reminds me of \u003cem>Moonlight\u003c/em>. It is not a book about gay men, though. Rather, Brinkley explores black men under both the pressurized violence and bottled up tenderness that undoes them at every turn. This is a book that acknowledges male stereotypes while subverting them and exploring the psychic damage they leave in their wake.\u003c/p>\n\u003cp>Brinkley builds his stories over the lowly clatter of life: recent college graduates on the prowl for girls; teenage boys on the prowl for a glance up a skirt; small boys on the prowl for haircuts that will make them look like men; and grown men on the prowl for something, \u003cem>anything\u003c/em>, that will make them feel more whole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brinkley describes women as men on the hunt might see them, except perhaps more admiringly. In “No More Than a Bubble,” two young men arrive at a Harvard party convinced the girls there “wore better, tinier underwear than the girls [they] knew” and were “mad geniuses of their bodies.” Women seen by the men in Brinkley’s stories are creatures full of wiles and mysterious ways. A classic male gaze. But even while writing from the points of view of his characters, Brinkley writes with precision about women, letting the men who hunger after them witness a complicated dimensionality. Each story also carries, even while traversing the superficiality of a college party, the profound tenor of old wounds (about race, family, and yearning).\u003c/p>\n\u003cp>All nine of the stories in this collection share an identical architecture, but Brinkley’s endings are so ethereal and luminous that one is hardly bothered. Brinkley’s stories find their footing on the violent edge of gender performativity and end in a reach for language to describe the incomprehensible.\u003c/p>\n\u003cp>One ending is so beautiful, I must share it. But will not give you any context so as not to ruin your reading:\u003c/p>\n\u003cblockquote>\u003cp>Claudius was sitting in the bed, staring at me. All at once an acute ugliness shuddered into being, a face revealed within a face, and he must have seen it within mine too. It has been that way with people in my life, with people I have loved: a fine dispersal, a rupture as quiet as two lips parting, a change so sudden one morning, so slight, you wonder if they had ever been beautiful at all.\u003c/p>\u003c/blockquote>\n\u003cp>Jamel Brinkley’s \u003cem>A Lucky Man\u003c/em> is as compulsive to read as an addictive novel. It is a gripping tapestry of boys at that juncture of life where the men they are to become “[begins] to erupt out of [them], like a flourish of horns.” It’s also a tapestry of those moments where the distances, hesitations and intimacies become the crack of these men’s breaking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.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>\u003cem>Catch Jamel Brinkley at the Booksmith (1644 Haight St) in San Francisco on May 7 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Steinbeck Festival in Salinas is All About the Women",
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"content": "\u003cp>The annual \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">Steinbeck Festival\u003c/a> this weekend focuses on “The Women Of Steinbeck’s World.”\u003c/p>\n\u003cp>This focus goes well beyond the characters in John Steinbeck’s books — like Ma Joad in \u003ci>The Grapes of Wrath\u003c/i> or Juana in \u003ci>The Pearl — \u003c/i>to include real life women who influenced him, like First Lady Eleanor Roosevelt, photographer Dorothea Lange and the environmentalist \u003ca href=\"https://video.kqed.org/video/american-experience-rachel-carson/\" target=\"_blank\" rel=\"noopener\">Rachel Carson\u003c/a>. Why Carson?\u003c/p>\n\u003cp>“Because Steinbeck said the book that he most wished that he’d written was \u003ci>Silent Spring\u003c/i>,” says Susan Shillinglaw, who directs the National Steinbeck Center in Salinas when she’s not teaching English at San Jose State.\u003c/p>\n\u003cp>Shillinglaw says she wouldn’t call Steinbeck a feminist, but, “He so admired strong, resolute women. He married three of them. He was very close to his sisters and his family. And fished with women, had women as companions, et cetera,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10494579\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10494579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg\" alt=\"John Steinbeck c. 1930\" width=\"160\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--320x401.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n-.jpg 640w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">John Steinbeck c. 1930 \u003ccite>(Photo: Courtesy of Sonya Noskowiak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There will be lectures throughout the weekend, ranging from Shillinglaw’s own on Steinbeck’s sisters, to UC Berkeley visiting scholar Ignacio Ornelas Rodriguez talking about female fieldworkers and strike organizers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are also local tours of Steinbeck landmarks, a home brew fest (he was said to love a good party) and a taco lunch.\u003c/p>\n\u003cp>But the highlight of the weekend happens Saturday night, with the West Coast premiere of an off-Broadway musical based on Steinbeck’s classic \u003ci>Of Mice and Men\u003c/i>.\u003c/p>\n\u003cp>New York arts journalist Ira Bilowit had Steinbeck’s blessing and suggestions, even though Bilowit’s musical diverges fairly dramatically from the book by giving Curly’s wife — she never had a name in the book — more time on stage and a more sympathetic treatment.\u003c/p>\n\u003cp>\u003ci>Of Mice and Men\u003c/i> debuted off-Broadway in 1958, but it closed after just six weeks. An unfortunately timed newspaper strike drastically reduced the amount of press the work might have received otherwise, and it died a quiet death. The musical wouldn’t be performed again until 2007, when it got a reading at York Theatre Company.\u003c/p>\n\u003cfigure id=\"attachment_13831251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg\" alt='The cast of the original 1958 off-Broadway production of \"Of Mice and Men\" included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks.' width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1020x829.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1200x976.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1920x1561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1180x959.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-960x780.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-240x195.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-375x305.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-520x423.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of the original 1958 off-Broadway production of “Of Mice and Men” included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks. \u003ccite>(Photo: Courtesy of Western Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bilowit died in 2016, his notes, drawings and photos of the production went to the National Steinbeck Center, and \u003ca href=\"https://westernstage.com\" target=\"_blank\" rel=\"noopener\">Western Stage\u003c/a> got permission from the Steinbeck estate to do the staged reading of the work.\u003c/p>\n\u003cp>His stepdaughter and heir Waverly Scott Kaffaga is expected to attend, and if she likes it, the Stage just might get permission to stage a full production — the first in 60 years — four blocks from the house Steinbeck grew up in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2018 Steinbeck Festival runs from May 4-6. For more information, click \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Think you know all there is to know about John Steinbeck? This year's Steinbeck Festival promises to surprise you.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">Steinbeck Festival\u003c/a> this weekend focuses on “The Women Of Steinbeck’s World.”\u003c/p>\n\u003cp>This focus goes well beyond the characters in John Steinbeck’s books — like Ma Joad in \u003ci>The Grapes of Wrath\u003c/i> or Juana in \u003ci>The Pearl — \u003c/i>to include real life women who influenced him, like First Lady Eleanor Roosevelt, photographer Dorothea Lange and the environmentalist \u003ca href=\"https://video.kqed.org/video/american-experience-rachel-carson/\" target=\"_blank\" rel=\"noopener\">Rachel Carson\u003c/a>. Why Carson?\u003c/p>\n\u003cp>“Because Steinbeck said the book that he most wished that he’d written was \u003ci>Silent Spring\u003c/i>,” says Susan Shillinglaw, who directs the National Steinbeck Center in Salinas when she’s not teaching English at San Jose State.\u003c/p>\n\u003cp>Shillinglaw says she wouldn’t call Steinbeck a feminist, but, “He so admired strong, resolute women. He married three of them. He was very close to his sisters and his family. And fished with women, had women as companions, et cetera,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10494579\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10494579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg\" alt=\"John Steinbeck c. 1930\" width=\"160\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--320x401.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n-.jpg 640w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">John Steinbeck c. 1930 \u003ccite>(Photo: Courtesy of Sonya Noskowiak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There will be lectures throughout the weekend, ranging from Shillinglaw’s own on Steinbeck’s sisters, to UC Berkeley visiting scholar Ignacio Ornelas Rodriguez talking about female fieldworkers and strike organizers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are also local tours of Steinbeck landmarks, a home brew fest (he was said to love a good party) and a taco lunch.\u003c/p>\n\u003cp>But the highlight of the weekend happens Saturday night, with the West Coast premiere of an off-Broadway musical based on Steinbeck’s classic \u003ci>Of Mice and Men\u003c/i>.\u003c/p>\n\u003cp>New York arts journalist Ira Bilowit had Steinbeck’s blessing and suggestions, even though Bilowit’s musical diverges fairly dramatically from the book by giving Curly’s wife — she never had a name in the book — more time on stage and a more sympathetic treatment.\u003c/p>\n\u003cp>\u003ci>Of Mice and Men\u003c/i> debuted off-Broadway in 1958, but it closed after just six weeks. An unfortunately timed newspaper strike drastically reduced the amount of press the work might have received otherwise, and it died a quiet death. The musical wouldn’t be performed again until 2007, when it got a reading at York Theatre Company.\u003c/p>\n\u003cfigure id=\"attachment_13831251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg\" alt='The cast of the original 1958 off-Broadway production of \"Of Mice and Men\" included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks.' width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1020x829.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1200x976.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1920x1561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1180x959.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-960x780.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-240x195.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-375x305.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-520x423.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of the original 1958 off-Broadway production of “Of Mice and Men” included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks. \u003ccite>(Photo: Courtesy of Western Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bilowit died in 2016, his notes, drawings and photos of the production went to the National Steinbeck Center, and \u003ca href=\"https://westernstage.com\" target=\"_blank\" rel=\"noopener\">Western Stage\u003c/a> got permission from the Steinbeck estate to do the staged reading of the work.\u003c/p>\n\u003cp>His stepdaughter and heir Waverly Scott Kaffaga is expected to attend, and if she likes it, the Stage just might get permission to stage a full production — the first in 60 years — four blocks from the house Steinbeck grew up in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2018 Steinbeck Festival runs from May 4-6. For more information, click \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Author Junot Diaz Faces Sexual Misconduct Allegations",
"headTitle": "Author Junot Diaz Faces Sexual Misconduct Allegations | KQED",
"content": "\u003cp>Weeks after publishing his own story of sexual abuse in the \u003cem>New Yorker\u003c/em>, Pulitzer Prize-winning author Junot Diaz is facing an onslaught of accusations of sexual misconduct and misogyny directed at fellow writers.\u003c/p>\n\u003cp>Zinzi Clemmons, who penned coming-of-age novel \u003cem>What We Lose\u003c/em>, tweeted early Friday morning that when she was a 26-year-old graduate student, Diaz cornered her and forcibly kissed her after she invited him to speak at a workshop several years ago. She said she believes she is far from the only woman he has “exploited” and told The Associated Press that she cannot bear to think of the others.\u003c/p>\n\u003cp>“Junot Diaz has made his behavior the burden of young women — particularly women of color — for far too long, enabled by his team and the institutions that employ him,” Clemmons wrote in a statement to the AP. “It is time for the burden of his bad behavior to be laid squarely at his feet, and for him to deal with the consequences of his actions.”\u003c/p>\n\u003cp>Through his literary agent, Diaz told the \u003cem>New York Times\u003c/em> that he takes responsibility for his past.\u003cbr>\n“That is the reason I made the decision to tell the truth of my (childhood) rape and its damaging aftermath,” he said. “This conversation is important and must continue.”\u003c/p>\n\u003cp>Since Clemmons’ tweets, other women have come forward with stories of alleged verbal abuse and misogyny by Diaz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rebecca Fortes was in the University of Michigan’s master’s of fine arts program when she volunteered to moderate a Q&A with Diaz in early-2017.\u003c/p>\n\u003cp>When Diaz entered the room, he refused to sit or take off his jacket. He told Fortes her introduction was too long and would not let her read it.\u003c/p>\n\u003cp>She asked him about world building — which he teaches at the Massachusetts Institute of Technology, where he is a professor — and pegged her question to Republican President Donald Trump’s election.\u003c/p>\n\u003cp>“He literally laughed,” Fortes said. “He was just very dismissive, and I remember being really embarrassed and really hurt.”\u003c/p>\n\u003cp>A few months before, Diaz had published an essay in the New Yorker expressing the “rejection” and “fear” that came from a Trump victory. A few months later, his essay appeared in an anthology reacting to Trump’s presidency. But when Fortes asked about the subject, she said she was made to feel small.\u003c/p>\n\u003cp>Soon after, Diaz refused to answer the rest of Fortes’ and her co-moderator’s questions, instead calling on audience members.\u003c/p>\n\u003cp>She was clear that she was not a victim of sexual violence, but she did feel that she had been a recipient of his “misogynistic behavior.”\u003c/p>\n\u003cp>On Facebook, author Monica Byrne detailed her encounter with Diaz at a dinner in 2014. She made a comment that Diaz responded was akin to saying “I haven’t been raped, so rape must not exist.”\u003c/p>\n\u003cp>“His voice had risen to a shout. He literally shouted the word ‘rape’ in my face,” Byrne wrote. “I was speechless and felt sick.”\u003c/p>\n\u003cp>Author Carmen Maria Machado, who is currently at the Sydney Writers’ Festival with Diaz, shared over Twitter how she was treated when she attended a Q&A with the famed Dominican-American writer.\u003c/p>\n\u003cp>“When I made the mistake of asking him a question about his protagonist’s unhealthy, pathological relationship with women, he went off for me for 20 minutes,” Machado tweeted. “In the intervening years, I’ve heard easily a dozen stories about (expletive) sexual misconduct on his part.”\u003c/p>\n\u003cp>In April, Diaz published an essay in the New Yorker about his own experience with rape when he was eight years old and how the trauma manifested later in his personal life.\u003c/p>\n\u003cp>“I think about the hurt I caused,” he wrote. “I think of all the years and all the life I lost to the hiding and to the fear and to the pain. The mask got more of me than I ever did.”\u003c/p>\n\u003cp>Diaz won the Pulitzer for \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em> in 2008. He is also known for his books, \u003cem>Drown\u003c/em> and \u003cem>This Is How You Lose Her\u003c/em>. In his fiction, Diaz often represents unhealthy romantic relationships tinged with abuse and infidelity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Neither Diaz nor MIT have responded to the AP’s requests for comment.\u003cbr>\n___\u003cbr>\nAssociated Press reporter Philip Marcelo contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Weeks after publishing his own story of sexual abuse in the \u003cem>New Yorker\u003c/em>, Pulitzer Prize-winning author Junot Diaz is facing an onslaught of accusations of sexual misconduct and misogyny directed at fellow writers.\u003c/p>\n\u003cp>Zinzi Clemmons, who penned coming-of-age novel \u003cem>What We Lose\u003c/em>, tweeted early Friday morning that when she was a 26-year-old graduate student, Diaz cornered her and forcibly kissed her after she invited him to speak at a workshop several years ago. She said she believes she is far from the only woman he has “exploited” and told The Associated Press that she cannot bear to think of the others.\u003c/p>\n\u003cp>“Junot Diaz has made his behavior the burden of young women — particularly women of color — for far too long, enabled by his team and the institutions that employ him,” Clemmons wrote in a statement to the AP. “It is time for the burden of his bad behavior to be laid squarely at his feet, and for him to deal with the consequences of his actions.”\u003c/p>\n\u003cp>Through his literary agent, Diaz told the \u003cem>New York Times\u003c/em> that he takes responsibility for his past.\u003cbr>\n“That is the reason I made the decision to tell the truth of my (childhood) rape and its damaging aftermath,” he said. “This conversation is important and must continue.”\u003c/p>\n\u003cp>Since Clemmons’ tweets, other women have come forward with stories of alleged verbal abuse and misogyny by Diaz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rebecca Fortes was in the University of Michigan’s master’s of fine arts program when she volunteered to moderate a Q&A with Diaz in early-2017.\u003c/p>\n\u003cp>When Diaz entered the room, he refused to sit or take off his jacket. He told Fortes her introduction was too long and would not let her read it.\u003c/p>\n\u003cp>She asked him about world building — which he teaches at the Massachusetts Institute of Technology, where he is a professor — and pegged her question to Republican President Donald Trump’s election.\u003c/p>\n\u003cp>“He literally laughed,” Fortes said. “He was just very dismissive, and I remember being really embarrassed and really hurt.”\u003c/p>\n\u003cp>A few months before, Diaz had published an essay in the New Yorker expressing the “rejection” and “fear” that came from a Trump victory. A few months later, his essay appeared in an anthology reacting to Trump’s presidency. But when Fortes asked about the subject, she said she was made to feel small.\u003c/p>\n\u003cp>Soon after, Diaz refused to answer the rest of Fortes’ and her co-moderator’s questions, instead calling on audience members.\u003c/p>\n\u003cp>She was clear that she was not a victim of sexual violence, but she did feel that she had been a recipient of his “misogynistic behavior.”\u003c/p>\n\u003cp>On Facebook, author Monica Byrne detailed her encounter with Diaz at a dinner in 2014. She made a comment that Diaz responded was akin to saying “I haven’t been raped, so rape must not exist.”\u003c/p>\n\u003cp>“His voice had risen to a shout. He literally shouted the word ‘rape’ in my face,” Byrne wrote. “I was speechless and felt sick.”\u003c/p>\n\u003cp>Author Carmen Maria Machado, who is currently at the Sydney Writers’ Festival with Diaz, shared over Twitter how she was treated when she attended a Q&A with the famed Dominican-American writer.\u003c/p>\n\u003cp>“When I made the mistake of asking him a question about his protagonist’s unhealthy, pathological relationship with women, he went off for me for 20 minutes,” Machado tweeted. “In the intervening years, I’ve heard easily a dozen stories about (expletive) sexual misconduct on his part.”\u003c/p>\n\u003cp>In April, Diaz published an essay in the New Yorker about his own experience with rape when he was eight years old and how the trauma manifested later in his personal life.\u003c/p>\n\u003cp>“I think about the hurt I caused,” he wrote. “I think of all the years and all the life I lost to the hiding and to the fear and to the pain. The mask got more of me than I ever did.”\u003c/p>\n\u003cp>Diaz won the Pulitzer for \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em> in 2008. He is also known for his books, \u003cem>Drown\u003c/em> and \u003cem>This Is How You Lose Her\u003c/em>. In his fiction, Diaz often represents unhealthy romantic relationships tinged with abuse and infidelity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Neither Diaz nor MIT have responded to the AP’s requests for comment.\u003cbr>\n___\u003cbr>\nAssociated Press reporter Philip Marcelo contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Talking With Aline Kominsky-Crumb: 'I'll Continue Being Creative for the Rest of My Life'",
"headTitle": "Talking With Aline Kominsky-Crumb: ‘I’ll Continue Being Creative for the Rest of My Life’ | KQED",
"content": "\u003cfigure id=\"attachment_13831190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-800x599.jpg\" alt=\"Aline Kominsky-Crumb\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13831190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s largely gone unacknowledged, but Aline Kominsky-Crumb, picture here in 2018, was the first woman to publish autobiographical comics. \u003ccite>(Kate Mada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.suzannesomers.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Suzanne Somers\u003c/a>, I hereby declare that you’ve been fired. Hang up your Thigh Master and make way for the Queen. After five minutes of talking with underground comics legend Aline Kominsky-Crumb, I’m ready to buy any tonic, cream, pill, or supplement that could possibly account for her otherworldly effervescence. She’s stylish, bronze, and I’m confident she could body slam me. Her vigor feels impossible when I learn that she’s 70 years old.\u003c/p>\n\u003cp>Then she tells me she had just finished chemotherapy three months before embarking on an international book tour to promote \u003cem>Love That Bunch\u003c/em>, her career retrospective graphic novel, and I am floored.\u003c/p>\n\u003cp>“Getting through cancer, I got through it with no fear. I had no fear. And it wasn’t like I was trying not to be scared or I was trying to be positive. I actually wasn’t scared,” Kominsky-Crumb tells me. “At my age, I’m going to die from \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>As I chat with her in a small Bernal Heights coffee shop, the vision of serenity and health before me seems light years away from “The Bunch” – Kominsky-Crumb’s tortured cartoon alter ego who figures prominently in \u003cem>Love That Bunch\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13831195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-800x999.jpg\" alt=\"The cover of 'Love That Bunch' by Aline Kominsky-Crumb\" width=\"800\" height=\"999\" class=\"size-medium wp-image-13831195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-961x1200.jpg 961w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-1180x1474.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-960x1199.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Love That Bunch’ by Aline Kominsky-Crumb. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bunch was born during San Francisco’s ’60s underground comics scene, after Kominsky-Crumb fled a tumultuous upbringing in New Jersey. Rendered in her signature, appropriately uncontrolled style, The Bunch is raw, unfiltered, and living large in both carriage and personality. She’s also painfully vulnerable, obsessed with her appearance, and perpetually self-deprecating as she navigates the free love scene of ’60s California. While other women of the early underground comix movement drew themselves as gorgeous, strong superheroes, Kominsky-Crumb drew herself sitting on the toilet.\u003c/p>\n\u003cp>“[We were] all being feminists in our own way, but our vision of what that meant was different and contradictory in some cases,” Kominsky-Crumb says. “The original group were these militant feminists who I thought didn’t have much of a sense of humor, and they really didn’t like my work, particularly because it was self-deprecating.”\u003c/p>\n\u003cp>Kominsky-Crumb’s compulsion to draw confessional, funny, and unflattering work began as a response to a painful childhood. Her book opens with the story “The Young Bunch: A Nonromantic Unadventure Story.” It’s filled with disturbing scenes of early sexual encounters, and ends with a panel of father Arnie hammering her head against the wall for coming home late while mother “Blabette” frets in the background, “Arnie, don’t kill her!”\u003c/p>\n\u003cfigure id=\"attachment_13831192\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-800x767.jpg\" alt=\"A panel from 'Love That Bunch'A panel from 'Love That Bunch'\" width=\"800\" height=\"767\" class=\"size-medium wp-image-13831192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-768x736.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-960x920.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-375x360.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-520x499.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from ‘Love That Bunch.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of it was just that raw anger and pain,” Kominsky-Crumb says, “and if you don’t express that, you go crazy.”\u003c/p>\n\u003cp>It has largely gone unacknowledged, but Kominsky-Crumb was the first woman to publish autobiographical comics. That’s all the more noteworthy considering that women are, traditionally, expert diarists; starting as young girls, writing on the inside cover of Hello Kitty journals, “WARNING: Keep Out. Snoops caught reading this will be cursed with 100 years of diarrhea and will burn in hell. This means YOU.” As girls get older, sometimes the stockpile of conflicted feelings grows too large, breaking tiny gold diary locks, and spilling into the public eye.\u003c/p>\n\u003cp>“You want to tell all of these bad things about yourself and then see if you’ll still be loved,” Kominsky-Crumb explains. “‘Look, I do this. Do you still love me?’”\u003c/p>\n\u003cp>Though both Kominsky-Crumb and her husband, cartoonist Robert Crumb, were always highly regarded within subversive art circles, they were afforded a relative degree of personal privacy due to their chosen medium. Comics were mostly either ignored or maligned up until the late ’90s, when academics got involved and deemed funny books “graphic novels.” Though Kominsky-Crumb herself is no wallflower, such anonymity was especially valuable to Robert. \u003c/p>\n\u003cp>“He has Asperger’s Syndrome. Very mild, but he does,” she says. “He had a very difficult time talking, but he would be in a corner drawing so he had a way to get it out and to communicate. If you’re really an artist, then you don’t have a choice. You’re one of the walking wounded.”\u003c/p>\n\u003cp>But then the release of Terry Zwigoff’s 1995 award-winning documentary \u003cem>Crumb\u003c/em> jeopardized that blissful anonymity.\u003c/p>\n\u003cfigure id=\"attachment_13831193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-800x759.jpg\" alt=\"Another panel from 'Love That Bunch'\" width=\"800\" height=\"759\" class=\"size-medium wp-image-13831193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-800x759.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-768x728.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-1020x967.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-960x910.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-375x356.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-520x493.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel from ‘Love That Bunch.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Terry filmed it over the course of about seven years because he never had any money,” Kominsky-Crumb says. “We just sort of forgot about it. We let him do it because he was our really good friend. I thought if it ever got made at all, which I doubted, it would be some real small thing. In the film he asks me, ‘What if your mother see this?’ I said, ‘She’s not going to see this unless it comes to the mall next to her condo.’ And then it did. She was really upset.”\u003c/p>\n\u003cp>Luckily, Aline, Robert, and daughter Sophie had already moved to the French countryside when the movie was released. They had left rural Winters, Calif., where all of their neighbors worshipped God and guns, and bought a house in a small village in Southern France, where they still live today. Years of art, yoga, and therapy have resolved many of Kominsky-Crumb’s neuroses. Her brother, Sophie, and her grandchildren live next door. If there’s such a thing as a happy ending, Kominsky-Crumb may have found it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During our talk, Kominsky-Crumb mentions this will be her final book tour. She came to the states, she says, to see the young people reading her work and writing their Harvard dissertations on her.\u003c/p>\n\u003cp>When I ask if she’ll continue drawing comics, she says she’s uncertain.\u003c/p>\n\u003cp>“I’ll continue being creative for the rest of my life,” Kominsky-Crumb says. “I always have been. But I don’t know what form. I never know.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Aline Kominsky-Crumb appears at Green Apple Books on the Park on Friday, May 4, 2018, at 7:30pm. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-aline-kominsky-crumb\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13831190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-800x599.jpg\" alt=\"Aline Kominsky-Crumb\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13831190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ALINE-copyright-Kate-Mada-2018_02-1-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s largely gone unacknowledged, but Aline Kominsky-Crumb, picture here in 2018, was the first woman to publish autobiographical comics. \u003ccite>(Kate Mada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.suzannesomers.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Suzanne Somers\u003c/a>, I hereby declare that you’ve been fired. Hang up your Thigh Master and make way for the Queen. After five minutes of talking with underground comics legend Aline Kominsky-Crumb, I’m ready to buy any tonic, cream, pill, or supplement that could possibly account for her otherworldly effervescence. She’s stylish, bronze, and I’m confident she could body slam me. Her vigor feels impossible when I learn that she’s 70 years old.\u003c/p>\n\u003cp>Then she tells me she had just finished chemotherapy three months before embarking on an international book tour to promote \u003cem>Love That Bunch\u003c/em>, her career retrospective graphic novel, and I am floored.\u003c/p>\n\u003cp>“Getting through cancer, I got through it with no fear. I had no fear. And it wasn’t like I was trying not to be scared or I was trying to be positive. I actually wasn’t scared,” Kominsky-Crumb tells me. “At my age, I’m going to die from \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>As I chat with her in a small Bernal Heights coffee shop, the vision of serenity and health before me seems light years away from “The Bunch” – Kominsky-Crumb’s tortured cartoon alter ego who figures prominently in \u003cem>Love That Bunch\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13831195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-800x999.jpg\" alt=\"The cover of 'Love That Bunch' by Aline Kominsky-Crumb\" width=\"800\" height=\"999\" class=\"size-medium wp-image-13831195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-961x1200.jpg 961w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-1180x1474.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-960x1199.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Love-That-Bunch-cover-1400.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Love That Bunch’ by Aline Kominsky-Crumb. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bunch was born during San Francisco’s ’60s underground comics scene, after Kominsky-Crumb fled a tumultuous upbringing in New Jersey. Rendered in her signature, appropriately uncontrolled style, The Bunch is raw, unfiltered, and living large in both carriage and personality. She’s also painfully vulnerable, obsessed with her appearance, and perpetually self-deprecating as she navigates the free love scene of ’60s California. While other women of the early underground comix movement drew themselves as gorgeous, strong superheroes, Kominsky-Crumb drew herself sitting on the toilet.\u003c/p>\n\u003cp>“[We were] all being feminists in our own way, but our vision of what that meant was different and contradictory in some cases,” Kominsky-Crumb says. “The original group were these militant feminists who I thought didn’t have much of a sense of humor, and they really didn’t like my work, particularly because it was self-deprecating.”\u003c/p>\n\u003cp>Kominsky-Crumb’s compulsion to draw confessional, funny, and unflattering work began as a response to a painful childhood. Her book opens with the story “The Young Bunch: A Nonromantic Unadventure Story.” It’s filled with disturbing scenes of early sexual encounters, and ends with a panel of father Arnie hammering her head against the wall for coming home late while mother “Blabette” frets in the background, “Arnie, don’t kill her!”\u003c/p>\n\u003cfigure id=\"attachment_13831192\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-800x767.jpg\" alt=\"A panel from 'Love That Bunch'A panel from 'Love That Bunch'\" width=\"800\" height=\"767\" class=\"size-medium wp-image-13831192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-768x736.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-960x920.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-375x360.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-520x499.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH61-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from ‘Love That Bunch.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of it was just that raw anger and pain,” Kominsky-Crumb says, “and if you don’t express that, you go crazy.”\u003c/p>\n\u003cp>It has largely gone unacknowledged, but Kominsky-Crumb was the first woman to publish autobiographical comics. That’s all the more noteworthy considering that women are, traditionally, expert diarists; starting as young girls, writing on the inside cover of Hello Kitty journals, “WARNING: Keep Out. Snoops caught reading this will be cursed with 100 years of diarrhea and will burn in hell. This means YOU.” As girls get older, sometimes the stockpile of conflicted feelings grows too large, breaking tiny gold diary locks, and spilling into the public eye.\u003c/p>\n\u003cp>“You want to tell all of these bad things about yourself and then see if you’ll still be loved,” Kominsky-Crumb explains. “‘Look, I do this. Do you still love me?’”\u003c/p>\n\u003cp>Though both Kominsky-Crumb and her husband, cartoonist Robert Crumb, were always highly regarded within subversive art circles, they were afforded a relative degree of personal privacy due to their chosen medium. Comics were mostly either ignored or maligned up until the late ’90s, when academics got involved and deemed funny books “graphic novels.” Though Kominsky-Crumb herself is no wallflower, such anonymity was especially valuable to Robert. \u003c/p>\n\u003cp>“He has Asperger’s Syndrome. Very mild, but he does,” she says. “He had a very difficult time talking, but he would be in a corner drawing so he had a way to get it out and to communicate. If you’re really an artist, then you don’t have a choice. You’re one of the walking wounded.”\u003c/p>\n\u003cp>But then the release of Terry Zwigoff’s 1995 award-winning documentary \u003cem>Crumb\u003c/em> jeopardized that blissful anonymity.\u003c/p>\n\u003cfigure id=\"attachment_13831193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-800x759.jpg\" alt=\"Another panel from 'Love That Bunch'\" width=\"800\" height=\"759\" class=\"size-medium wp-image-13831193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-800x759.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-768x728.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-1020x967.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-960x910.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-375x356.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83-520x493.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LOVETHATBUNCH83.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel from ‘Love That Bunch.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Terry filmed it over the course of about seven years because he never had any money,” Kominsky-Crumb says. “We just sort of forgot about it. We let him do it because he was our really good friend. I thought if it ever got made at all, which I doubted, it would be some real small thing. In the film he asks me, ‘What if your mother see this?’ I said, ‘She’s not going to see this unless it comes to the mall next to her condo.’ And then it did. She was really upset.”\u003c/p>\n\u003cp>Luckily, Aline, Robert, and daughter Sophie had already moved to the French countryside when the movie was released. They had left rural Winters, Calif., where all of their neighbors worshipped God and guns, and bought a house in a small village in Southern France, where they still live today. Years of art, yoga, and therapy have resolved many of Kominsky-Crumb’s neuroses. Her brother, Sophie, and her grandchildren live next door. If there’s such a thing as a happy ending, Kominsky-Crumb may have found it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During our talk, Kominsky-Crumb mentions this will be her final book tour. She came to the states, she says, to see the young people reading her work and writing their Harvard dissertations on her.\u003c/p>\n\u003cp>When I ask if she’ll continue drawing comics, she says she’s uncertain.\u003c/p>\n\u003cp>“I’ll continue being creative for the rest of my life,” Kominsky-Crumb says. “I always have been. But I don’t know what form. I never know.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Aline Kominsky-Crumb appears at Green Apple Books on the Park on Friday, May 4, 2018, at 7:30pm. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-aline-kominsky-crumb\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Air: Cy and Nick's Do List Picks for April 27, 2018",
"headTitle": "On the Air: Cy and Nick’s Do List Picks for April 27, 2018 | KQED",
"content": "\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "On the Do List this week, Cy Musiker and KQED Youth takeover week co-host Nick Abraham feature a pride prom, quiltmakers comment on guns, and more",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\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>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"tagline": "True-life supernatural stories",
"info": "",
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