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"content": "\u003cp>East Bay book stores Black Oak Books and Cody’s may be gone, but Berkeley is still book crazy. The Bay Area Book Festival settles into California’s original college town this weekend for readings and discussions with 250 authors and hundreds of other events. Look for panels on the #metoo movement with authors Saru Jayaraman, Winnie M. Li, T. Christian Miller and Bernice Yeung — also moderated by KQED’s Sandya Dirks — plus another panel on the impact of Tony Kushner’s play \u003cem>Angels in America\u003c/em>. And bring the kids, as the festival has invited plenty of young adult writers.\u003c/p>\n\u003cfigure id=\"attachment_13830376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-L%C3%B8demel-Tvedt-e1524675966132-800x534.jpg\" alt=\"Greil Marcus wil discuss movie and book 'The Manchurian Candidate' at the Bay Area Book Festival in Berkeley\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132.jpg 1995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greil Marcus wil discuss movie and book ‘The Manchurian Candidate’ at the Bay Area Book Festival in Berkeley \u003ccite>(Ida Lødemel Tvedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also collaborations with the Pacific Film Archive, with cultural critic Greil Marcus talking about \u003cem>The Manchurian Candidate,\u003c/em> the creepy 1962 political thriller starring Angela Lansbury and Frank Sinatra, and based on the book by Richard Condon.\u003c/p>\n\u003cfigure id=\"attachment_13830380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830380\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg\" alt=\"Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech \u003ccite>(Anthony Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most controversial session may be a discussion on free speech with former ACLU President Nadine Strossen. Her new book is \u003cem>Hate: Why We Should Resist it With Free Speech, Not Censorship\u003c/em>, and that is definitely a controversial message these days. College campuses like University of California, Berkeley have been free speech battlegrounds, with student protesters shutting down planned talks by right wing apostles Milo Yiannopoulos and Ann Coulter. \u003c/p>\n\u003cp>The fourth annual Bay Area Book Festival is in Berkeley Saturday and Sunday April 28 and 29. Take BART, as parking will be nigh impossible. \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>East Bay book stores Black Oak Books and Cody’s may be gone, but Berkeley is still book crazy. The Bay Area Book Festival settles into California’s original college town this weekend for readings and discussions with 250 authors and hundreds of other events. Look for panels on the #metoo movement with authors Saru Jayaraman, Winnie M. Li, T. Christian Miller and Bernice Yeung — also moderated by KQED’s Sandya Dirks — plus another panel on the impact of Tony Kushner’s play \u003cem>Angels in America\u003c/em>. And bring the kids, as the festival has invited plenty of young adult writers.\u003c/p>\n\u003cfigure id=\"attachment_13830376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-L%C3%B8demel-Tvedt-e1524675966132-800x534.jpg\" alt=\"Greil Marcus wil discuss movie and book 'The Manchurian Candidate' at the Bay Area Book Festival in Berkeley\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132.jpg 1995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greil Marcus wil discuss movie and book ‘The Manchurian Candidate’ at the Bay Area Book Festival in Berkeley \u003ccite>(Ida Lødemel Tvedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also collaborations with the Pacific Film Archive, with cultural critic Greil Marcus talking about \u003cem>The Manchurian Candidate,\u003c/em> the creepy 1962 political thriller starring Angela Lansbury and Frank Sinatra, and based on the book by Richard Condon.\u003c/p>\n\u003cfigure id=\"attachment_13830380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830380\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg\" alt=\"Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech \u003ccite>(Anthony Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most controversial session may be a discussion on free speech with former ACLU President Nadine Strossen. Her new book is \u003cem>Hate: Why We Should Resist it With Free Speech, Not Censorship\u003c/em>, and that is definitely a controversial message these days. College campuses like University of California, Berkeley have been free speech battlegrounds, with student protesters shutting down planned talks by right wing apostles Milo Yiannopoulos and Ann Coulter. \u003c/p>\n\u003cp>The fourth annual Bay Area Book Festival is in Berkeley Saturday and Sunday April 28 and 29. Take BART, as parking will be nigh impossible. \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-bay-area-book-festival-serves-literature-with-a-side-of-activism",
"title": "The Bay Area Book Festival Serves Literature with a Side of Activism",
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"content": "\u003cp>Here in the Bay Area, we like our literary scene with a side of activism, so it’s fitting that this year’s Bay Area Book Festival remains resolutely political yet hopeful.\u003c/p>\n\u003cp>The fourth annual festival, taking place Apr. 28-29, is infused with the very values omnipresent in the region’s literary conversations — those of political power on the page, the power of literature to transform, and how books can spark social change.\u003c/p>\n\u003cp>Here are five events you cannot miss during this packed weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/thereandbreak.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Native Voices Changing the Story\u003c/h3>\n\u003cp>\u003cem>Sat., Apr. 26. The Brower Center – Goldman Theater (2150 Allston Way, Berkeley). 11:45am – 1:00pm.\u003cstrong> \u003c/strong>\u003c/em>\u003cem>More information and tickets \u003ca href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000ohJCD\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tommy Orange just \u003ca href=\"https://www.newyorker.com/podcast/the-authors-voice/tommy-orange-reads-the-state\">published\u003c/a> a \u003cem>New Yorker\u003c/em> story that is a stunning preview of his forthcoming novel, \u003cem>There There\u003c/em>, the strength of which\u003cem> \u003c/em>would force me follow him to the ends of the earth. Orange joins Katharena Vermette for a reading and conversation. Vermette is the author of \u003cem>The Break\u003c/em>, a thriller that pieces together the pain and trauma that women inherit. The first 100 audience members to arrive receive an excerpt of Orange’s book, which the rest of us mortals will have to wait for until June. This is bound to be a comet of an event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/vietthanhnguyen.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Viet Thanh Nguyen on Art and Politics\u003c/h3>\n\u003cp>\u003cem>Sat., Apr. 26. Freight & Salvage (2020 Addison St., Berkeley). 1:30pm – 2:45pm. More information and tickets \u003ca href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000ohJEE\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>This is not a drill: Viet Thanh Nguyen (whom we can claim as ours because he is a UC Berkeley doctoral alum) will be speaking about art and politics with Karen Tei Yamashita. Yamashita is the author of the incandescent and deliciously experimental \u003cem>I Hotel\u003c/em>. Viet Thanh Nguyen received the Pulitzer Prize for his debut novel, \u003cem>The Sympathizer\u003c/em>. You can expect gems from their conversation, like this one from Thanh Nguyen’s \u003cem>Nothing Ever Dies\u003c/em>: “All wars are fought twice, the first time on the battlefield, the second time in memory.” Nguyen and Yamashita will discuss the role of the writer in society, the importance of art in politics, and the power of the written word.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/lidia.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Lidia Yuknavitch in Person: On Fearlessness, Truth, and Misfits\u003c/h3>\n\u003cp>\u003cem>Sat., Apr. 28. Freight & Salvage (2020 Addison St., Berkeley). \u003cspan class=\"hours\">5pm – 6pm. More information and tickets \u003ca class=\"button small\" href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000ohcKg\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/span> \u003c/em>\u003c/p>\n\u003cp>Lidia Yuknavitch’s had me bewitched with her memoir \u003cem>The Chronology of Water\u003c/em>. Recently, she has bewitched two million people with her TED talk, \u003cem>\u003ca href=\"https://www.ted.com/talks/lidia_yuknavitch_the_beauty_of_being_a_misfit\">The Beauty of Being a Misfit\u003c/a>.\u003c/em> Yuknavitch speaks beautifully about not fitting in:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>There’s a myth in most cultures about following your dreams. It’s called the hero’s journey. But I prefer a different myth, that’s slightly to the side of that or underneath it. It’s called the misfit’s myth. And it goes like this: even at the moment of your failure, right then, you are beautiful. You don’t know it yet, but you have the ability to reinvent yourself endlessly. That’s your beauty.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Misfit’s Manifesto\u003c/em> is Yuknavitch’s latest and is based on this powerful talk. She will be interviewed by Daphne Gottlieb, the fierce performance poet and author of \u003cem>Pretty Much Dead.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/angels.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>The Impact of Angels in America on LGBTQ Literature\u003c/h3>\n\u003cp>\u003cem>Sun., Apr. 29. Berkeley Repertory Theatre, School of Theatre (2071 Addison St, Berkeley). 11:45am – 1:00pm. More information and tickets \u003ca href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000oxxK4UAI\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>While this year’s Bay Area Book Festival programming offers a slew of panels dedicated to the power of women and to issues of immigration, activism, and the environment, queer perspectives are largely missing. This event, therefore, deserves special mention. Featuring Baruch Porras-Hernandez, K.M. Soehnlein, Brian Thorstenson, and Sarah Rose Leonard, this panel promises to be a fascinating roundtable discussion about Tony Kushner’s play \u003cem>Angels in America,\u003c/em> and how this momentous play, which unabashedly portrays gay men as heroes, impacted LGBTQ literature. \u003cem>Angels in America\u003c/em> is \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">currently playing at the Berkeley Repertory Theatre\u003c/a>, so opportunities abound to engage, or re-engage, with this play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/hopedirect.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Smart Activism: History and Hope, with L.A. Kauffman and Rebecca Solnit\u003c/h3>\n\u003cp>\u003cem>Sun., Apr. 29. San Francisco Chronicle Stage in the Park at 2:30pm – 3:45pm. Free.\u003c/em>\u003c/p>\n\u003cp>There is no one you want to learn about activism from more than these two. No matter the circumstance, Rebecca Solnit’s wit, powers of observation, and literary prowess always point to true north. There hasn’t been a Solnit book that I have not wildly enjoyed. She is the author of the activist handbook \u003cem>Hope in the Dark\u003c/em>, as well as the mordantly clever \u003cem>Men Explain Things to Me\u003c/em>, and more recently, \u003cem>The Mother of All Questions — \u003c/em>a sharp essay collection about the contemporary state of feminism. L.A. Kauffman’s first book, \u003cem>Direct Action\u003c/em>, is a history of protest of which \u003cem>Vice’s\u003c/em> Philip Eil wrote, “If direct action is ‘a laboratory for political experimentation and innovation,’ as Kauffman argues in the introduction, then this is the lab report.” Kauffman and Solnit will discuss how past movements used tactics to catalyze change, how to hope in the dark, and how to act on that hope.\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>For the full schedule, visit Bay Area Book Festival \u003ca href=\"https://www.baybookfest.org\">online\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a bi-weekly column. Catch us here back in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here in the Bay Area, we like our literary scene with a side of activism, so it’s fitting that this year’s Bay Area Book Festival remains resolutely political yet hopeful.\u003c/p>\n\u003cp>The fourth annual festival, taking place Apr. 28-29, is infused with the very values omnipresent in the region’s literary conversations — those of political power on the page, the power of literature to transform, and how books can spark social change.\u003c/p>\n\u003cp>Here are five events you cannot miss during this packed weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/thereandbreak.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/thereandbreak-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Native Voices Changing the Story\u003c/h3>\n\u003cp>\u003cem>Sat., Apr. 26. The Brower Center – Goldman Theater (2150 Allston Way, Berkeley). 11:45am – 1:00pm.\u003cstrong> \u003c/strong>\u003c/em>\u003cem>More information and tickets \u003ca href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000ohJCD\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tommy Orange just \u003ca href=\"https://www.newyorker.com/podcast/the-authors-voice/tommy-orange-reads-the-state\">published\u003c/a> a \u003cem>New Yorker\u003c/em> story that is a stunning preview of his forthcoming novel, \u003cem>There There\u003c/em>, the strength of which\u003cem> \u003c/em>would force me follow him to the ends of the earth. Orange joins Katharena Vermette for a reading and conversation. Vermette is the author of \u003cem>The Break\u003c/em>, a thriller that pieces together the pain and trauma that women inherit. The first 100 audience members to arrive receive an excerpt of Orange’s book, which the rest of us mortals will have to wait for until June. This is bound to be a comet of an event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/vietthanhnguyen.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/vietthanhnguyen-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Viet Thanh Nguyen on Art and Politics\u003c/h3>\n\u003cp>\u003cem>Sat., Apr. 26. Freight & Salvage (2020 Addison St., Berkeley). 1:30pm – 2:45pm. More information and tickets \u003ca href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000ohJEE\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>This is not a drill: Viet Thanh Nguyen (whom we can claim as ours because he is a UC Berkeley doctoral alum) will be speaking about art and politics with Karen Tei Yamashita. Yamashita is the author of the incandescent and deliciously experimental \u003cem>I Hotel\u003c/em>. Viet Thanh Nguyen received the Pulitzer Prize for his debut novel, \u003cem>The Sympathizer\u003c/em>. You can expect gems from their conversation, like this one from Thanh Nguyen’s \u003cem>Nothing Ever Dies\u003c/em>: “All wars are fought twice, the first time on the battlefield, the second time in memory.” Nguyen and Yamashita will discuss the role of the writer in society, the importance of art in politics, and the power of the written word.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/lidia.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/lidia-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Lidia Yuknavitch in Person: On Fearlessness, Truth, and Misfits\u003c/h3>\n\u003cp>\u003cem>Sat., Apr. 28. Freight & Salvage (2020 Addison St., Berkeley). \u003cspan class=\"hours\">5pm – 6pm. More information and tickets \u003ca class=\"button small\" href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000ohcKg\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/span> \u003c/em>\u003c/p>\n\u003cp>Lidia Yuknavitch’s had me bewitched with her memoir \u003cem>The Chronology of Water\u003c/em>. Recently, she has bewitched two million people with her TED talk, \u003cem>\u003ca href=\"https://www.ted.com/talks/lidia_yuknavitch_the_beauty_of_being_a_misfit\">The Beauty of Being a Misfit\u003c/a>.\u003c/em> Yuknavitch speaks beautifully about not fitting in:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>There’s a myth in most cultures about following your dreams. It’s called the hero’s journey. But I prefer a different myth, that’s slightly to the side of that or underneath it. It’s called the misfit’s myth. And it goes like this: even at the moment of your failure, right then, you are beautiful. You don’t know it yet, but you have the ability to reinvent yourself endlessly. That’s your beauty.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Misfit’s Manifesto\u003c/em> is Yuknavitch’s latest and is based on this powerful talk. She will be interviewed by Daphne Gottlieb, the fierce performance poet and author of \u003cem>Pretty Much Dead.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/angels.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/angels-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>The Impact of Angels in America on LGBTQ Literature\u003c/h3>\n\u003cp>\u003cem>Sun., Apr. 29. Berkeley Repertory Theatre, School of Theatre (2071 Addison St, Berkeley). 11:45am – 1:00pm. More information and tickets \u003ca href=\"https://baybookfest.secure.force.com/ticket/#sections_a0F1N00000oxxK4UAI\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>While this year’s Bay Area Book Festival programming offers a slew of panels dedicated to the power of women and to issues of immigration, activism, and the environment, queer perspectives are largely missing. This event, therefore, deserves special mention. Featuring Baruch Porras-Hernandez, K.M. Soehnlein, Brian Thorstenson, and Sarah Rose Leonard, this panel promises to be a fascinating roundtable discussion about Tony Kushner’s play \u003cem>Angels in America,\u003c/em> and how this momentous play, which unabashedly portrays gay men as heroes, impacted LGBTQ literature. \u003cem>Angels in America\u003c/em> is \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">currently playing at the Berkeley Repertory Theatre\u003c/a>, so opportunities abound to engage, or re-engage, with this play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13829875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/hopedirect.jpg\" alt=\"\" width=\"2048\" height=\"1380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/hopedirect-520x350.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003ch3>Smart Activism: History and Hope, with L.A. Kauffman and Rebecca Solnit\u003c/h3>\n\u003cp>\u003cem>Sun., Apr. 29. San Francisco Chronicle Stage in the Park at 2:30pm – 3:45pm. Free.\u003c/em>\u003c/p>\n\u003cp>There is no one you want to learn about activism from more than these two. No matter the circumstance, Rebecca Solnit’s wit, powers of observation, and literary prowess always point to true north. There hasn’t been a Solnit book that I have not wildly enjoyed. She is the author of the activist handbook \u003cem>Hope in the Dark\u003c/em>, as well as the mordantly clever \u003cem>Men Explain Things to Me\u003c/em>, and more recently, \u003cem>The Mother of All Questions — \u003c/em>a sharp essay collection about the contemporary state of feminism. L.A. Kauffman’s first book, \u003cem>Direct Action\u003c/em>, is a history of protest of which \u003cem>Vice’s\u003c/em> Philip Eil wrote, “If direct action is ‘a laboratory for political experimentation and innovation,’ as Kauffman argues in the introduction, then this is the lab report.” Kauffman and Solnit will discuss how past movements used tactics to catalyze change, how to hope in the dark, and how to act on that hope.\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>For the full schedule, visit Bay Area Book Festival \u003ca href=\"https://www.baybookfest.org\">online\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a bi-weekly column. Catch us here back in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you were asked to name a novel that changed your life, what would you say?\u003c/p>\n\u003cp>\u003cem>The Great American Read\u003c/em>, a new eight-part PBS series and nationwide campaign that explores the joy of books, will travel the country to find America’s best-loved novel.\u003c/p>\n\u003cp>“The power of reading is extraordinary,” says host Meredith Vieira, author and 14-time Emmy Award winner. “It allows us to escape to new worlds, introduces us to a diverse range of people, opens our minds to different ideas, and allows us to keep learning no matter our age or background.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MRCF_qIPvnM\u003c/p>\n\u003cp>Produced by PBS in partnership with Nutopia, \u003cem>The Great American Read\u003c/em> explores the power of literature through the lens of America’s 100 best-loved novels, as chosen by viewers. An announcement of all 100 books — selected from a demographically representative national survey — will be made available to the public on Friday, April 20. \u003ca href=\"http://www.pbs.org/the-great-american-read/home/\" target=\"_blank\" rel=\"noopener\">See the list here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The launch episode of \u003cem>The Great American Read \u003c/em>airs on May 22 at 8pm on KQED 9. Voting will open in tandem with the two-hour premiere and will continue throughout the summer, leading up to the grand finale in October 2018, when America’s most beloved book will be chosen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13829967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>To spark conversation about the books that have shaped us, both as individuals and as a society, viewers will hear from a variety of sources about what the novels on the top-100 list can tell us about our diverse nation, our shared values, our cultural identities, and the common themes that tie us together. A star-studded cast of beloved authors, celebrities, and notable figures — including Margaret Atwood, Chelsea Clinton, Junot Díaz, Morgan Freeman, George R. R. Martin, Shaquille O’Neal, Sarah Jessica Parker, and Gabrielle Union — will share their personal stories and connections with their favorite titles.\u003c/p>\n\u003cp>KQED will celebrate the love of literature with special programming this summer. Listen to \u003cem>Perspectives\u003c/em> segments dedicated to how books changed the lives of Bay Area residents and tune in to Forum for intimate chats with local authors to discover their literary inspirations and personal favorites. Also, stay tuned for special \u003cem>Great American Read\u003c/em> coverage from KQED Arts, KQED Science, KQED Food, and more.\u003c/p>\n\u003cp>Visit \u003ca href=\"http://www.pbs.org/the-great-american-read/home/\" target=\"_blank\" rel=\"noopener\">pbs.org/greatamericanread\u003c/a> to cast your vote starting Tues., May 22, and share your favorite titles from the list of top 100 books on Facebook and Instagram using the hashtag #GreatReadPBS.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Great American Read premieres Tues., May 22, at 8pm on KQED 9.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were asked to name a novel that changed your life, what would you say?\u003c/p>\n\u003cp>\u003cem>The Great American Read\u003c/em>, a new eight-part PBS series and nationwide campaign that explores the joy of books, will travel the country to find America’s best-loved novel.\u003c/p>\n\u003cp>“The power of reading is extraordinary,” says host Meredith Vieira, author and 14-time Emmy Award winner. “It allows us to escape to new worlds, introduces us to a diverse range of people, opens our minds to different ideas, and allows us to keep learning no matter our age or background.”\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/MRCF_qIPvnM'\n title='//www.youtube.com/embed/MRCF_qIPvnM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Produced by PBS in partnership with Nutopia, \u003cem>The Great American Read\u003c/em> explores the power of literature through the lens of America’s 100 best-loved novels, as chosen by viewers. An announcement of all 100 books — selected from a demographically representative national survey — will be made available to the public on Friday, April 20. \u003ca href=\"http://www.pbs.org/the-great-american-read/home/\" target=\"_blank\" rel=\"noopener\">See the list here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The launch episode of \u003cem>The Great American Read \u003c/em>airs on May 22 at 8pm on KQED 9. Voting will open in tandem with the two-hour premiere and will continue throughout the summer, leading up to the grand finale in October 2018, when America’s most beloved book will be chosen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13829967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tgar_we_can_do_it_deliver.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>To spark conversation about the books that have shaped us, both as individuals and as a society, viewers will hear from a variety of sources about what the novels on the top-100 list can tell us about our diverse nation, our shared values, our cultural identities, and the common themes that tie us together. A star-studded cast of beloved authors, celebrities, and notable figures — including Margaret Atwood, Chelsea Clinton, Junot Díaz, Morgan Freeman, George R. R. Martin, Shaquille O’Neal, Sarah Jessica Parker, and Gabrielle Union — will share their personal stories and connections with their favorite titles.\u003c/p>\n\u003cp>KQED will celebrate the love of literature with special programming this summer. Listen to \u003cem>Perspectives\u003c/em> segments dedicated to how books changed the lives of Bay Area residents and tune in to Forum for intimate chats with local authors to discover their literary inspirations and personal favorites. Also, stay tuned for special \u003cem>Great American Read\u003c/em> coverage from KQED Arts, KQED Science, KQED Food, and more.\u003c/p>\n\u003cp>Visit \u003ca href=\"http://www.pbs.org/the-great-american-read/home/\" target=\"_blank\" rel=\"noopener\">pbs.org/greatamericanread\u003c/a> to cast your vote starting Tues., May 22, and share your favorite titles from the list of top 100 books on Facebook and Instagram using the hashtag #GreatReadPBS.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Great American Read premieres Tues., May 22, at 8pm on KQED 9.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners",
"headTitle": "Kendrick Lamar, ‘Press Democrat’ Claim Pulitzers. Here’s the Full List of Winners | KQED",
"content": "\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Lamar joins the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> as this year's prize winners. See the list of winners and watch Monday's announcement ceremony here.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a jewel-box mansion in the heart of San Francisco’s Mission District, artifacts tell a fascinating story involving a secret abortion clinic, hidden cash, police raids, Hollywood starlets, and a highly-publicized trial that went to the Supreme Court.\u003c/p>\n\u003cp>Among the relics is a pair of Victorian-era forceps. The slender metal tool, one of close to 20 medical instruments unearthed at the property years ago by people who used to live there, once belonged to Inez Burns.\u003c/p>\n\u003cfigure id=\"attachment_13829072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg\" alt=\"A collection of medical instruments that once belonged to Inez Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of medical instruments that once belonged to Inez Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the first half of the 20th century, Burns was one of California’s most sought-after abortionists. She is said to have terminated around 50,000 pregnancies in San Francisco during her long career using these tools — at a time when doing so could land you in prison.\u003c/p>\n\u003cp>Jeff and Diane Cerf bought Burns’ former home in 1999. They enjoy showing visitors the instruments, as well as the nooks where the abortionist hid her cash.\u003c/p>\n\u003cp>“There’s a part of the wall where the baseboard opens up,” Jeff Cerf says. “So she had a little hiding spot there. But we haven’t found any money.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The couple knows a little about their home’s most infamous inhabitant: that she threw wild parties and made a vast fortune performing up to twenty abortions a day; that her patients included everyone from housewives to celebrities like Olympic skater and film-star Sonja Henie.\u003c/p>\n\u003cp>But they don’t know Burns like \u003ca href=\"https://en.wikipedia.org/wiki/Stephen_G._Bloom\" target=\"_blank\" rel=\"noopener\">Stephen Bloom\u003c/a> does.\u003c/p>\n\u003cfigure id=\"attachment_13829073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg\" alt=\"Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom is a journalism professor at the University of Iowa and the author of a painstakingly researched new book about the abortionist, \u003ca href=\"https://www.amazon.com/dp/B072MFMG1D/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">\u003cem>The Audacity of Inez Burns\u003c/em>\u003c/a>. Bloom and I are spending the day together visiting some of the sites associated with Burns’ formidable life. “I’ve been in love with Inez for 20 years,” Bloom tells me as we set out from KQED’s headquarters.\u003c/p>\n\u003cp>Burns (birthname, Inez Ingenthron) was born to a poor German immigrant family in 1886 in San Francisco’s then-grimy South of Market neighborhood. Her father was an alcoholic, and her mother, a taskmaster. “Her mother didn’t believe in education,” Bloom says. “She believed that girls and boys needed to work.”\u003c/p>\n\u003cp>So at 17, with good looks but otherwise no real prospects, Burns landed her first job as a manicurist at the barbershop in San Francisco’s luxurious \u003ca href=\"https://www.sfpalace.com/\" target=\"_blank\" rel=\"noopener\">Palace Hotel\u003c/a>.\u003c/p>\n\u003cp>Bloom and I stop in at what used to be the Palace’s barbershop. Today it’s \u003ca href=\"https://flatiron-wines.com/sf_store/\" target=\"_blank\" rel=\"noopener\">Flatiron Wines\u003c/a>, a high-end liquor store. Over a glass of wine, we chat with manager Beau Rapier.\u003c/p>\n\u003cfigure id=\"attachment_13829077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg\" alt=\"Author Stephen Bloom shares details about Inez Burns' story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel's barbershop used to be. It was where Burns' worked as a manicurist.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares details about Inez Burns’ story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel’s barbershop used to be. It was where Burns’ worked as a manicurist. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the turn of the last century, wealthy men liked getting their nails done by pretty young women. The alabaster-skinned, auburn-haired Inez Burns quickly became popular among the clientele.\u003c/p>\n\u003cp>“She buffed and polished the nails of a lot of important people,” Bloom tells Rapier.\u003c/p>\n\u003cp>One such high-roller was Dr. Eugene West. Bloom says West was three times the young manicurist’s age and a notorious ladies’ man. He was also a notorious abortionist. The two started dating and eventually West taught Burns his trade.\u003c/p>\n\u003cp>“Dr. West realized that Inez had the touch and really was able to perform the abortions as well as Dr. West,” Bloom says. “This is how Inez got her beginning as an abortionist.”\u003c/p>\n\u003cp>“So she learned how to do the abortions from the doctor that she was dating?” says Rapier, incredulous.\u003c/p>\n\u003cfigure id=\"attachment_13829087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829087 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png\" alt=\"Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912.\" width=\"800\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-768x340.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-240x106.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-375x166.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-520x230.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM.png 836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912. \u003ccite>(Photo: Library of Congress, LC-USZ62-137812)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the pre \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe vs. Wade\u003c/a> era, cities like San Francisco were flush with practitioners of varying degrees of skill and legitimacy. They plied their trade under the table while cops and lawmakers took kickbacks and turned a blind eye. It was a dangerous business, leaving many women injured and sometimes dead.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of women showed up in emergency rooms with failed abortions with injuries as a result of very botched abortions by very inept practitioners,” says Carole Joffe, a professor in the department of obstetrics, gynecology and reproductive sciences at the \u003ca href=\"https://obgyn.ucsf.edu/san-francisco-general-hospital/carole-joffe-phd\" target=\"_blank\" rel=\"noopener\">University of California San Francisco\u003c/a> and an expert on reproductive history.\u003c/span>\u003c/p>\n\u003cp>But Burns was meticulous and scrupulously hygienic. Before long, word got around. In 1927, she set up her own clinic in San Francisco’s Lower Haight neighborhood.\u003c/p>\n\u003cp>Bloom and I visit the apartment building that used to house Burns’ clinic. Bloom says Burns had no shortage of customers willing to pay her hundreds of dollars in cash to get them out of trouble. “It wasn’t unusual for Inez to arrive here and find five or six women in a line waiting for her to arrive in the morning,” Bloom says.\u003c/p>\n\u003cp>The building is a little run down, with narrow corridors and few distinguishing features. Bloom says the place looked very different in Burns’s day. “There were Chippendale chairs,” Bloom says. “There were Persian carpets.”\u003c/p>\n\u003cfigure id=\"attachment_13828984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg\" alt='Edmund G. \"Pat\" Brown, 1939' width=\"800\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--768x1385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1020x1839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1180x2127.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--960x1731.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--240x433.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--375x676.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--520x937.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown-.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edmund G. “Pat” Brown, 1939 \u003ccite>(Photo: Courtesy of San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom says Burns was in it for the money and rarely provided discounts. The clinic was one of many properties she owned all over California thanks to the millions she made.\u003c/p>\n\u003cp>That fortune bought her friends in high places including politicians and lawmakers. Her longtime, live-in lover was Joe Burns, a former assemblyman. But she couldn’t buy off ambitious district attorney \u003ca href=\"http://governors.library.ca.gov/32-pbrown.html\" target=\"_blank\" rel=\"noopener\">Edmund G. “Pat” Brown\u003c/a>, father of current California governor Jerry Brown.\u003c/p>\n\u003cp>“I did enforce the law, but I tried to enforce it rather selectively in the sense that I didn’t call the press and say ‘I’m going out on a crusade against whores or against abortionists or against gamblers,'” Brown said in an interview for the \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/yearsofgrowthlaw00browrich.pdf\" target=\"_blank\" rel=\"noopener\">Governmental History Documentation Project\u003c/a>. “I just quietly waited for an incident.”\u003c/p>\n\u003cp>That incident happened in 1945. Brown had attempted a couple of unsuccessful raids on Burns’ clinic that year. She had been tipped off and gotten away. But the third time, an undercover cop posing as a patient exposed Burns and she was arrested.\u003c/p>\n\u003cp>“Police confiscated oxygen tanks, instruments, actual beds,” author Stephen Bloom says. “They were all hauled over to the courthouse and were used as exhibits during the trial.”\u003c/p>\n\u003cfigure id=\"attachment_13829076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg\" alt=\"Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But convicting Burns wasn’t easy. In the first two trials, the jury members couldn’t agree on her culpability. “The grand jury met twice and they found nothing wrong with what she was doing, or at least there wasn’t enough evidence to indict her,” Bloom says.\u003c/p>\n\u003cp>But Brown was persistent in his efforts to make\u003cspan style=\"font-weight: 400\"> an example of Burns in his crusade against vice. “\u003c/span>\u003cspan style=\"font-weight: 400\">I took her out of business, yes,” Brown admitted in \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/warrenfellowconst00earlrich.pdf\" target=\"_blank\" rel=\"noopener\">another\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\"> interview. “\u003c/span>\u003cspan style=\"font-weight: 400\">She was also corrupting the police department. We had substantial evidence that she was paying off about $400 a day to the police.”\u003c/span>\u003c/p>\n\u003cp>Burns’ luck finally ran out on Sep. 26, 1946, when she was convicted for performing illegal abortions. At 61, Burns served the first of her two state sentences. There were federal convictions too, for tax evasion. She was in and out of prison several times in her old age.\u003c/p>\n\u003cp>An appeal went all the way to the Supreme Court. But the justices declined to review the conviction.\u003c/p>\n\u003cp>Bloom says Burns ended up paying the U.S. government $800,000 in back taxes (roughly equivalent to $8 million in today’s money.) Burns was left penniless. She passed away in a nursing home a few miles south of San Francisco in 1976. She was 89.\u003c/p>\n\u003cfigure id=\"attachment_13828980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/INEZ-AT-WEDDING-1976-800x600.jpg\" alt=\"Inez Burns at a family wedding, standing third to left, 1966\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns at a family wedding, standing third to left, 1966\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Brown’s quest against corruption and vice paid off. He was elected California attorney general and then governor, in 1959.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Supreme Court legalized a woman’s right to an abortion in 1973. But Burns wasn’t particularly happy about the way things were heading. “Scores of women will die,” she told a newspaper reporter at the time the Roe vs Wade case was pending at the Supreme Court. “It will be quite a while before physicians who have not been trained for this type of surgery will be able to do it well and safely.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a jewel-box mansion in the heart of San Francisco’s Mission District, artifacts tell a fascinating story involving a secret abortion clinic, hidden cash, police raids, Hollywood starlets, and a highly-publicized trial that went to the Supreme Court.\u003c/p>\n\u003cp>Among the relics is a pair of Victorian-era forceps. The slender metal tool, one of close to 20 medical instruments unearthed at the property years ago by people who used to live there, once belonged to Inez Burns.\u003c/p>\n\u003cfigure id=\"attachment_13829072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg\" alt=\"A collection of medical instruments that once belonged to Inez Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of medical instruments that once belonged to Inez Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the first half of the 20th century, Burns was one of California’s most sought-after abortionists. She is said to have terminated around 50,000 pregnancies in San Francisco during her long career using these tools — at a time when doing so could land you in prison.\u003c/p>\n\u003cp>Jeff and Diane Cerf bought Burns’ former home in 1999. They enjoy showing visitors the instruments, as well as the nooks where the abortionist hid her cash.\u003c/p>\n\u003cp>“There’s a part of the wall where the baseboard opens up,” Jeff Cerf says. “So she had a little hiding spot there. But we haven’t found any money.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The couple knows a little about their home’s most infamous inhabitant: that she threw wild parties and made a vast fortune performing up to twenty abortions a day; that her patients included everyone from housewives to celebrities like Olympic skater and film-star Sonja Henie.\u003c/p>\n\u003cp>But they don’t know Burns like \u003ca href=\"https://en.wikipedia.org/wiki/Stephen_G._Bloom\" target=\"_blank\" rel=\"noopener\">Stephen Bloom\u003c/a> does.\u003c/p>\n\u003cfigure id=\"attachment_13829073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg\" alt=\"Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom is a journalism professor at the University of Iowa and the author of a painstakingly researched new book about the abortionist, \u003ca href=\"https://www.amazon.com/dp/B072MFMG1D/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">\u003cem>The Audacity of Inez Burns\u003c/em>\u003c/a>. Bloom and I are spending the day together visiting some of the sites associated with Burns’ formidable life. “I’ve been in love with Inez for 20 years,” Bloom tells me as we set out from KQED’s headquarters.\u003c/p>\n\u003cp>Burns (birthname, Inez Ingenthron) was born to a poor German immigrant family in 1886 in San Francisco’s then-grimy South of Market neighborhood. Her father was an alcoholic, and her mother, a taskmaster. “Her mother didn’t believe in education,” Bloom says. “She believed that girls and boys needed to work.”\u003c/p>\n\u003cp>So at 17, with good looks but otherwise no real prospects, Burns landed her first job as a manicurist at the barbershop in San Francisco’s luxurious \u003ca href=\"https://www.sfpalace.com/\" target=\"_blank\" rel=\"noopener\">Palace Hotel\u003c/a>.\u003c/p>\n\u003cp>Bloom and I stop in at what used to be the Palace’s barbershop. Today it’s \u003ca href=\"https://flatiron-wines.com/sf_store/\" target=\"_blank\" rel=\"noopener\">Flatiron Wines\u003c/a>, a high-end liquor store. Over a glass of wine, we chat with manager Beau Rapier.\u003c/p>\n\u003cfigure id=\"attachment_13829077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg\" alt=\"Author Stephen Bloom shares details about Inez Burns' story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel's barbershop used to be. It was where Burns' worked as a manicurist.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares details about Inez Burns’ story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel’s barbershop used to be. It was where Burns’ worked as a manicurist. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the turn of the last century, wealthy men liked getting their nails done by pretty young women. The alabaster-skinned, auburn-haired Inez Burns quickly became popular among the clientele.\u003c/p>\n\u003cp>“She buffed and polished the nails of a lot of important people,” Bloom tells Rapier.\u003c/p>\n\u003cp>One such high-roller was Dr. Eugene West. Bloom says West was three times the young manicurist’s age and a notorious ladies’ man. He was also a notorious abortionist. The two started dating and eventually West taught Burns his trade.\u003c/p>\n\u003cp>“Dr. West realized that Inez had the touch and really was able to perform the abortions as well as Dr. West,” Bloom says. “This is how Inez got her beginning as an abortionist.”\u003c/p>\n\u003cp>“So she learned how to do the abortions from the doctor that she was dating?” says Rapier, incredulous.\u003c/p>\n\u003cfigure id=\"attachment_13829087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829087 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png\" alt=\"Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912.\" width=\"800\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-768x340.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-240x106.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-375x166.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-520x230.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM.png 836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912. \u003ccite>(Photo: Library of Congress, LC-USZ62-137812)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the pre \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe vs. Wade\u003c/a> era, cities like San Francisco were flush with practitioners of varying degrees of skill and legitimacy. They plied their trade under the table while cops and lawmakers took kickbacks and turned a blind eye. It was a dangerous business, leaving many women injured and sometimes dead.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of women showed up in emergency rooms with failed abortions with injuries as a result of very botched abortions by very inept practitioners,” says Carole Joffe, a professor in the department of obstetrics, gynecology and reproductive sciences at the \u003ca href=\"https://obgyn.ucsf.edu/san-francisco-general-hospital/carole-joffe-phd\" target=\"_blank\" rel=\"noopener\">University of California San Francisco\u003c/a> and an expert on reproductive history.\u003c/span>\u003c/p>\n\u003cp>But Burns was meticulous and scrupulously hygienic. Before long, word got around. In 1927, she set up her own clinic in San Francisco’s Lower Haight neighborhood.\u003c/p>\n\u003cp>Bloom and I visit the apartment building that used to house Burns’ clinic. Bloom says Burns had no shortage of customers willing to pay her hundreds of dollars in cash to get them out of trouble. “It wasn’t unusual for Inez to arrive here and find five or six women in a line waiting for her to arrive in the morning,” Bloom says.\u003c/p>\n\u003cp>The building is a little run down, with narrow corridors and few distinguishing features. Bloom says the place looked very different in Burns’s day. “There were Chippendale chairs,” Bloom says. “There were Persian carpets.”\u003c/p>\n\u003cfigure id=\"attachment_13828984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg\" alt='Edmund G. \"Pat\" Brown, 1939' width=\"800\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--768x1385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1020x1839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1180x2127.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--960x1731.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--240x433.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--375x676.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--520x937.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown-.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edmund G. “Pat” Brown, 1939 \u003ccite>(Photo: Courtesy of San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom says Burns was in it for the money and rarely provided discounts. The clinic was one of many properties she owned all over California thanks to the millions she made.\u003c/p>\n\u003cp>That fortune bought her friends in high places including politicians and lawmakers. Her longtime, live-in lover was Joe Burns, a former assemblyman. But she couldn’t buy off ambitious district attorney \u003ca href=\"http://governors.library.ca.gov/32-pbrown.html\" target=\"_blank\" rel=\"noopener\">Edmund G. “Pat” Brown\u003c/a>, father of current California governor Jerry Brown.\u003c/p>\n\u003cp>“I did enforce the law, but I tried to enforce it rather selectively in the sense that I didn’t call the press and say ‘I’m going out on a crusade against whores or against abortionists or against gamblers,'” Brown said in an interview for the \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/yearsofgrowthlaw00browrich.pdf\" target=\"_blank\" rel=\"noopener\">Governmental History Documentation Project\u003c/a>. “I just quietly waited for an incident.”\u003c/p>\n\u003cp>That incident happened in 1945. Brown had attempted a couple of unsuccessful raids on Burns’ clinic that year. She had been tipped off and gotten away. But the third time, an undercover cop posing as a patient exposed Burns and she was arrested.\u003c/p>\n\u003cp>“Police confiscated oxygen tanks, instruments, actual beds,” author Stephen Bloom says. “They were all hauled over to the courthouse and were used as exhibits during the trial.”\u003c/p>\n\u003cfigure id=\"attachment_13829076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg\" alt=\"Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But convicting Burns wasn’t easy. In the first two trials, the jury members couldn’t agree on her culpability. “The grand jury met twice and they found nothing wrong with what she was doing, or at least there wasn’t enough evidence to indict her,” Bloom says.\u003c/p>\n\u003cp>But Brown was persistent in his efforts to make\u003cspan style=\"font-weight: 400\"> an example of Burns in his crusade against vice. “\u003c/span>\u003cspan style=\"font-weight: 400\">I took her out of business, yes,” Brown admitted in \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/warrenfellowconst00earlrich.pdf\" target=\"_blank\" rel=\"noopener\">another\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\"> interview. “\u003c/span>\u003cspan style=\"font-weight: 400\">She was also corrupting the police department. We had substantial evidence that she was paying off about $400 a day to the police.”\u003c/span>\u003c/p>\n\u003cp>Burns’ luck finally ran out on Sep. 26, 1946, when she was convicted for performing illegal abortions. At 61, Burns served the first of her two state sentences. There were federal convictions too, for tax evasion. She was in and out of prison several times in her old age.\u003c/p>\n\u003cp>An appeal went all the way to the Supreme Court. But the justices declined to review the conviction.\u003c/p>\n\u003cp>Bloom says Burns ended up paying the U.S. government $800,000 in back taxes (roughly equivalent to $8 million in today’s money.) Burns was left penniless. She passed away in a nursing home a few miles south of San Francisco in 1976. She was 89.\u003c/p>\n\u003cfigure id=\"attachment_13828980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/INEZ-AT-WEDDING-1976-800x600.jpg\" alt=\"Inez Burns at a family wedding, standing third to left, 1966\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns at a family wedding, standing third to left, 1966\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Brown’s quest against corruption and vice paid off. He was elected California attorney general and then governor, in 1959.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Supreme Court legalized a woman’s right to an abortion in 1973. But Burns wasn’t particularly happy about the way things were heading. “Scores of women will die,” she told a newspaper reporter at the time the Roe vs Wade case was pending at the Supreme Court. “It will be quite a while before physicians who have not been trained for this type of surgery will be able to do it well and safely.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jez Burrows's Poetic Short Fiction Remixes the Dictionary",
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"content": "\u003cp>Jorge Luis Borges once demeaned the dictionary, writing, “It is often forgotten that [dictionaries] are artificial repositories, put together well after the languages they define. The roots of language are irrational and of a magical nature.”\u003c/p>\n\u003cp>I don’t disagree with Borges — I love dictionaries precisely for the reasons he outlines. One can crack one open and, at the sight of the neat classification of meanings, imagine and nearly hallucinate the scent of formaldehyde no doubt involved in the dissection of keeping a living thing splayed out, labeled, and explained away.\u003c/p>\n\u003cfigure id=\"attachment_13828749\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0.jpg\" alt=\"\" width=\"1460\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-520x347.jpg 520w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Daniel Agee.\u003c/figcaption>\u003c/figure>\n\u003cp>Jez Burrows, a British designer, illustrator, and writer living in San Francisco, opened a dictionary in 2015 and looked up the word “study.” The Oxford English Dictionary, defines it as “a state of contemplation or musing; a state of mental abstraction; a reverie.” But it wasn’t the definition that caught his eye, rather it was the example sentence:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>“He perched on the edge of his seat, a \u003cspan style=\"text-decoration: underline\">study\u003c/span> in confusion and misery.”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>To Burrows, the sentence, with its unexpected drama, glowed with “the incongruity of a neon sign in a renaissance painting.” He was taken by this solitary man adrift in the dictionary and perhaps not wanting to leave him to his own devices, kept him company by adjoining him to another example sentence:\u003c/p>\n\u003cblockquote>\u003cp>He perched on the edge of the bed, a \u003cspan style=\"text-decoration: underline\">study\u003c/span> in confusion and misery, a \u003cspan style=\"text-decoration: underline\">study\u003c/span> of a man devoured by his own mediocrity.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13828751 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DictionaryStories-160x253.jpg\" alt=\"\" width=\"160\" height=\"253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-800x1267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-768x1216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-1020x1616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-960x1521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-375x594.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-520x824.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories.jpg 1060w\" sizes=\"(max-width: 160px) 100vw, 160px\">Dictionary Stories\u003c/em> by Jez Burrows is an exercise in creative limitation. Composed of example sentences from twelve different dictionaries, this story collection is a chaotically engaging work. The stories in this collection boast quite a range — from enthralling to entertaining, mildly titillating to moving, philosophical to chuckle-worthy. The writing is of course, and quite literally, exemplary. But the art of this book is in Burrow’s enjoyable, incongruous collage that sums up to a meaningful whole. Here is one story “Madame Eva,” under the section \u003cem>Prophecy\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“You’ll never \u003cspan style=\"text-decoration: underline\">amount\u003c/span> to anything.” Her voice was flat and \u003cspan style=\"text-decoration: underline\">emotionless\u003c/span>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>They sat looking at each other \u003cspan style=\"text-decoration: underline\">without\u003c/span> speaking. He \u003cspan style=\"text-decoration: underline\">slap\u003c/span>ped down a fiver. She considered him coolly \u003cspan style=\"text-decoration: underline\">for\u003c/span> a moment. \u003cspan style=\"text-decoration: underline\">Madame\u003c/span> Eva bent once more over the crystal ball. Her eyes \u003cspan style=\"text-decoration: underline\">dilated\u003c/span> in the dark. She sat back and \u003cspan style=\"text-decoration: underline\">exhaled\u003c/span> deeply.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“You’ll \u003cspan style=\"text-decoration: underline\">get\u003c/span> used to it.”\u003c/p>\u003c/blockquote>\n\u003cp>I swooned for most of the short passages, appreciating how Burrows’ sense of collage often found depth in this specific length. Dictionaries, in their mastery of catalog, are well suited for making lists, and Burrows’ lists were majestic. In “Sample Problems: Intermediate Mathematics for Poets” Burrows writes:\u003c/p>\n\u003cblockquote>\u003cp>What is the \u003cspan style=\"text-decoration: underline\">volume\u003c/span> of a cube with sides 3 centimeters long, \u003cspan style=\"text-decoration: underline\">one\u003c/span>\u003cem> afternoon in late October, as the sunset \u003cspan style=\"text-decoration: underline\">tinges\u003c/span> the lake with pink?\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>With this collection, I was inundated with the desire to lay the book down and think a while. Indeed, \u003cem>Dictionary Stories\u003c/em> is made to be read slowly and intermittently. It is one of those books to be kept bedside and opened to a page at random to read one story before going to sleep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, I was glad to have kept reading at length, for I was awash again with this captivating mathematical problem:\u003c/p>\n\u003cblockquote>\u003cp>At a \u003cspan style=\"text-decoration: underline\">latitude\u003c/span> of 51\u003cb>°\u003c/b> north and a longitude of 2\u003cb>° \u003c/b>west, Mary \u003cspan style=\"text-decoration: underline\">laid\u003c/span> a clean square of white toweling carefully on the grass. She was \u003cspan style=\"text-decoration: underline\">like\u003c/span> a child. Care\u003cspan style=\"text-decoration: underline\">ful\u003c/span>. Thought\u003cspan style=\"text-decoration: underline\">ful\u003c/span>. Beauti\u003cspan style=\"text-decoration: underline\">ful\u003c/span>. Find the cube \u003cspan style=\"text-decoration: underline\">root\u003c/span> of the result.\u003c/p>\u003c/blockquote>\n\u003cp>While collage of first person narration proved to be a challenging task for Burrows — some read like poorly-glued sentences — my favorite one happens to be in first person, under \u003cem>Hallucination\u003c/em>.\u003c/p>\n\u003cblockquote>\u003cp>We were \u003cspan style=\"text-decoration: underline\">face to face\u003c/span> with death during the avalanche. The storm moved in \u003cspan style=\"text-decoration: underline\">fast and furious\u003c/span>, the lights \u003cspan style=\"text-decoration: underline\">flickered\u003c/span>, and suddenly it was dark. The snow was so heavy, we feared the roof would \u003cspan style=\"text-decoration: underline\">fall in\u003c/span>. Now we’ve been snowed in for a week, and everyone has \u003cspan style=\"text-decoration: underline\">cabin fever [\u003c/span>…]\u003c/p>\n\u003cp>I thought I saw my father, but I must have been \u003cspan style=\"text-decoration: underline\">seeing things\u003c/span>; he died twenty years ago. He was playing \u003cspan style=\"text-decoration: underline\">chess\u003c/span> with his uncle. He was dressed in \u003cspan style=\"text-decoration: underline\">white\u003c/span> from head to toe. When he saw me, he \u003cspan style=\"text-decoration: underline\">smiled\u003c/span>. I asked him \u003cspan style=\"text-decoration: underline\">when\u003c/span> he was coming back, I asked him but he didn’t \u003cspan style=\"text-decoration: underline\">answer\u003c/span>. He just dropped two sugar \u003cspan style=\"text-decoration: underline\">cubes\u003c/span> into his coffee, and blew on his hands to \u003cspan style=\"text-decoration: underline\">warm\u003c/span> them up.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Dictionary Stories\u003c/em> is a moving work. If you need me, I might be found playing in a corner with my dictionary.\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>Jez Burrows \u003ca href=\"http://www.booksmith.com/event/booksmith-jez-burrows-dictionary-stories\">celebrates\u003c/a> the release of Dictionary Stories Tuesday, April 10 at 7:30 p.m. at the Booksmith (1644 Haight St) in San Francisco. \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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"title": "Jez Burrows's Poetic Short Fiction Remixes the Dictionary | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jorge Luis Borges once demeaned the dictionary, writing, “It is often forgotten that [dictionaries] are artificial repositories, put together well after the languages they define. The roots of language are irrational and of a magical nature.”\u003c/p>\n\u003cp>I don’t disagree with Borges — I love dictionaries precisely for the reasons he outlines. One can crack one open and, at the sight of the neat classification of meanings, imagine and nearly hallucinate the scent of formaldehyde no doubt involved in the dissection of keeping a living thing splayed out, labeled, and explained away.\u003c/p>\n\u003cfigure id=\"attachment_13828749\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0.jpg\" alt=\"\" width=\"1460\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jez-0-1460-0-0-520x347.jpg 520w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Daniel Agee.\u003c/figcaption>\u003c/figure>\n\u003cp>Jez Burrows, a British designer, illustrator, and writer living in San Francisco, opened a dictionary in 2015 and looked up the word “study.” The Oxford English Dictionary, defines it as “a state of contemplation or musing; a state of mental abstraction; a reverie.” But it wasn’t the definition that caught his eye, rather it was the example sentence:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>“He perched on the edge of his seat, a \u003cspan style=\"text-decoration: underline\">study\u003c/span> in confusion and misery.”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>To Burrows, the sentence, with its unexpected drama, glowed with “the incongruity of a neon sign in a renaissance painting.” He was taken by this solitary man adrift in the dictionary and perhaps not wanting to leave him to his own devices, kept him company by adjoining him to another example sentence:\u003c/p>\n\u003cblockquote>\u003cp>He perched on the edge of the bed, a \u003cspan style=\"text-decoration: underline\">study\u003c/span> in confusion and misery, a \u003cspan style=\"text-decoration: underline\">study\u003c/span> of a man devoured by his own mediocrity.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13828751 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DictionaryStories-160x253.jpg\" alt=\"\" width=\"160\" height=\"253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-800x1267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-768x1216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-1020x1616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-960x1521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-240x380.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-375x594.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories-520x824.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DictionaryStories.jpg 1060w\" sizes=\"(max-width: 160px) 100vw, 160px\">Dictionary Stories\u003c/em> by Jez Burrows is an exercise in creative limitation. Composed of example sentences from twelve different dictionaries, this story collection is a chaotically engaging work. The stories in this collection boast quite a range — from enthralling to entertaining, mildly titillating to moving, philosophical to chuckle-worthy. The writing is of course, and quite literally, exemplary. But the art of this book is in Burrow’s enjoyable, incongruous collage that sums up to a meaningful whole. Here is one story “Madame Eva,” under the section \u003cem>Prophecy\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“You’ll never \u003cspan style=\"text-decoration: underline\">amount\u003c/span> to anything.” Her voice was flat and \u003cspan style=\"text-decoration: underline\">emotionless\u003c/span>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>They sat looking at each other \u003cspan style=\"text-decoration: underline\">without\u003c/span> speaking. He \u003cspan style=\"text-decoration: underline\">slap\u003c/span>ped down a fiver. She considered him coolly \u003cspan style=\"text-decoration: underline\">for\u003c/span> a moment. \u003cspan style=\"text-decoration: underline\">Madame\u003c/span> Eva bent once more over the crystal ball. Her eyes \u003cspan style=\"text-decoration: underline\">dilated\u003c/span> in the dark. She sat back and \u003cspan style=\"text-decoration: underline\">exhaled\u003c/span> deeply.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“You’ll \u003cspan style=\"text-decoration: underline\">get\u003c/span> used to it.”\u003c/p>\u003c/blockquote>\n\u003cp>I swooned for most of the short passages, appreciating how Burrows’ sense of collage often found depth in this specific length. Dictionaries, in their mastery of catalog, are well suited for making lists, and Burrows’ lists were majestic. In “Sample Problems: Intermediate Mathematics for Poets” Burrows writes:\u003c/p>\n\u003cblockquote>\u003cp>What is the \u003cspan style=\"text-decoration: underline\">volume\u003c/span> of a cube with sides 3 centimeters long, \u003cspan style=\"text-decoration: underline\">one\u003c/span>\u003cem> afternoon in late October, as the sunset \u003cspan style=\"text-decoration: underline\">tinges\u003c/span> the lake with pink?\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>With this collection, I was inundated with the desire to lay the book down and think a while. Indeed, \u003cem>Dictionary Stories\u003c/em> is made to be read slowly and intermittently. It is one of those books to be kept bedside and opened to a page at random to read one story before going to sleep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, I was glad to have kept reading at length, for I was awash again with this captivating mathematical problem:\u003c/p>\n\u003cblockquote>\u003cp>At a \u003cspan style=\"text-decoration: underline\">latitude\u003c/span> of 51\u003cb>°\u003c/b> north and a longitude of 2\u003cb>° \u003c/b>west, Mary \u003cspan style=\"text-decoration: underline\">laid\u003c/span> a clean square of white toweling carefully on the grass. She was \u003cspan style=\"text-decoration: underline\">like\u003c/span> a child. Care\u003cspan style=\"text-decoration: underline\">ful\u003c/span>. Thought\u003cspan style=\"text-decoration: underline\">ful\u003c/span>. Beauti\u003cspan style=\"text-decoration: underline\">ful\u003c/span>. Find the cube \u003cspan style=\"text-decoration: underline\">root\u003c/span> of the result.\u003c/p>\u003c/blockquote>\n\u003cp>While collage of first person narration proved to be a challenging task for Burrows — some read like poorly-glued sentences — my favorite one happens to be in first person, under \u003cem>Hallucination\u003c/em>.\u003c/p>\n\u003cblockquote>\u003cp>We were \u003cspan style=\"text-decoration: underline\">face to face\u003c/span> with death during the avalanche. The storm moved in \u003cspan style=\"text-decoration: underline\">fast and furious\u003c/span>, the lights \u003cspan style=\"text-decoration: underline\">flickered\u003c/span>, and suddenly it was dark. The snow was so heavy, we feared the roof would \u003cspan style=\"text-decoration: underline\">fall in\u003c/span>. Now we’ve been snowed in for a week, and everyone has \u003cspan style=\"text-decoration: underline\">cabin fever [\u003c/span>…]\u003c/p>\n\u003cp>I thought I saw my father, but I must have been \u003cspan style=\"text-decoration: underline\">seeing things\u003c/span>; he died twenty years ago. He was playing \u003cspan style=\"text-decoration: underline\">chess\u003c/span> with his uncle. He was dressed in \u003cspan style=\"text-decoration: underline\">white\u003c/span> from head to toe. When he saw me, he \u003cspan style=\"text-decoration: underline\">smiled\u003c/span>. I asked him \u003cspan style=\"text-decoration: underline\">when\u003c/span> he was coming back, I asked him but he didn’t \u003cspan style=\"text-decoration: underline\">answer\u003c/span>. He just dropped two sugar \u003cspan style=\"text-decoration: underline\">cubes\u003c/span> into his coffee, and blew on his hands to \u003cspan style=\"text-decoration: underline\">warm\u003c/span> them up.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Dictionary Stories\u003c/em> is a moving work. If you need me, I might be found playing in a corner with my dictionary.\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>Jez Burrows \u003ca href=\"http://www.booksmith.com/event/booksmith-jez-burrows-dictionary-stories\">celebrates\u003c/a> the release of Dictionary Stories Tuesday, April 10 at 7:30 p.m. at the Booksmith (1644 Haight St) in San Francisco. \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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"content": "\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Gay Teen Romance, Sealed With A Peck: 'Love, Simon'",
"headTitle": "A Gay Teen Romance, Sealed With A Peck: ‘Love, Simon’ | KQED",
"content": "\u003cp>“I’m just like you,” says gay 17-year-old Simon Spier (straight 22-year-old Nick Robinson), by way of introduction. We assume, at first, that he’s just getting his Ferris Bueller on and introducing himself to the audience, but it turns out he’s instead replying, via pseudonymous e-mail account, to an anonymous blog post written by one of his schoolmates. A correspondence ensues between their respective, most secret selves, as both Simon and the young man he calls “Blue” are still in the closet. Their sweet, sincere e-mail exchange, full of nervous confessions, mutual support and music playlists, makes up the epistolary backbone of \u003cem>Love, Simon\u003c/em>, a mainstream gay high-school romance that’s causing some people — both within and without the 20th Century Fox PR department — to call it “groundbreaking.”\u003c/p>\n\u003cp>https://youtu.be/E0cbWdlQg_8\u003c/p>\n\u003cp>It \u003cem>is \u003c/em>that, in a way, so long as we’re careful to get specific about just which patch of cinematic ground is truly getting excavated, here. Certainly, high-school romances have been piling up for decades now. In recent years, we’ve amassed a much smaller but not inconsiderate amount of gay high-school movies, from the broad (1999’s \u003cem>But I’m A Cheerleader\u003c/em>), to the raunchy (2006’s \u003cem>Another Gay Movie\u003c/em>), to those that plant their feet in just-be-true-to-yourself uplift (2006’s \u003cem>The Curiosity of Chance\u003c/em>; this year’s \u003cem>Freak Show\u003c/em>).\u003c/p>\n\u003cp>It’s also worth noting that there have been more than a few swoony gay high-school romances — though admittedly these tend to get imported from places like Great Britain (1996’s \u003cem>Beautiful Thing\u003c/em>) and Brazil (2016’s \u003cem>The Way He Looks\u003c/em>).\u003c/p>\n\u003cp>If \u003cem>Love, Simon\u003c/em> is a mainstream gay high-school romance (and it is) then clearly the word that’s doing the \u003cem>real \u003c/em>groundbreaking work — the one that’s truly operating the jackhammer — isn’t \u003cem>romance\u003c/em>, or \u003cem>high-school\u003c/em>, or even \u003cem>gay\u003c/em>; it’s \u003cem>mainstream\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those previous films focusing on the romantic/sexual travails and triumphs of queer kids were scrappy independent/international productions, and whatever public reception they got was fueled by film festival buzz, a handful of reviews and word of mouth. \u003cem>Love, Simon\u003c/em> is a major studio release, backed by the full might and majesty of 20th Century Fox’s marketing and promotional departments. It has been ruthlessly engineered, its every rough edge rock-tumbled to a polished, smooth perfection, so as to better sail over the nation’s art-houses and land squarely in the American multiplex.\u003c/p>\n\u003cp>Teams of professionals have ergonomically designed it for mass consumption. Everything about it is charming and palatable, cute and inoffensive. It is a gay coming-out story set squarely in a world of upscale suburban homes, where parents who buy their kids Subarus — complete with the giant hood-ribbon you only see in car commercials — can be counted upon to be tearfully understanding, when the time comes. It’s a world where bullying happens, when it happens, in a strangely feckless manner that gets swiftly and permanently dealt with by concerned, acutely observant teachers.\u003c/p>\n\u003cp>In other words, it’s pure fantasy.\u003c/p>\n\u003cp>In \u003cem>other \u003c/em>other words, it’s a mainstream high-school romance, just exactly like the scores of mainstream high-school romances that have come before.\u003c/p>\n\u003cp>Consider: In \u003cem>Love, Simon\u003c/em>, our hero and his friends mouth dialogue that vacillates between \u003cem>Buffy\u003c/em>-clever and Disney Channel-twee. [Check!] A blackmail scheme drives the plot [Check!], forcing Simon to ally himself with a character we’re meant to find both repellent and endearing (which: yep to the former, nope to the latter). [Check!] There is a my-parents-are-away house party. [Check!] Over the course of the film, love triangles and least one love rhombus bloom [Check! Check!], none of which seem particularly convincing. [Check!] The climactic kiss is neither sensual nor erotic — it’s a peck, a place-holder, just another rom-com box to be dutifully [Check!]ed.\u003c/p>\n\u003cp>And yet.\u003c/p>\n\u003cp>If that’s the task the film sets for itself, why begrudge its efficiency at achieving it? Yes, \u003cem>Love, Simon \u003c/em>does everything it can do to parboil the flavor, color, consistency and fabulousness out of its queer romance, until all that’s left is the familiar beige, featureless pap of overcooked heterosexual teen rom-coms. But that’s … kind of the point. Why shouldn’t queer kids get the chance to see generic, mass-produced versions of themselves onscreen, overcoming minor obstacles on their path to True Love(tm)?\u003c/p>\n\u003cp>They absolutely should, and with \u003cem>Love, Simon\u003c/em> (and the films that will certainly follow it) they will.\u003c/p>\n\u003cp>But while they’re watching it, they — and the friends and family members they bring along with them — will get to see something else. Something about which the film, gratifyingly, is much more specific, and thoughtful and acutely detailed. Because while the romance elements of \u003cem>Love, Simon\u003c/em> will earn it headlines and, perhaps more importantly, butts-in-seats, it’s the film’s quieter, deeper coming-out storyline that forms its true emotional center.\u003c/p>\n\u003cp>It’s here where the unquestioned privilege of the film’s main character becomes a feature, not a bug. He doesn’t remain in the closet out of fear of being rejected by family and friends, or because it would place him at physical, social or financial risk. No, he resists confessing his sexuality because to do so would mean his perfect suburban life would change. That’s a small, smart, sharply observed detail. Screenwriters Elizabeth Berger and Isaac Aptaker (and Becky Albertalli, who wrote the 2015 YA novel on which the film is based) have clearly done their homework; they know that the closet is not just a lonely and secretive place, but in cases like Simon’s, it’s a toxically selfish one too.\u003c/p>\n\u003cp>When he \u003cem>does \u003c/em>decide to crack the closet door, those scenes play out with an unforced immediacy and realness; the vaguely diffident quality Robinson brings to Simon charges those looooong silences, enriches them. Anyone who’s been on either side of that particular conversation will likely find themselves involuntarily holding their breath.\u003c/p>\n\u003cp>\u003cem>Love, Simon \u003c/em>can do some good in the world, and it likely will — but perhaps not the precise kind of good it thinks it will. The audience at my pre-release screening dependably oohed and aahed as the film churned through its various romantic feints and reveals. But the moment that a character finally spoke the words “I’m gay,” they did more than murmur.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>They cheered.\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=A+Gay+Teen+Romance%2C+Sealed+With+A+Peck%3A+%27Love%2C+Simon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m just like you,” says gay 17-year-old Simon Spier (straight 22-year-old Nick Robinson), by way of introduction. We assume, at first, that he’s just getting his Ferris Bueller on and introducing himself to the audience, but it turns out he’s instead replying, via pseudonymous e-mail account, to an anonymous blog post written by one of his schoolmates. A correspondence ensues between their respective, most secret selves, as both Simon and the young man he calls “Blue” are still in the closet. Their sweet, sincere e-mail exchange, full of nervous confessions, mutual support and music playlists, makes up the epistolary backbone of \u003cem>Love, Simon\u003c/em>, a mainstream gay high-school romance that’s causing some people — both within and without the 20th Century Fox PR department — to call it “groundbreaking.”\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/E0cbWdlQg_8'\n title='//www.youtube.com/embed/E0cbWdlQg_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It \u003cem>is \u003c/em>that, in a way, so long as we’re careful to get specific about just which patch of cinematic ground is truly getting excavated, here. Certainly, high-school romances have been piling up for decades now. In recent years, we’ve amassed a much smaller but not inconsiderate amount of gay high-school movies, from the broad (1999’s \u003cem>But I’m A Cheerleader\u003c/em>), to the raunchy (2006’s \u003cem>Another Gay Movie\u003c/em>), to those that plant their feet in just-be-true-to-yourself uplift (2006’s \u003cem>The Curiosity of Chance\u003c/em>; this year’s \u003cem>Freak Show\u003c/em>).\u003c/p>\n\u003cp>It’s also worth noting that there have been more than a few swoony gay high-school romances — though admittedly these tend to get imported from places like Great Britain (1996’s \u003cem>Beautiful Thing\u003c/em>) and Brazil (2016’s \u003cem>The Way He Looks\u003c/em>).\u003c/p>\n\u003cp>If \u003cem>Love, Simon\u003c/em> is a mainstream gay high-school romance (and it is) then clearly the word that’s doing the \u003cem>real \u003c/em>groundbreaking work — the one that’s truly operating the jackhammer — isn’t \u003cem>romance\u003c/em>, or \u003cem>high-school\u003c/em>, or even \u003cem>gay\u003c/em>; it’s \u003cem>mainstream\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those previous films focusing on the romantic/sexual travails and triumphs of queer kids were scrappy independent/international productions, and whatever public reception they got was fueled by film festival buzz, a handful of reviews and word of mouth. \u003cem>Love, Simon\u003c/em> is a major studio release, backed by the full might and majesty of 20th Century Fox’s marketing and promotional departments. It has been ruthlessly engineered, its every rough edge rock-tumbled to a polished, smooth perfection, so as to better sail over the nation’s art-houses and land squarely in the American multiplex.\u003c/p>\n\u003cp>Teams of professionals have ergonomically designed it for mass consumption. Everything about it is charming and palatable, cute and inoffensive. It is a gay coming-out story set squarely in a world of upscale suburban homes, where parents who buy their kids Subarus — complete with the giant hood-ribbon you only see in car commercials — can be counted upon to be tearfully understanding, when the time comes. It’s a world where bullying happens, when it happens, in a strangely feckless manner that gets swiftly and permanently dealt with by concerned, acutely observant teachers.\u003c/p>\n\u003cp>In other words, it’s pure fantasy.\u003c/p>\n\u003cp>In \u003cem>other \u003c/em>other words, it’s a mainstream high-school romance, just exactly like the scores of mainstream high-school romances that have come before.\u003c/p>\n\u003cp>Consider: In \u003cem>Love, Simon\u003c/em>, our hero and his friends mouth dialogue that vacillates between \u003cem>Buffy\u003c/em>-clever and Disney Channel-twee. [Check!] A blackmail scheme drives the plot [Check!], forcing Simon to ally himself with a character we’re meant to find both repellent and endearing (which: yep to the former, nope to the latter). [Check!] There is a my-parents-are-away house party. [Check!] Over the course of the film, love triangles and least one love rhombus bloom [Check! Check!], none of which seem particularly convincing. [Check!] The climactic kiss is neither sensual nor erotic — it’s a peck, a place-holder, just another rom-com box to be dutifully [Check!]ed.\u003c/p>\n\u003cp>And yet.\u003c/p>\n\u003cp>If that’s the task the film sets for itself, why begrudge its efficiency at achieving it? Yes, \u003cem>Love, Simon \u003c/em>does everything it can do to parboil the flavor, color, consistency and fabulousness out of its queer romance, until all that’s left is the familiar beige, featureless pap of overcooked heterosexual teen rom-coms. But that’s … kind of the point. Why shouldn’t queer kids get the chance to see generic, mass-produced versions of themselves onscreen, overcoming minor obstacles on their path to True Love(tm)?\u003c/p>\n\u003cp>They absolutely should, and with \u003cem>Love, Simon\u003c/em> (and the films that will certainly follow it) they will.\u003c/p>\n\u003cp>But while they’re watching it, they — and the friends and family members they bring along with them — will get to see something else. Something about which the film, gratifyingly, is much more specific, and thoughtful and acutely detailed. Because while the romance elements of \u003cem>Love, Simon\u003c/em> will earn it headlines and, perhaps more importantly, butts-in-seats, it’s the film’s quieter, deeper coming-out storyline that forms its true emotional center.\u003c/p>\n\u003cp>It’s here where the unquestioned privilege of the film’s main character becomes a feature, not a bug. He doesn’t remain in the closet out of fear of being rejected by family and friends, or because it would place him at physical, social or financial risk. No, he resists confessing his sexuality because to do so would mean his perfect suburban life would change. That’s a small, smart, sharply observed detail. Screenwriters Elizabeth Berger and Isaac Aptaker (and Becky Albertalli, who wrote the 2015 YA novel on which the film is based) have clearly done their homework; they know that the closet is not just a lonely and secretive place, but in cases like Simon’s, it’s a toxically selfish one too.\u003c/p>\n\u003cp>When he \u003cem>does \u003c/em>decide to crack the closet door, those scenes play out with an unforced immediacy and realness; the vaguely diffident quality Robinson brings to Simon charges those looooong silences, enriches them. Anyone who’s been on either side of that particular conversation will likely find themselves involuntarily holding their breath.\u003c/p>\n\u003cp>\u003cem>Love, Simon \u003c/em>can do some good in the world, and it likely will — but perhaps not the precise kind of good it thinks it will. The audience at my pre-release screening dependably oohed and aahed as the film churned through its various romantic feints and reveals. But the moment that a character finally spoke the words “I’m gay,” they did more than murmur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They cheered.\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=A+Gay+Teen+Romance%2C+Sealed+With+A+Peck%3A+%27Love%2C+Simon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area writers Brontez Purnell and Esmé Weijun Wang both won the prestigious Whiting Award for Emerging Authors Wednesday.\u003c/p>\n\u003cp>This year’s 10 recipients learned they won at a ceremony in Manhattan Wednesday night. Each winner receives $50,000 from the \u003ca href=\"https://www.whiting.org/\" rel=\"noopener\" target=\"_blank\">Whiting Foundation\u003c/a>, a New York-based nonprofit that supports the arts.\u003c/p>\n\u003cp>[contextly_sidebar id=”OFBRtuwX8jbV5PVaXUtt16g9ngPSxQo2″]\u003c/p>\n\u003cp>Nobel laureate Toni Morrison was scheduled to speak at the ceremony but a snowstorm kept her from attending. Poet Elizabeth Alexander read Morrison’s prepared remarks, in which the 87-year-old author of books like \u003ci>Beloved\u003c/i> noted that as a descendant of slaves, she knew well “the struggle to be allowed to learn to read.” She also included a line from her novel \u003ci>The Bluest Eye,\u003c/i> which Morrison said she used to “attract or repulse or simply shock the reader — anything to get her or his attention.”\u003c/p>\n\u003cp>“My sincere congratulations to the winners of the 2018 Whiting Award come from an intimate knowledge of the power and difficulty of the task,” Morrison noted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Established in 1985 by Whiting Foundation, the $50,000 prize is awarded to writers to help “fulfill the promise of superior literary work.” Previous winners include Michael Cunningham, Jonathan Franzen and Jorie Graham.\u003c/p>\n\u003cp>Purnell, who won the Whiting Award for his 2017 novel \u003ci>Since I Laid My Burden Down\u003c/i>, lives in Oakland, where he is a fixture in the local queer-punk-art scene. Other books of his include \u003ca href=\"https://www.kqed.org/arts/10139643/gimme-action-bay-area-comic-artist-janelle-hessig-publishes-first-book\" rel=\"noopener\" target=\"_blank\">\u003ci>The Cruising Diaries\u003c/i>\u003c/a> and \u003ci>Johnny Would You Love Me If My Dick Were Bigger.\u003c/i> He’s also the singer of the band Younger Lovers and is the founder of the Brontez Purnell Dance Company.\u003c/p>\n\u003cp>\u003ci>Since I Laid My Burden Down\u003c/i> follows DeShawn, a queer black punk in Oakland who goes home to Alabama for a funeral. A transplant from Alabama himself, Purnell has said the book is not real, but that his life and DeShawn’s intersect. (Read an excerpt from the book at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“It zigs and zags so much that I actually could not give you a percentage,” Purnell told the \u003ca href=\"https://www.sfchronicle.com/books/article/Brontez-Purnell-s-novel-overlaps-his-queer-12230029.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle last year\u003c/a>. “There’s no way to quantify it because it’s really hard, and I don’t think it would help you understand any more.”\u003c/p>\n\u003cp>Wang, who won the Whiting Award for her nonfiction work, is the author of \u003cem>The Border of Paradise,\u003c/em> one of NPR’s \u003ca href=\"https://www.npr.org/2016/04/14/471622069/gothic-family-drama-at-the-border-of-paradise\" rel=\"noopener\" target=\"_blank\">favorite books of 2016\u003c/a>. A first generation Taiwanese-American who came to San Francisco via the Midwest, Wang wrote her first essay for the Toast while waiting for \u003ci>Border\u003c/i> to be published. The essay received “remarkable feedback,” which led her to write more.\u003c/p>\n\u003cp>Since then, she’s been published in \u003ci>The Believer,\u003c/i> Salon and other publications. Her collection of essays called, \u003cem>The Collected Schizophrenias\u003c/em> won the 2016 \u003ca href=\"https://www.graywolfpress.org/blogs/esme-weijun-wang-wins-graywolf-press-nonfiction-prize\" rel=\"noopener\" target=\"_blank\">Graywolf Press Nonfiction Prize,\u003c/a> which she completed while battling Lyme disease. (Read an excerpt from her essay collection at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-esme-weijun-wang-nonfiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“Lyme has taken so much from me, including the ability to sit at a laptop for hours at a time,” Wang told the \u003ca href=\"http://prairieschooner.unl.edu/blog/be-patient-keep-working-be-persistent-interview-esm%C3%A9-weijun-wang\" rel=\"noopener\" target=\"_blank\">\u003ci>Prarie Schooner,\u003c/i>\u003c/a> a national literary quarterly published by University of Nebraska-Lincoln. “Because the disease has impacted my brain, my cognition is also affected. I’ve had to go about writing in a very different way because of the limitations of my body.”\u003c/p>\n\u003cp>Other 2018 Whiting Award honorees included poets Tommy Pico and Rickey Laurentiis, dramatist Nathan Alan Davis, poet-nonfiction writer Anne Boyer, novelists Patty Yumi Cottrell and Weike Wang, and playwrights Antoinette Nwandu and Hansol Jung. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area writers Brontez Purnell and Esmé Weijun Wang both won the prestigious Whiting Award for Emerging Authors Wednesday.\u003c/p>\n\u003cp>This year’s 10 recipients learned they won at a ceremony in Manhattan Wednesday night. Each winner receives $50,000 from the \u003ca href=\"https://www.whiting.org/\" rel=\"noopener\" target=\"_blank\">Whiting Foundation\u003c/a>, a New York-based nonprofit that supports the arts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nobel laureate Toni Morrison was scheduled to speak at the ceremony but a snowstorm kept her from attending. Poet Elizabeth Alexander read Morrison’s prepared remarks, in which the 87-year-old author of books like \u003ci>Beloved\u003c/i> noted that as a descendant of slaves, she knew well “the struggle to be allowed to learn to read.” She also included a line from her novel \u003ci>The Bluest Eye,\u003c/i> which Morrison said she used to “attract or repulse or simply shock the reader — anything to get her or his attention.”\u003c/p>\n\u003cp>“My sincere congratulations to the winners of the 2018 Whiting Award come from an intimate knowledge of the power and difficulty of the task,” Morrison noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Established in 1985 by Whiting Foundation, the $50,000 prize is awarded to writers to help “fulfill the promise of superior literary work.” Previous winners include Michael Cunningham, Jonathan Franzen and Jorie Graham.\u003c/p>\n\u003cp>Purnell, who won the Whiting Award for his 2017 novel \u003ci>Since I Laid My Burden Down\u003c/i>, lives in Oakland, where he is a fixture in the local queer-punk-art scene. Other books of his include \u003ca href=\"https://www.kqed.org/arts/10139643/gimme-action-bay-area-comic-artist-janelle-hessig-publishes-first-book\" rel=\"noopener\" target=\"_blank\">\u003ci>The Cruising Diaries\u003c/i>\u003c/a> and \u003ci>Johnny Would You Love Me If My Dick Were Bigger.\u003c/i> He’s also the singer of the band Younger Lovers and is the founder of the Brontez Purnell Dance Company.\u003c/p>\n\u003cp>\u003ci>Since I Laid My Burden Down\u003c/i> follows DeShawn, a queer black punk in Oakland who goes home to Alabama for a funeral. A transplant from Alabama himself, Purnell has said the book is not real, but that his life and DeShawn’s intersect. (Read an excerpt from the book at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“It zigs and zags so much that I actually could not give you a percentage,” Purnell told the \u003ca href=\"https://www.sfchronicle.com/books/article/Brontez-Purnell-s-novel-overlaps-his-queer-12230029.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle last year\u003c/a>. “There’s no way to quantify it because it’s really hard, and I don’t think it would help you understand any more.”\u003c/p>\n\u003cp>Wang, who won the Whiting Award for her nonfiction work, is the author of \u003cem>The Border of Paradise,\u003c/em> one of NPR’s \u003ca href=\"https://www.npr.org/2016/04/14/471622069/gothic-family-drama-at-the-border-of-paradise\" rel=\"noopener\" target=\"_blank\">favorite books of 2016\u003c/a>. A first generation Taiwanese-American who came to San Francisco via the Midwest, Wang wrote her first essay for the Toast while waiting for \u003ci>Border\u003c/i> to be published. The essay received “remarkable feedback,” which led her to write more.\u003c/p>\n\u003cp>Since then, she’s been published in \u003ci>The Believer,\u003c/i> Salon and other publications. Her collection of essays called, \u003cem>The Collected Schizophrenias\u003c/em> won the 2016 \u003ca href=\"https://www.graywolfpress.org/blogs/esme-weijun-wang-wins-graywolf-press-nonfiction-prize\" rel=\"noopener\" target=\"_blank\">Graywolf Press Nonfiction Prize,\u003c/a> which she completed while battling Lyme disease. (Read an excerpt from her essay collection at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-esme-weijun-wang-nonfiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“Lyme has taken so much from me, including the ability to sit at a laptop for hours at a time,” Wang told the \u003ca href=\"http://prairieschooner.unl.edu/blog/be-patient-keep-working-be-persistent-interview-esm%C3%A9-weijun-wang\" rel=\"noopener\" target=\"_blank\">\u003ci>Prarie Schooner,\u003c/i>\u003c/a> a national literary quarterly published by University of Nebraska-Lincoln. “Because the disease has impacted my brain, my cognition is also affected. I’ve had to go about writing in a very different way because of the limitations of my body.”\u003c/p>\n\u003cp>Other 2018 Whiting Award honorees included poets Tommy Pico and Rickey Laurentiis, dramatist Nathan Alan Davis, poet-nonfiction writer Anne Boyer, novelists Patty Yumi Cottrell and Weike Wang, and playwrights Antoinette Nwandu and Hansol Jung. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press contributed to this report.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most artists and writers in the United States gave up on the “American Dream” long ago. As the comedian George Carlin joked, “It’s called the American dream because you have to be asleep to believe it.”\u003c/p>\n\u003cp>But not Dave Eggers.\u003c/p>\n\u003cp>The bestselling author is on a mission to keep the American ideal of hard-scrabble success alive, as I found out when I recently interviewed Eggers at KQED on behalf of the \u003ca href=\"http://www.bbc.co.uk/programmes/p016tmg0\">\u003cem>BBC Arts Hour\u003c/em>\u003c/a>‘s upcoming San Francisco broadcast and live show.\u003c/p>\n\u003cp>What follows are edited excerpts from our conversation, which focused in large part on two of Eggers’ most Bay Area-centric works: the new non-fiction book \u003cem>The Monk of Mokha\u003c/em>, and the 2013 novel \u003cem>The Circle\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to write \u003cem>The Monk of Mokha\u003c/em>, which follows the adventures of a young San Francisco coffee entrepreneur of Yemeni heritage, Mokhtar Alkanshali, and his daring escape from war-torn Yemen?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We first met when Mokhtar was about 23 through a mutual friend of ours. It was a couple of years later that I’d been reading about the Americans stuck in Yemen. There had already been a few articles about Mokhtar crossing the Red Sea to get out of Yemen. So we got back in touch, and he told me this incredible story of how he got out. I think I was initially drawn to this incredible bravery that he exhibited. And also I’m always driven a little bit by outrage when our government doesn’t take care of its own people. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818740 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg\" alt=\"\" width=\"326\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg 326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-240x367.jpg 240w\" sizes=\"(max-width: 326px) 100vw, 326px\">And so that got me interested right away.\u003c/p>\n\u003cp>But the coffee part, I had no interest in originally. I was never able to discern differences in quality in coffee. But he sort of gave me a very quick crash-course education in coffee cultivation, and why it matters that we care where our food comes from. And now Mokhtar is bringing a very new awareness about direct trade. I hope everybody looks out for consumer rights.\u003c/p>\n\u003cp>\u003cstrong>Yemeni coffee certainly isn’t cheap. I had treated myself to a cup imported by Mokhtar’s company this morning at Equator Coffee on Market Street — for research purposes (ahem!). It cost $14. It’s $16 a cup at Blue Bottle, I hear. Why the nosebleed prices?\u003c/strong>\u003c/p>\n\u003cp>Let me ask you this: if you go to a restaurant here in San Francisco and you get a glass of nice wine even from Napa, 30 miles up the road, it might cost 15 bucks, right? But this coffee from Yemen has gone 6,000 miles and through war zones and over the sea and represents hundreds of years of expertise in the Yemeni highlands where they invented coffee cultivation. I don’t know if every cup of coffee should cost $14, but maybe it shouldn’t cost $2.50 if everybody along that supply chain is being paid fairly. The weird thing is that the coffee, or anything you eat or drink, starts to taste better if you’re thinking about the people who make it. One of the big ambitions of Mokhtar’s in the book is to get a fair price for these farmers.\u003c/p>\n\u003cp>\u003cstrong>This is the latest in a series of books you’ve written about immigrants to the U.S. The others being \u003cem>What is the What,\u003c/em> a novel about a young Sudanese refugee, and \u003cem>Zeitoun\u003c/em>, an account of a Syrian American’s experience of Hurricane Katrina. How important is it for you to use your profile as a writer to give voice to the marginalized?\u003c/strong>\u003c/p>\n\u003cp>I never conceived it as a series. But I am attracted to stories of courage. I feel like we’re obviously in a period of unprecedented fear, ignorance, paranoia and xenophobia unlike anything in my lifetime. These stories sometimes can remind us of who we are at our best and also at the core.\u003c/p>\n\u003cp>\u003cstrong>These books are all about people who are striving for the American Dream against really harsh odds. So what do you think there is that’s really new and different to say about the American Dream at this time?\u003c/strong>\u003c/p>\n\u003cp>Sometimes people think it’s some old cliché or it’s no longer true. But it’s absolutely true. Every day immigrants are keeping it alive. They’re the ones that exemplify what it means. There are millions of stories of the American Dream dreamed well. But more so than any time in the last 40 years, that dream is under threat. These DREAMers are being vilainized. I am almost in a state of paralysis some days because I cannot figure out why so many young people would be put in such peril. So many families being torn apart. It is the cruelest time in my lifetime, where cruelty and inhumanity are being expressed as a matter of policy from the White House. That’s something brand new.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about another book of yours set in the Bay Area, and also about entrepreneurism: your novel \u003cem>The Circle\u003c/em>. It was adapted into a movie starring Tom Hanks and Emma Watson, and it’s about a sinister Internet giant and a young woman who gets caught up in its culture. What prompted you to write about the tech industry?\u003c/strong>\u003c/p>\n\u003cp>I got here in 1992. So I saw the rise of the Bay Area as a tech mecca. I saw what the early Internet achieved — the incredible democratization of access to information, the easy way you could communicate with people around the world. Then, maybe 10 or 15 years ago, it started changing a little bit. The consolidation of wealth, the hoarding of power, the surveillance aspect of it and the intrusion on privacy aspect of it, I didn’t see coming.\u003c/p>\n\u003cfigure id=\"attachment_11868103\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eggers-CREDIT-TO-Em-J-Staples-402x600.jpg\" alt=\"\" width=\"402\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Dave Eggers. (Photo Credit: Em-J Staples)\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed more and more sinister, and it took on this darker and darker tinge. So I thought it was maybe time to write something about it from the point of view of the most idealistic young person who gets her dream job at one of these tech companies, but slowly sees the walls close in around her.\u003c/p>\n\u003cp>\u003cstrong>Since the novel was published in 2013, we’ve seen some fairly shocking revelations about mass surveillance globally, not to mention the gathering of information by the National Security Agency here in the U.S. When you first began work on \u003cem>The Circle\u003c/em>, did you imagine the extent of this issue?\u003c/strong>\u003c/p>\n\u003cp>I did. I was trying to imagine the worst-case scenario. So my goal every day was to scare the hell out of myself. I’ve been shocked at how humanity has undergone a radical evolution. In the 1980s and ’90s, we did have certain presumptions about privacy — that our conversations were private, that our correspondence was private. Most of that is gone now. The people who work at these companies are some of the best and brightest. They’re largely idealistic people too, and they do latch on to the good that is done. I think there is a blind spot about some of the not-so-good. There’s an unwillingness to face the fact that they do have the power to turn things back from some of these abuses of privacy and human rights. They have the power to improve these platforms.\u003c/p>\n\u003cp>\u003cstrong>To what extent do you think it’s within the technology industry’s power to really shape the creative and cultural landscape of this region and the world more broadly?\u003c/strong>\u003c/p>\n\u003cp>I think that the Internet companies have to own up to the fact that they contributed a lot to the hollowing out of the creative middle class. Because we expect everything online to be free, creators have suffered greatly in the last 20 years. And I think everything needs to sort of slow down for a minute. If the goal isn’t just clicks or eyeballs, but actually the improvement of humankind, then the companies have to actually rethink a lot. It isn’t just about speed. And it isn’t just about numbers. It is really about morality, ethics and all of these things that were never part of the growth of these companies. And now we have a broken system. We almost broke democracy 18 months ago. We have a society that is drowning in mistrust.\u003c/p>\n\u003cp>\u003cstrong>Any cause for hope?\u003c/strong>\u003c/p>\n\u003cp>Really, I am eternally optimistic. When \u003cem>The Circle\u003c/em> first came out, I would go to colleges and the students were thinking I was some old crank that was judging their way of life and judging social media. But in the last year, it changed completely. I used to have maybe 10 kids come up to me and say “yeah, you’re speaking to me. I’m as scared as you are.” And now, it’s like 100 percent want to talk about this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The BBC Arts Hour comes to San Francisco’s Gray Area Foundation Theatre on Thursday, Mar. 15. Tickets and information \u003ca href=\"https://grayarea.org/event/bbc-world-service-arts-hour-tour-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most artists and writers in the United States gave up on the “American Dream” long ago. As the comedian George Carlin joked, “It’s called the American dream because you have to be asleep to believe it.”\u003c/p>\n\u003cp>But not Dave Eggers.\u003c/p>\n\u003cp>The bestselling author is on a mission to keep the American ideal of hard-scrabble success alive, as I found out when I recently interviewed Eggers at KQED on behalf of the \u003ca href=\"http://www.bbc.co.uk/programmes/p016tmg0\">\u003cem>BBC Arts Hour\u003c/em>\u003c/a>‘s upcoming San Francisco broadcast and live show.\u003c/p>\n\u003cp>What follows are edited excerpts from our conversation, which focused in large part on two of Eggers’ most Bay Area-centric works: the new non-fiction book \u003cem>The Monk of Mokha\u003c/em>, and the 2013 novel \u003cem>The Circle\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to write \u003cem>The Monk of Mokha\u003c/em>, which follows the adventures of a young San Francisco coffee entrepreneur of Yemeni heritage, Mokhtar Alkanshali, and his daring escape from war-torn Yemen?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We first met when Mokhtar was about 23 through a mutual friend of ours. It was a couple of years later that I’d been reading about the Americans stuck in Yemen. There had already been a few articles about Mokhtar crossing the Red Sea to get out of Yemen. So we got back in touch, and he told me this incredible story of how he got out. I think I was initially drawn to this incredible bravery that he exhibited. And also I’m always driven a little bit by outrage when our government doesn’t take care of its own people. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818740 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg\" alt=\"\" width=\"326\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg 326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-240x367.jpg 240w\" sizes=\"(max-width: 326px) 100vw, 326px\">And so that got me interested right away.\u003c/p>\n\u003cp>But the coffee part, I had no interest in originally. I was never able to discern differences in quality in coffee. But he sort of gave me a very quick crash-course education in coffee cultivation, and why it matters that we care where our food comes from. And now Mokhtar is bringing a very new awareness about direct trade. I hope everybody looks out for consumer rights.\u003c/p>\n\u003cp>\u003cstrong>Yemeni coffee certainly isn’t cheap. I had treated myself to a cup imported by Mokhtar’s company this morning at Equator Coffee on Market Street — for research purposes (ahem!). It cost $14. It’s $16 a cup at Blue Bottle, I hear. Why the nosebleed prices?\u003c/strong>\u003c/p>\n\u003cp>Let me ask you this: if you go to a restaurant here in San Francisco and you get a glass of nice wine even from Napa, 30 miles up the road, it might cost 15 bucks, right? But this coffee from Yemen has gone 6,000 miles and through war zones and over the sea and represents hundreds of years of expertise in the Yemeni highlands where they invented coffee cultivation. I don’t know if every cup of coffee should cost $14, but maybe it shouldn’t cost $2.50 if everybody along that supply chain is being paid fairly. The weird thing is that the coffee, or anything you eat or drink, starts to taste better if you’re thinking about the people who make it. One of the big ambitions of Mokhtar’s in the book is to get a fair price for these farmers.\u003c/p>\n\u003cp>\u003cstrong>This is the latest in a series of books you’ve written about immigrants to the U.S. The others being \u003cem>What is the What,\u003c/em> a novel about a young Sudanese refugee, and \u003cem>Zeitoun\u003c/em>, an account of a Syrian American’s experience of Hurricane Katrina. How important is it for you to use your profile as a writer to give voice to the marginalized?\u003c/strong>\u003c/p>\n\u003cp>I never conceived it as a series. But I am attracted to stories of courage. I feel like we’re obviously in a period of unprecedented fear, ignorance, paranoia and xenophobia unlike anything in my lifetime. These stories sometimes can remind us of who we are at our best and also at the core.\u003c/p>\n\u003cp>\u003cstrong>These books are all about people who are striving for the American Dream against really harsh odds. So what do you think there is that’s really new and different to say about the American Dream at this time?\u003c/strong>\u003c/p>\n\u003cp>Sometimes people think it’s some old cliché or it’s no longer true. But it’s absolutely true. Every day immigrants are keeping it alive. They’re the ones that exemplify what it means. There are millions of stories of the American Dream dreamed well. But more so than any time in the last 40 years, that dream is under threat. These DREAMers are being vilainized. I am almost in a state of paralysis some days because I cannot figure out why so many young people would be put in such peril. So many families being torn apart. It is the cruelest time in my lifetime, where cruelty and inhumanity are being expressed as a matter of policy from the White House. That’s something brand new.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about another book of yours set in the Bay Area, and also about entrepreneurism: your novel \u003cem>The Circle\u003c/em>. It was adapted into a movie starring Tom Hanks and Emma Watson, and it’s about a sinister Internet giant and a young woman who gets caught up in its culture. What prompted you to write about the tech industry?\u003c/strong>\u003c/p>\n\u003cp>I got here in 1992. So I saw the rise of the Bay Area as a tech mecca. I saw what the early Internet achieved — the incredible democratization of access to information, the easy way you could communicate with people around the world. Then, maybe 10 or 15 years ago, it started changing a little bit. The consolidation of wealth, the hoarding of power, the surveillance aspect of it and the intrusion on privacy aspect of it, I didn’t see coming.\u003c/p>\n\u003cfigure id=\"attachment_11868103\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eggers-CREDIT-TO-Em-J-Staples-402x600.jpg\" alt=\"\" width=\"402\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Dave Eggers. (Photo Credit: Em-J Staples)\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed more and more sinister, and it took on this darker and darker tinge. So I thought it was maybe time to write something about it from the point of view of the most idealistic young person who gets her dream job at one of these tech companies, but slowly sees the walls close in around her.\u003c/p>\n\u003cp>\u003cstrong>Since the novel was published in 2013, we’ve seen some fairly shocking revelations about mass surveillance globally, not to mention the gathering of information by the National Security Agency here in the U.S. When you first began work on \u003cem>The Circle\u003c/em>, did you imagine the extent of this issue?\u003c/strong>\u003c/p>\n\u003cp>I did. I was trying to imagine the worst-case scenario. So my goal every day was to scare the hell out of myself. I’ve been shocked at how humanity has undergone a radical evolution. In the 1980s and ’90s, we did have certain presumptions about privacy — that our conversations were private, that our correspondence was private. Most of that is gone now. The people who work at these companies are some of the best and brightest. They’re largely idealistic people too, and they do latch on to the good that is done. I think there is a blind spot about some of the not-so-good. There’s an unwillingness to face the fact that they do have the power to turn things back from some of these abuses of privacy and human rights. They have the power to improve these platforms.\u003c/p>\n\u003cp>\u003cstrong>To what extent do you think it’s within the technology industry’s power to really shape the creative and cultural landscape of this region and the world more broadly?\u003c/strong>\u003c/p>\n\u003cp>I think that the Internet companies have to own up to the fact that they contributed a lot to the hollowing out of the creative middle class. Because we expect everything online to be free, creators have suffered greatly in the last 20 years. And I think everything needs to sort of slow down for a minute. If the goal isn’t just clicks or eyeballs, but actually the improvement of humankind, then the companies have to actually rethink a lot. It isn’t just about speed. And it isn’t just about numbers. It is really about morality, ethics and all of these things that were never part of the growth of these companies. And now we have a broken system. We almost broke democracy 18 months ago. We have a society that is drowning in mistrust.\u003c/p>\n\u003cp>\u003cstrong>Any cause for hope?\u003c/strong>\u003c/p>\n\u003cp>Really, I am eternally optimistic. When \u003cem>The Circle\u003c/em> first came out, I would go to colleges and the students were thinking I was some old crank that was judging their way of life and judging social media. But in the last year, it changed completely. I used to have maybe 10 kids come up to me and say “yeah, you’re speaking to me. I’m as scared as you are.” And now, it’s like 100 percent want to talk about this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Bay Area-based duo behind the \u003ci>New York Times\u003c/i> best-selling \u003ci>Rad Women\u003c/i> books have announced the third installment in the series, \u003ci>\u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">Rad Girls Can\u003c/a>,\u003c/i> coming this summer.\u003c/p>\n\u003cfigure id=\"attachment_13827162\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg\" alt=\"Kate Schatz and Miriam Klein Stahl\" width=\"720\" height=\"960\" class=\"size-full wp-image-13827162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kate Schatz and Miriam Klein Stahl in 2018 \u003ccite>(Casey Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new illustrated book from author Kate Schatz and artist Miriam Klein Stahl continues the theme of the series’ previous titles: telling inspiring stories of accomplished women. In \u003cem>Rad Girls Can,\u003c/em> all of the profiles are about “incredible girls who’ve done great things before the age of 20,” according to Schatz.\u003c/p>\n\u003cp>“Some are from ancient history, some are now grown women, and many in the book are young women right now, in 2018, taking charge and leading the way in all kinds of fields,” Schatz said.\u003c/p>\n\u003cp>Schatz said that she and Stahl didn’t mean for their first book, 2015’s \u003ci>Rad American Women A to Z,\u003c/i> to kick off an entire series. A teacher and \u003ca href=\"http://www.kateschatz.com/\" rel=\"noopener\" target=\"_blank\">published author\u003c/a>, Schatz says she initially collaborated on the book with Stahl, \u003ca href=\"http://www.miriamkleinstahl.com/about\" rel=\"noopener\" target=\"_blank\">an artist\u003c/a> and co-founder of the Arts and Humanities Academy at Berkeley High School, because Schatz wanted a book about empowered women for her daughter to read. \u003c/p>\n\u003cp>“But after its unexpected success, we quickly realized that we were on to something,” Schatz said. “And that something is an ongoing desire for bold, honest, accessible books that celebrate diverse women and all they’ve done and can do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Schatz and Stahl went on to publish the second in the series, \u003ci>Rad Women Worldwide,\u003c/i> the following year. It, too, became a bestseller. Last year, the pair released an illustrated journal called \u003ci>My Rad Life\u003c/i> that “encourages its owners to think, create, reflect, and explore their own radness.”\u003c/p>\n\u003cp>After the release of \u003ci>Rad Girls Can\u003c/i> in July, Schatz and Stahl say they plan to work on more books. There’s even hope that the series could be converted into a television show. \u003c/p>\n\u003cp>“That would be rad,” Schatz said. \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>\u003cem>Schatz and Stahl celebrate the release of ‘Rad Girls Can’ at \u003ca href=\"http://www.laurelbookstore.com/\" rel=\"noopener\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland on July 17, and at \u003ca href=\"http://www.booksmith.com/\" rel=\"noopener\" target=\"_blank\">The Booksmith\u003c/a> in San Francisco on July 19. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Rad Girls Can’ is \u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">released July 17\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area-based duo behind the \u003ci>New York Times\u003c/i> best-selling \u003ci>Rad Women\u003c/i> books have announced the third installment in the series, \u003ci>\u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">Rad Girls Can\u003c/a>,\u003c/i> coming this summer.\u003c/p>\n\u003cfigure id=\"attachment_13827162\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg\" alt=\"Kate Schatz and Miriam Klein Stahl\" width=\"720\" height=\"960\" class=\"size-full wp-image-13827162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kate Schatz and Miriam Klein Stahl in 2018 \u003ccite>(Casey Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new illustrated book from author Kate Schatz and artist Miriam Klein Stahl continues the theme of the series’ previous titles: telling inspiring stories of accomplished women. In \u003cem>Rad Girls Can,\u003c/em> all of the profiles are about “incredible girls who’ve done great things before the age of 20,” according to Schatz.\u003c/p>\n\u003cp>“Some are from ancient history, some are now grown women, and many in the book are young women right now, in 2018, taking charge and leading the way in all kinds of fields,” Schatz said.\u003c/p>\n\u003cp>Schatz said that she and Stahl didn’t mean for their first book, 2015’s \u003ci>Rad American Women A to Z,\u003c/i> to kick off an entire series. A teacher and \u003ca href=\"http://www.kateschatz.com/\" rel=\"noopener\" target=\"_blank\">published author\u003c/a>, Schatz says she initially collaborated on the book with Stahl, \u003ca href=\"http://www.miriamkleinstahl.com/about\" rel=\"noopener\" target=\"_blank\">an artist\u003c/a> and co-founder of the Arts and Humanities Academy at Berkeley High School, because Schatz wanted a book about empowered women for her daughter to read. \u003c/p>\n\u003cp>“But after its unexpected success, we quickly realized that we were on to something,” Schatz said. “And that something is an ongoing desire for bold, honest, accessible books that celebrate diverse women and all they’ve done and can do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Schatz and Stahl went on to publish the second in the series, \u003ci>Rad Women Worldwide,\u003c/i> the following year. It, too, became a bestseller. Last year, the pair released an illustrated journal called \u003ci>My Rad Life\u003c/i> that “encourages its owners to think, create, reflect, and explore their own radness.”\u003c/p>\n\u003cp>After the release of \u003ci>Rad Girls Can\u003c/i> in July, Schatz and Stahl say they plan to work on more books. There’s even hope that the series could be converted into a television show. \u003c/p>\n\u003cp>“That would be rad,” Schatz said. \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>\u003cem>Schatz and Stahl celebrate the release of ‘Rad Girls Can’ at \u003ca href=\"http://www.laurelbookstore.com/\" rel=\"noopener\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland on July 17, and at \u003ca href=\"http://www.booksmith.com/\" rel=\"noopener\" target=\"_blank\">The Booksmith\u003c/a> in San Francisco on July 19. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Rad Girls Can’ is \u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">released July 17\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer Sherman Alexie has decided not to accept a prestigious literary prize he was awarded in February, as he faces multiple allegations of sexual harassment. \u003c/p>\n\u003cp>Alexie, one of the country’s best known Native American writers, was chosen for the Carnegie Medal and a $5,000 prize by the American Library Association for his nonfiction book about his mother, \u003ca href=\"https://www.npr.org/2017/06/24/533969802/fresh-air-weekend-roxane-gay-and-sherman-alexie\">\u003cem>You Don’t Have to Say You Love Me: A Memoir\u003c/em>\u003c/a>. The association plans to hand out a slate of awards at its annual conference in June.\u003c/p>\n\u003cp>In a statement issued Friday the association wrote, “We acknowledge [Alexie’s] decision and will not award the Carnegie nonfiction medal in 2018.”\u003c/p>\n\u003cp>“The ALA believes that every person has the right to a safe environment free from sexual harassment,” the group added. \u003c/p>\n\u003cp>As NPR’s Lynn Neary \u003ca href=\"https://www.npr.org/2018/03/05/589909379/it-just-felt-very-wrong-sherman-alexies-accusers-go-on-the-record\">reported\u003c/a>, a number of women, including three who spoke on the record to the network, have accused Alexie of predatory behavior ranging from inappropriate comments to unwanted sexual advances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After rumors about his behavior began circulating on social media last week, Alexie \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. He also acknowledged “there are women telling the truth,” and he apologized to the people he has hurt, without providing specific details. \u003c/p>\n\u003cp>But he also said he had “no recollection of physically or verbally threatening anybody or their careers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ALA pledged to support “members members, their colleagues, and their community members” in addressing sexual harassment issues by providing resources and referral services on its \u003ca href=\"http://www.ala.org/educationcareers/harassment-resources\">website\u003c/a>. \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=Beset+By+Sexual+Harassment+Claims%2C+Sherman+Alexie+Declines+Literary+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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