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But before that, NPR began interviewing the women she referred to us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a story about power, and abuse of power,” says Jeanine Walker, one of three women who came forward on the record, and whose stories NPR has corroborated with several sources. In all, ten women spoke to NPR about Alexie — who is a married man. Most of the women wanted to remain anonymous, but a clear pattern emerged: The women reported behavior ranging from inappropriate comments both in private and in public, to flirting that veered suddenly into sexual territory, unwanted sexual advances and consensual sexual relations that ended abruptly. The women said Alexie had traded on his literary celebrity to lure them into uncomfortable sexual situations.\u003c/p>\n\u003cp>“Of course, I was really excited, I mean, Sherman Alexie, he’s interested in my poems,” Walker says. She’s a poet and teacher who was managing a Writers in the Schools program in Seattle when she arranged to have Alexie visit a classroom. Afterwards, Alexie said he had checked out her poetry online, and asked her to send him a manuscript.\u003c/p>\n\u003cp>Alexie never got back to her on the poems, but they did become friendly. Walker says it was strictly platonic. One day, they met to play basketball at a court in his office building. Afterwards, Walker went to change her clothes in a restroom in his office. “When I turned around he was right behind me, and just like physically very much in my space. And leaned towards me and said, ‘Can I kiss you?’ I said no and backed away, and he kept moving forward and was like, laughing and smiling and sweaty and whatever, and he said ‘It’s just, we’re playing basketball, you remind me of the girlfriends I had in high school.’ And I just said ‘Well, we’re not in high school, Sherman.'”\u003c/p>\n\u003cp>Alexie later apologized, and Walker says she stayed in touch with him for a while. She sent him her poems again — but never got anything but a quick comment and a promise of more to come. She says Alexie is a big deal in her hometown of Seattle. “And he’s connected to the organization I work for, and if he had never expressed an interest in my poems I probably wouldn’t have pursued spending any time with him. But he did express an interest. And so then when I discover that interest is actually physical, it just felt very wrong.”\u003c/p>\n\u003cp>Erika Wurth was a 22-year-old aspiring writer when she first met Alexie. As a Native American, he was a hero to her, and she hoped he might become a mentor. About a year after their first meeting, he suggested she come to one of his readings in Colorado. She went, and afterwards walked back to his hotel with him — after chatting in the lobby, she started to leave, “and he jumps over the coffee table and begins trying to kiss me,” she says. “And I went into a state of non-reality. I had almost no sexual experience, I couldn’t believe it. And he’s like, ‘Come to my room.'”\u003c/p>\n\u003cp>Wurth did, and ended up on his bed. “He’s kind of taking my clothes off and kissing me,” she remembers. “And I’m kind of like stock still, trying to convince myself this is OK. It’s not working, and eventually I say, because I am kind of scared of this situation, ‘I’m a virgin.’ But it got really weird, because then he’s still trying to work me over, and I’m just stock still, and I think at that point, in my opinion, he realized that if he wanted to have sex with me he would have to violate me, he’d have to rape me. And he did stop.”\u003c/p>\n\u003cp>Wurth says she stayed in touch with Alexie, hoping he would still be her mentor — or at least apologize. Several years later, they had a second sexual encounter which also ended badly. Eventually, he did give her a positive quote for her first book, and a letter of recommendation — which she now thinks was to keep her quiet. Their relationship became contentious, and after a series of angry emails, Wurth decided to cut ties with him, disillusioned by the way he treated her. “Never admitting what he’d done, never apologizing. And I just was like, I don’t ever want to be around this guy again. He’s poisonous. He’s not OK.” \u003c/p>\n\u003cp>Alexie has enormous influence on the careers of Native American writers, and Wurth worries about what he may say about her to others in the business. So does Elissa Washuta. She met Alexie when she was getting ready to publish her first book, and was hoping that he could help her with it. She went out one night with a group of people that included Alexie. She was chatting with him when “seemingly apropos of nothing, Sherman told me that he could have sex with me if he wanted to,” she says. “But he used a stronger word, beginning with F. You know, he had not said it quietly, he had not whispered it. It seemed that the men we were talking to could have heard it. I couldn’t believe that somebody would say something to me like that. This older man who I didn’t know, who was much more powerful than me.”\u003c/p>\n\u003cp>Washuta says that although she was worried that the other men who were with them — all part of the local literary scene — had heard Alexie, she didn’t have the nerve to say anything about it at the time. “I felt I really needed his approval and I needed his help in order to get this book off the ground. And so as uncomfortable as I was, I felt I could laugh off that comment in a way. But I still felt that he had so much power that I should probably not make a fuss about this.”\u003c/p>\n\u003cp>Eventually, Washuta and Alexie became colleagues at the Institute of American Indian Arts. They got along, but she says that once, on a work trip to Santa Fe, he tried to lure her to his hotel room. Later, they had a disagreement over an essay of hers — Alexie implied she had plagiarized his work, and Washuta became fearful that he would ruin her career. When she got another job, she decided to cut her ties to the Institute because Alexie was a powerful member of the faculty. “I think we did some really good work there. And I’m sure they continue to do really good work there. But I’m not a part of it. And that feels so lonely. I’m incredibly sad about it.”\u003c/p>\n\u003cp>As the allegations against Alexie began to surface, the Institute changed the name of its Sherman Alexie Scholarship to the M.F.A. Alumni Scholarship. Alexie has not responded to our multiple efforts to contact him. It is clear from his statement that he is angry at Litsa Dremousis, whose tweets prompted these women to come forward.\u003c/p>\n\u003cp>But if Alexie is angry, so are the women — which is why they’re willing to talk. Their stories are complicated and messy, as much about the power they felt he had over them as they are about sex. And how to change that power dynamic may be where the conversation has to go from here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer.\u003c/em> \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=%27It+Just+Felt+Very+Wrong%3A%27+Sherman+Alexie%27s+Accusers+Go+On+The+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer Sherman Alexie last week \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\" target=\"_blank\" rel=\"noopener\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. Without providing details, Alexie said “there are women telling the truth,” and apologized to the people he has hurt. Now, some of those women have come forward to speak to NPR about their experiences with him.\u003c/p>\n\u003cp>Alexie may not be a household name, but he is one of the country’s best known Native American poets and writers, with a charismatic personality and a large following. He won the National Book Award in 2007 for his young adult novel \u003cem>The Absolutely True Diary of a Part Time Indian\u003c/em>, and wrote the screenplay for the film \u003cem>Smoke Signals\u003c/em>, based on one of his stories. So the news about him has rocked the worlds of both Native American and children’s literature.\u003c/p>\n\u003cp>In those circles, “well, he’s a rock star,” says children’s book author Anne Ursu. After the Harvey Weinstein sexual harassment story broke, Ursu decided to survey women in the children’s book business to see if they too had experienced such problems — just as many media companies, including NPR, have. \u003ca href=\"https://medium.com/@anneursu_10179/sexual-harassment-in-the-childrens-book-industry-3417048ccde2\" target=\"_blank\" rel=\"noopener\">Ursu’s story, which she published in February on the website Medium\u003c/a>, contributed to the whisper of sexual scandal that was already building around some well-known authors — including Alexie. Ursu says some of the most popular kids’ book writers used the power of their celebrity to seduce women.\u003c/p>\n\u003cp>“If you are an aspiring author and you go to a reading of someone who is famous and beloved and whose work you admire, and he suddenly takes an interest in you and your work, and he thinks you’re special, and you start emailing, and he wants to mentor you — and then suddenly it turns out all he wanted to do is have sex with you. Those writers are left utterly devastated.”\u003c/p>\n\u003cp>The rumors about Alexie were already growing louder when, about a week ago, Seattle-based writer Litsa Dremousis began tweeting about him, calling on women to share their stories. NPR — like other news organizations — reached out to her. She told us she’d had an affair with Alexie, but had remained friends with him until the stories about his sexual behavior surfaced. In his statement, Alexie denounced Dremousis. But before that, NPR began interviewing the women she referred to us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a story about power, and abuse of power,” says Jeanine Walker, one of three women who came forward on the record, and whose stories NPR has corroborated with several sources. In all, ten women spoke to NPR about Alexie — who is a married man. Most of the women wanted to remain anonymous, but a clear pattern emerged: The women reported behavior ranging from inappropriate comments both in private and in public, to flirting that veered suddenly into sexual territory, unwanted sexual advances and consensual sexual relations that ended abruptly. The women said Alexie had traded on his literary celebrity to lure them into uncomfortable sexual situations.\u003c/p>\n\u003cp>“Of course, I was really excited, I mean, Sherman Alexie, he’s interested in my poems,” Walker says. She’s a poet and teacher who was managing a Writers in the Schools program in Seattle when she arranged to have Alexie visit a classroom. Afterwards, Alexie said he had checked out her poetry online, and asked her to send him a manuscript.\u003c/p>\n\u003cp>Alexie never got back to her on the poems, but they did become friendly. Walker says it was strictly platonic. One day, they met to play basketball at a court in his office building. Afterwards, Walker went to change her clothes in a restroom in his office. “When I turned around he was right behind me, and just like physically very much in my space. And leaned towards me and said, ‘Can I kiss you?’ I said no and backed away, and he kept moving forward and was like, laughing and smiling and sweaty and whatever, and he said ‘It’s just, we’re playing basketball, you remind me of the girlfriends I had in high school.’ And I just said ‘Well, we’re not in high school, Sherman.'”\u003c/p>\n\u003cp>Alexie later apologized, and Walker says she stayed in touch with him for a while. She sent him her poems again — but never got anything but a quick comment and a promise of more to come. She says Alexie is a big deal in her hometown of Seattle. “And he’s connected to the organization I work for, and if he had never expressed an interest in my poems I probably wouldn’t have pursued spending any time with him. But he did express an interest. And so then when I discover that interest is actually physical, it just felt very wrong.”\u003c/p>\n\u003cp>Erika Wurth was a 22-year-old aspiring writer when she first met Alexie. As a Native American, he was a hero to her, and she hoped he might become a mentor. About a year after their first meeting, he suggested she come to one of his readings in Colorado. She went, and afterwards walked back to his hotel with him — after chatting in the lobby, she started to leave, “and he jumps over the coffee table and begins trying to kiss me,” she says. “And I went into a state of non-reality. I had almost no sexual experience, I couldn’t believe it. And he’s like, ‘Come to my room.'”\u003c/p>\n\u003cp>Wurth did, and ended up on his bed. “He’s kind of taking my clothes off and kissing me,” she remembers. “And I’m kind of like stock still, trying to convince myself this is OK. It’s not working, and eventually I say, because I am kind of scared of this situation, ‘I’m a virgin.’ But it got really weird, because then he’s still trying to work me over, and I’m just stock still, and I think at that point, in my opinion, he realized that if he wanted to have sex with me he would have to violate me, he’d have to rape me. And he did stop.”\u003c/p>\n\u003cp>Wurth says she stayed in touch with Alexie, hoping he would still be her mentor — or at least apologize. Several years later, they had a second sexual encounter which also ended badly. Eventually, he did give her a positive quote for her first book, and a letter of recommendation — which she now thinks was to keep her quiet. Their relationship became contentious, and after a series of angry emails, Wurth decided to cut ties with him, disillusioned by the way he treated her. “Never admitting what he’d done, never apologizing. And I just was like, I don’t ever want to be around this guy again. He’s poisonous. He’s not OK.” \u003c/p>\n\u003cp>Alexie has enormous influence on the careers of Native American writers, and Wurth worries about what he may say about her to others in the business. So does Elissa Washuta. She met Alexie when she was getting ready to publish her first book, and was hoping that he could help her with it. She went out one night with a group of people that included Alexie. She was chatting with him when “seemingly apropos of nothing, Sherman told me that he could have sex with me if he wanted to,” she says. “But he used a stronger word, beginning with F. You know, he had not said it quietly, he had not whispered it. It seemed that the men we were talking to could have heard it. I couldn’t believe that somebody would say something to me like that. This older man who I didn’t know, who was much more powerful than me.”\u003c/p>\n\u003cp>Washuta says that although she was worried that the other men who were with them — all part of the local literary scene — had heard Alexie, she didn’t have the nerve to say anything about it at the time. “I felt I really needed his approval and I needed his help in order to get this book off the ground. And so as uncomfortable as I was, I felt I could laugh off that comment in a way. But I still felt that he had so much power that I should probably not make a fuss about this.”\u003c/p>\n\u003cp>Eventually, Washuta and Alexie became colleagues at the Institute of American Indian Arts. They got along, but she says that once, on a work trip to Santa Fe, he tried to lure her to his hotel room. Later, they had a disagreement over an essay of hers — Alexie implied she had plagiarized his work, and Washuta became fearful that he would ruin her career. When she got another job, she decided to cut her ties to the Institute because Alexie was a powerful member of the faculty. “I think we did some really good work there. And I’m sure they continue to do really good work there. But I’m not a part of it. And that feels so lonely. I’m incredibly sad about it.”\u003c/p>\n\u003cp>As the allegations against Alexie began to surface, the Institute changed the name of its Sherman Alexie Scholarship to the M.F.A. Alumni Scholarship. Alexie has not responded to our multiple efforts to contact him. It is clear from his statement that he is angry at Litsa Dremousis, whose tweets prompted these women to come forward.\u003c/p>\n\u003cp>But if Alexie is angry, so are the women — which is why they’re willing to talk. Their stories are complicated and messy, as much about the power they felt he had over them as they are about sex. And how to change that power dynamic may be where the conversation has to go from here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer.\u003c/em> \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=%27It+Just+Felt+Very+Wrong%3A%27+Sherman+Alexie%27s+Accusers+Go+On+The+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Female Friendship Becomes a Life Raft in Stellar 'Girls Burn Brighter'",
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"content": "\u003cp>There is a moment in women’s lives I think about a lot — the turning from girlhood to womanhood. This becoming is an urgent transition, but it is more damaging for some than others. Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003c/p>\n\u003cp>\u003cem>Girls Burn Brighter\u003c/em> is the kind of book you open and fall into. This is the confident, assured debut from San Francisco-based Shobha Rao. Taking place in India, \u003cem>Girls Burn Brighter \u003c/em>is about a fast and easy friendship between two girls, Poornima and Savitha; the terrible and wide-ranging binds of caste and misogyny; and all the ways female ambition and friendship can tear a hole in the fabric of the patriarchy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13825079\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/GirlsBurnBrighter_Bookshot_WEB.jpg\" alt=\"\" width=\"400\" height=\"675\">\u003c/p>\n\u003cp>Savitha works the loom at Poornima’s father’s workshop. The girls get together before and in between Savitha’s work to chat, to eat together, be together — they are inseparable. They dream of a place Savitha once heard described by an older woman at the market; a place where a flute plays everywhere you go.\u003c/p>\n\u003cblockquote>\u003cp>“You know how Krishna plays the flute for his Radha, wooing her at twilight…? That is the sound of the island. Flute song. Everywhere you go there are [fruit], and there is flute song. Following you like a lover.”\u003c/p>\n\u003cp>“That’s what she said?”\u003c/p>\n\u003cp>“Yes.”\u003c/p>\n\u003cp>Poornima was silent. “What’s the name of the island?”\u003c/p>\n\u003cp>“Majuli.”\u003c/p>\n\u003cp>“Majuli,” Poornima said out loud, slowly, as if tasting the word on her tongue.\u003c/p>\u003c/blockquote>\n\u003cp>Their reality, however, is starkly different. There is a passage I cannot get out of my head. In it, Poornima overhears her father telling a story to a matchmaker about when she was just one year old:\u003c/p>\n\u003cblockquote>\u003cp>It had been the day of her mundane, the offering of a baby’s hair to the gods, and afterward, they’d found a covered spot, a fisherman’s palm frond shelter, on the shores of the Krishna. According to her father, while they had been busy laying out the lunch, Poornima had squirmed away. Straight into the water, her father said… Within seconds, he continued, she was up to her neck. Her mother panicked. I jumped up and ran as fast as I could. It was only a few steps, but it seemed to take ages. Ages…\u003c/p>\n\u003caside class=\"pullquote alignright\">Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003cbr>\n\u003c/aside>\n\u003cp>When I got near the waterline though, he said, I stopped. I know I should’ve plucked her up and given her a slap, but I couldn’t. You see, he said, she looked like she was nothing. Just a piece of debris… I was standing there, and I was thinking. I was thinking: She’s just a girl. Let her go. By then, her mother had come up from behind me, and she’d snatched her out. Poornima was crying, he said, her mother was crying, too. Maybe they both knew what I had thought… And then her father let out a little laugh. “That’s the thing with girls, isn’t it?” he said. “Whenever they stand on the edge of something, you can’t help it, you can’t. You think, Push. That’s all it would take. Just one little push.”\u003c/p>\u003c/blockquote>\n\u003cp>In \u003cem>Girls Burn Brighter,\u003c/em> girls are negative goods one must get rid of, and in order to do so, a father must pay a high price for the favor of being able to unload his daughter onto someone else. Savitha and Poornima seek to survive, and they survive through each other in this beautifully written page-turner of a novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For all its incandescence, this book is one where the fall-out is too neat. The last chunk offers a narrative where plot pieces fall into place too predictably, which grinds against the free chaos present in the rest of the book.\u003c/p>\n\u003cp>Be that as it may, Rao’s debut is a high achievement. These that follow are the thoughts of Savitha, but they describe how aptly Rao has portrayed patriarchal societies: “Every moment in a woman’s life was a deal, a deal for her body: first for its blooming and then for its wilting; first for her bleeding and then for her virginity and then for her bearing (counting only the sons) and then for her widowing.”\u003c/p>\n\u003cp>In \u003cem>Girls Burn Brighter \u003c/em>two friends rail in every small way they are able against such patriarchal structures. \u003cem>And\u003c/em> they save themselves.\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>Shobha Rao celebrates the release of ‘Girls Burn Brighter’ at City Lights (261 Columbus Ave., San Francisco) on March 6 at 7pm. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3121\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in women’s lives I think about a lot — the turning from girlhood to womanhood. This becoming is an urgent transition, but it is more damaging for some than others. Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003c/p>\n\u003cp>\u003cem>Girls Burn Brighter\u003c/em> is the kind of book you open and fall into. This is the confident, assured debut from San Francisco-based Shobha Rao. Taking place in India, \u003cem>Girls Burn Brighter \u003c/em>is about a fast and easy friendship between two girls, Poornima and Savitha; the terrible and wide-ranging binds of caste and misogyny; and all the ways female ambition and friendship can tear a hole in the fabric of the patriarchy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13825079\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/GirlsBurnBrighter_Bookshot_WEB.jpg\" alt=\"\" width=\"400\" height=\"675\">\u003c/p>\n\u003cp>Savitha works the loom at Poornima’s father’s workshop. The girls get together before and in between Savitha’s work to chat, to eat together, be together — they are inseparable. They dream of a place Savitha once heard described by an older woman at the market; a place where a flute plays everywhere you go.\u003c/p>\n\u003cblockquote>\u003cp>“You know how Krishna plays the flute for his Radha, wooing her at twilight…? That is the sound of the island. Flute song. Everywhere you go there are [fruit], and there is flute song. Following you like a lover.”\u003c/p>\n\u003cp>“That’s what she said?”\u003c/p>\n\u003cp>“Yes.”\u003c/p>\n\u003cp>Poornima was silent. “What’s the name of the island?”\u003c/p>\n\u003cp>“Majuli.”\u003c/p>\n\u003cp>“Majuli,” Poornima said out loud, slowly, as if tasting the word on her tongue.\u003c/p>\u003c/blockquote>\n\u003cp>Their reality, however, is starkly different. There is a passage I cannot get out of my head. In it, Poornima overhears her father telling a story to a matchmaker about when she was just one year old:\u003c/p>\n\u003cblockquote>\u003cp>It had been the day of her mundane, the offering of a baby’s hair to the gods, and afterward, they’d found a covered spot, a fisherman’s palm frond shelter, on the shores of the Krishna. According to her father, while they had been busy laying out the lunch, Poornima had squirmed away. Straight into the water, her father said… Within seconds, he continued, she was up to her neck. Her mother panicked. I jumped up and ran as fast as I could. It was only a few steps, but it seemed to take ages. Ages…\u003c/p>\n\u003caside class=\"pullquote alignright\">Even the smallest sign of crossing into female adulthood can trigger the age-old treatment of women as if they were goods.\u003cbr>\n\u003c/aside>\n\u003cp>When I got near the waterline though, he said, I stopped. I know I should’ve plucked her up and given her a slap, but I couldn’t. You see, he said, she looked like she was nothing. Just a piece of debris… I was standing there, and I was thinking. I was thinking: She’s just a girl. Let her go. By then, her mother had come up from behind me, and she’d snatched her out. Poornima was crying, he said, her mother was crying, too. Maybe they both knew what I had thought… And then her father let out a little laugh. “That’s the thing with girls, isn’t it?” he said. “Whenever they stand on the edge of something, you can’t help it, you can’t. You think, Push. That’s all it would take. Just one little push.”\u003c/p>\u003c/blockquote>\n\u003cp>In \u003cem>Girls Burn Brighter,\u003c/em> girls are negative goods one must get rid of, and in order to do so, a father must pay a high price for the favor of being able to unload his daughter onto someone else. Savitha and Poornima seek to survive, and they survive through each other in this beautifully written page-turner of a novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For all its incandescence, this book is one where the fall-out is too neat. The last chunk offers a narrative where plot pieces fall into place too predictably, which grinds against the free chaos present in the rest of the book.\u003c/p>\n\u003cp>Be that as it may, Rao’s debut is a high achievement. These that follow are the thoughts of Savitha, but they describe how aptly Rao has portrayed patriarchal societies: “Every moment in a woman’s life was a deal, a deal for her body: first for its blooming and then for its wilting; first for her bleeding and then for her virginity and then for her bearing (counting only the sons) and then for her widowing.”\u003c/p>\n\u003cp>In \u003cem>Girls Burn Brighter \u003c/em>two friends rail in every small way they are able against such patriarchal structures. \u003cem>And\u003c/em> they save themselves.\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>Shobha Rao celebrates the release of ‘Girls Burn Brighter’ at City Lights (261 Columbus Ave., San Francisco) on March 6 at 7pm. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3121\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reading Ginsberg's 'Howl' in the Wake of the Florida School Shooting",
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"content": "\u003cp>For years, poet Tenaya Nasser-Frederick avoided “\u003ca href=\"https://www.poetryfoundation.org/poems/49303/howl\">Howl\u003c/a>.”\u003c/p>\n\u003cp>“I just stayed away from poets like Allen Ginsberg, because they were too popular,” Nasser-Frederick says. “I didn’t need to read them. Everyone else read them.”\u003c/p>\n\u003cp>But right now, the 24-year-old California native finds the work arresting.\u003c/p>\n\u003cfigure id=\"attachment_13825302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg\" alt=\"San Francisco-born Poet Tenaya Nasser-Frederick was turned on to 'Howl' recently.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-520x319.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551.jpg 1745w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born Poet Tenaya Nasser-Frederick was turned on to ‘Howl’ recently. \u003ccite>(Photo: Jackson Meazle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the \u003ca href=\"https://ww2.kqed.org/forum/2018/02/14/shooting-at-high-school-in-broward-county-florida-leaves-at-least-seventeen-dead/\" target=\"_blank\" rel=\"noopener\">recent school shooting\u003c/a> in Florida, he’s especially floored by Ginsberg’s looming image of the murderous Biblical god Moloch in the poem’s second section.\u003c/p>\n\u003cp>“The fact that you have this metaphor for the military-industrial complex being a god of child sacrifice,” Nasser-Frederick says. “It just hits you over the head with how pertinent that is this past week.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friday sees the re-release by \u003ca href=\"http://www.concordmusicgroup.com/labels/craft-recordings/\">Craft Recordings\u003c/a> of Ginsberg reciting the work in a \u003ca href=\"https://ww2.kqed.org/arts/2018/02/20/railing-against-fascism-and-compacency-howl-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">deluxe vinyl box set\u003c/a> with new liner notes, a replica of the original Pocket Poets’ edition of “Howl,” and other ephemera.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Allen Ginsberg reads \"Howl,\" (Big Table Chicago Reading, 1959)' width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/WkNp56UZax4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>By the time the poem was recorded in 1959, “Howl” had chalked a win for free speech when a California Superior Court judge ruled in favor of the violent, sexually-charged poem in a highly-publicized obscenity trial.\u003c/p>\n\u003cp>“It was a groundbreaking case that led the way for other kinds of literature and, to a certain extent, recordings being acceptable on the marketplace because they were products of censorship,” says Bill Belmont, who produced the original recording for Berkeley’s Fantasy Records. (The label would later issue several LPs by comedian Lenny Bruce.)\u003c/p>\n\u003cfigure id=\"attachment_13825257\" class=\"wp-caption alignright\" style=\"max-width: 506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13825257\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg\" alt=\"The 'Howl' obscenity trial.\" width=\"506\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-375x282.jpg 375w\" sizes=\"(max-width: 506px) 100vw, 506px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Howl’ obscenity trial. \u003ccite>(Photo: Courtesy of City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The written work, published in the collection \u003cem>Howl and Other Poems\u003c/em> by San Francisco’s City Lights, has sold more than 1.2 million copies since its release in 1956. “It’s been a consistent seller for us,” says Garrett Caples, an editor at City Lights.\u003c/p>\n\u003cp>And it continues to speak to the younger generation in this moment, six decades on.\u003c/p>\n\u003cp>Unlike Nasser-Frederick, 31-year-old poetry teacher Sam Sax has long been a “Howl” groupie. Having mentored many Bay Area youth poets, Sax now lives in New York.\u003c/p>\n\u003cfigure id=\"attachment_13825262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825262 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg\" alt=\"Poetry teacher Sam Sax who's long been a fan of "Howl".\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1920x1343.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poetry teacher Sam Sax, a longtime fan of ‘Howl.’ \u003ccite>(Photo: Hollis Rafkin-Sax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Howl’ was extremely formative to me in my early writing life,” Sax says. “It was the first time I heard a queer poet reading queer poems.”\u003c/p>\n\u003cp>Sax says “Howl” hasn’t entirely stood the test of time. He points to Ginsberg’s famous opening lines:\u003c/p>\n\u003cp>\u003cem>I saw the best minds of my generation destroyed by madness, starving hysterical naked,\u003cbr>\n\u003c/em>\u003cem>dragging themselves through the negro streets at dawn looking for an angry fix.\u003c/em>\u003c/p>\n\u003cp>“The ‘negro streets’ feels very much a product of the 1950s,” Sax says. “And now when we read it, it feels super out of place and racist.”\u003c/p>\n\u003cfigure id=\"attachment_13824750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg\" alt=\"Allen Ginsberg at his typewriter, date unknown.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Ginsberg at his typewriter, date unknown. \u003ccite>(Courtesy Allen Ginsberg Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a time when the far right has tried to co-opt the free speech movement, Sax admires the ways “Howl” continues to resonate today, as people across the political spectrum feel like their first amendment rights are under fire.\u003c/p>\n\u003cp>“There’s never been a time in my life where I’ve seen poetry as potentially challenging to current politics and current modes methods of violence,” Sax says. “So I think speech at this moment, and particularly a poem, can be more dangerous now than it has ever been.”\u003c/p>\n\u003cp>\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\n",
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"title": "Reading Ginsberg's 'Howl' in the Wake of the Florida School Shooting | KQED",
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"headline": "Reading Ginsberg's 'Howl' in the Wake of the Florida School Shooting",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years, poet Tenaya Nasser-Frederick avoided “\u003ca href=\"https://www.poetryfoundation.org/poems/49303/howl\">Howl\u003c/a>.”\u003c/p>\n\u003cp>“I just stayed away from poets like Allen Ginsberg, because they were too popular,” Nasser-Frederick says. “I didn’t need to read them. Everyone else read them.”\u003c/p>\n\u003cp>But right now, the 24-year-old California native finds the work arresting.\u003c/p>\n\u003cfigure id=\"attachment_13825302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg\" alt=\"San Francisco-born Poet Tenaya Nasser-Frederick was turned on to 'Howl' recently.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-520x319.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551.jpg 1745w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born Poet Tenaya Nasser-Frederick was turned on to ‘Howl’ recently. \u003ccite>(Photo: Jackson Meazle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the \u003ca href=\"https://ww2.kqed.org/forum/2018/02/14/shooting-at-high-school-in-broward-county-florida-leaves-at-least-seventeen-dead/\" target=\"_blank\" rel=\"noopener\">recent school shooting\u003c/a> in Florida, he’s especially floored by Ginsberg’s looming image of the murderous Biblical god Moloch in the poem’s second section.\u003c/p>\n\u003cp>“The fact that you have this metaphor for the military-industrial complex being a god of child sacrifice,” Nasser-Frederick says. “It just hits you over the head with how pertinent that is this past week.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friday sees the re-release by \u003ca href=\"http://www.concordmusicgroup.com/labels/craft-recordings/\">Craft Recordings\u003c/a> of Ginsberg reciting the work in a \u003ca href=\"https://ww2.kqed.org/arts/2018/02/20/railing-against-fascism-and-compacency-howl-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">deluxe vinyl box set\u003c/a> with new liner notes, a replica of the original Pocket Poets’ edition of “Howl,” and other ephemera.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Allen Ginsberg reads \"Howl,\" (Big Table Chicago Reading, 1959)' width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/WkNp56UZax4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>By the time the poem was recorded in 1959, “Howl” had chalked a win for free speech when a California Superior Court judge ruled in favor of the violent, sexually-charged poem in a highly-publicized obscenity trial.\u003c/p>\n\u003cp>“It was a groundbreaking case that led the way for other kinds of literature and, to a certain extent, recordings being acceptable on the marketplace because they were products of censorship,” says Bill Belmont, who produced the original recording for Berkeley’s Fantasy Records. (The label would later issue several LPs by comedian Lenny Bruce.)\u003c/p>\n\u003cfigure id=\"attachment_13825257\" class=\"wp-caption alignright\" style=\"max-width: 506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13825257\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg\" alt=\"The 'Howl' obscenity trial.\" width=\"506\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-375x282.jpg 375w\" sizes=\"(max-width: 506px) 100vw, 506px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Howl’ obscenity trial. \u003ccite>(Photo: Courtesy of City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The written work, published in the collection \u003cem>Howl and Other Poems\u003c/em> by San Francisco’s City Lights, has sold more than 1.2 million copies since its release in 1956. “It’s been a consistent seller for us,” says Garrett Caples, an editor at City Lights.\u003c/p>\n\u003cp>And it continues to speak to the younger generation in this moment, six decades on.\u003c/p>\n\u003cp>Unlike Nasser-Frederick, 31-year-old poetry teacher Sam Sax has long been a “Howl” groupie. Having mentored many Bay Area youth poets, Sax now lives in New York.\u003c/p>\n\u003cfigure id=\"attachment_13825262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825262 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg\" alt=\"Poetry teacher Sam Sax who's long been a fan of "Howl".\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1920x1343.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poetry teacher Sam Sax, a longtime fan of ‘Howl.’ \u003ccite>(Photo: Hollis Rafkin-Sax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Howl’ was extremely formative to me in my early writing life,” Sax says. “It was the first time I heard a queer poet reading queer poems.”\u003c/p>\n\u003cp>Sax says “Howl” hasn’t entirely stood the test of time. He points to Ginsberg’s famous opening lines:\u003c/p>\n\u003cp>\u003cem>I saw the best minds of my generation destroyed by madness, starving hysterical naked,\u003cbr>\n\u003c/em>\u003cem>dragging themselves through the negro streets at dawn looking for an angry fix.\u003c/em>\u003c/p>\n\u003cp>“The ‘negro streets’ feels very much a product of the 1950s,” Sax says. “And now when we read it, it feels super out of place and racist.”\u003c/p>\n\u003cfigure id=\"attachment_13824750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg\" alt=\"Allen Ginsberg at his typewriter, date unknown.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Ginsberg at his typewriter, date unknown. \u003ccite>(Courtesy Allen Ginsberg Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a time when the far right has tried to co-opt the free speech movement, Sax admires the ways “Howl” continues to resonate today, as people across the political spectrum feel like their first amendment rights are under fire.\u003c/p>\n\u003cp>“There’s never been a time in my life where I’ve seen poetry as potentially challenging to current politics and current modes methods of violence,” Sax says. “So I think speech at this moment, and particularly a poem, can be more dangerous now than it has ever been.”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"slug": "railing-against-fascism-and-compacency-howl-relevant-as-ever",
"title": "Railing Against Fascism and Complacency, 'Howl' Relevant as Ever",
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"content": "\u003cp>“Hold back the edges of your gowns, Ladies, we are going through hell.”\u003c/p>\n\u003cp>This is how William Carlos Williams introduced “Howl,” the landmark work by Allen Ginsberg, in its November 1956 printing by Lawrence Ferlinghetti’s City Lights. The tiny book marked the first time its title poem — which famously went on to be the center of a 1957 obscenity trial in California State Superior Court — had been published. But “Howl” was already the stuff of legends, thanks to Ginsberg’s powerful live performances of the piece. After the first reading in 1955, at San Francisco’s Six Gallery (immortalized in Jack Kerouac’s \u003cem>Dharma Bums\u003c/em>), Ginsberg’s March 1956 performance of the poem at Berkeley’s Town Hall Theater was packed to the gills with fans.\u003c/p>\n\u003cp>“Ginsberg was a magnificent reader, even back then [in the early stages of his career],” says Garrett Caples, City Lights’ poetry editor. “He knew what he was doing in terms of oration, and he was obviously heavily influenced by jazz. He was just a marvelous performer.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WkNp56UZax4\u003c/p>\n\u003cp>If you’re not lucky enough to have ever seen Ginsberg live, however, there’s the next best thing: recordings. In early 1959, the poet read his famous piece and others at a benefit for a new literary magazine that had been born out of censorship at the University of Chicago. Later that year, Berkeley’s Fantasy Records pressed the recording to translucent red vinyl and released it as \u003cem>HOWL and Other Poems\u003c/em>. And nearly 60 years later, at a time when the poem’s impassioned cry against fascism and complacency is as relevant as ever, the poet is getting a posthumous reissue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Out Feb. 23 on Craft Recordings and feted with a Feb. 22 reception at City Lights’ iconic North Beach bookstore, the set includes Ginsberg’s readings on, yes, translucent red vinyl; a replica of the original Pocket Poets’ edition of \u003cem>Howl\u003c/em> — Caples notes it’s the first staple-bound book the publisher has put out in quite a while; a reproduction of the original City Lights invite to the 1956 reading; and a black-and-white photo of Ginsberg at his typewriter. (\u003ca href=\"https://en.wikipedia.org/wiki/Record_Store_Day\" target=\"_blank\" rel=\"noopener\">Record Store Day\u003c/a> is still a couple months away, but when you’re one of the most influential poets of the 20th century, you can apparently get your own deluxe reissue box set any day of the year.)\u003c/p>\n\u003cp>New, too, are liner notes by poet Anne Waldman, a peer of Ginsberg’s who was at his bedside when he died, and Ann Charters, a Beat scholar who writes of attending Ginsberg’s Berkeley reading of the title poem as a 19-year-old freshman at Cal.\u003c/p>\n\u003cfigure id=\"attachment_13824756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg\" alt=\"\" width=\"800\" height=\"615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1920x1477.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1180x908.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-960x738.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-520x400.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The new HOWL box set.\u003c/figcaption>\u003c/figure>\n\u003cp>But the audio itself, once you get it on a turntable, really needs no window dressing. In each poem — “Howl” is the centerpiece, but “Supermarket In California,” “America,” “Kaddish” and others are all searing — Ginsberg’s cadence, which has been compared to that of a cantor, is at once soothing and invigorating. His skill as a performer comes as no surprise, of course, to those aware of his impact on music: Bob Dylan, Patti Smith, the Clash, U2, and other musical icons have long cited Ginsberg’s work as an influence. In 1990, Philip Glass composed a chamber opera titled \u003cem>Hydrogen Jukebox\u003c/em> that was built around the poem.\u003c/p>\n\u003cp>In more recent years, the poem’s impact has hardly faded from pop culture. The 2010 movie \u003cem>Howl\u003c/em> explored the Six Gallery reading and obscenity trial, with James Franco portraying the poet. In 2015, at a \u003ca href=\"https://www.npr.org/2015/04/12/399159190/i-saw-the-all-stars-of-our-generation-honor-allen-ginsbergs-howl\" target=\"_blank\" rel=\"noopener\">Los Angeles event celebrating the poem’s 50th anniversary\u003c/a>, Courtney Love, Peaches, Devendra Banhart, and Nick Cave all performed in tribute, while Amy Poehler and Chris Parnell collaborated with producer Mocean Worker to turn Ginsberg’s “Ballad of the Skeletons” into a hip-hop song. (The lineage between rhythmically performed spoken-word poetry and modern-day rap has, of course, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=131125923\">been well-documented\u003c/a>.)\u003c/p>\n\u003cp>It’s not hard to see why the poet’s work has held up, to say the least: On the 1959 recording, Ginsberg’s empathy comes across in stereo. His words are bold and unflinching, yet simultaneously self-effacing and humble. Which is to say, his poetry is terrifically human; not to mention brave, even before one considers the implications of writing about gay sex, drugs, and communism in the height of red scare-America.\u003c/p>\n\u003cp>“If you had to reduce the 20th century to two English poems it’d be [T.S. Eliot’s] ‘The Waste Land’ in the first half and ‘Howl’ in the second,” says Caples. “It was epoch-shifting. How seldom that a work of art’s influence is this thoroughgoing… and we’re still reaping the benefits.”\u003c/p>\n\u003cfigure id=\"attachment_13824758\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\" alt=\"\" width=\"750\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-520x323.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A reprint of the original invitation to the first reading of HOWL in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>The other poems on the record weren’t actually published until 1961, he notes, meaning they existed as part of an “oral audio object” for mass consumption before they were available to read — and provided a peek into where Ginsberg’s writing was going at the time, as well.\u003c/p>\n\u003cp>Ginsberg’s death in 1997 from liver cancer wasn’t just a loss for the poetry world, says Caples, when I mention wishing the writer were around to respond to our current political moment.\u003c/p>\n\u003cp>“It was a loss to American culture,” he says, noting he actually takes some comfort in the persistent germaneness of the poem’s themes — it shows that what we’re dealing with isn’t entirely new. “There aren’t many poets in America that people would bother to turn to for their take on world events.”\u003c/p>\n\u003cp>Caples will speak at the City Lights event, alongside Charters, San Francisco Poet Laureate Kim Schuck, poet Neeli Cherkovski, and Bill Belmont, who produced the box set. Present in the air in the bookstore and in the spaces between the words of “Howl,” of course, will be \u003ca href=\"https://ww2.kqed.org/news/2015/03/03/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Lawrence Ferlinghetti\u003c/a>, who provided a physical center for Beat writers with his bookshop and a platform with his publishing house. Ferlinghetti was the one arrested in 1957 on charges of printing and selling lewd and indecent material; at 98, he’s one of the few members of the Beat generation who can tell its stories firsthand.\u003c/p>\n\u003cp>“We are kind of spoiled in that sense,” says Caples. “We still have Lawrence Ferlinghetti.”\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>A reception for the reissue of ‘Howl’ on vinyl takes place at 7pm on Thursday, Feb. 22 at City Lights Bookstore, 261 Columbus Ave. in San Francisco. Free; \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3132\" target=\"_blank\" rel=\"noopener\">click here for more info\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Railing Against Fascism and Complacency, 'Howl' Relevant as Ever | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Hold back the edges of your gowns, Ladies, we are going through hell.”\u003c/p>\n\u003cp>This is how William Carlos Williams introduced “Howl,” the landmark work by Allen Ginsberg, in its November 1956 printing by Lawrence Ferlinghetti’s City Lights. The tiny book marked the first time its title poem — which famously went on to be the center of a 1957 obscenity trial in California State Superior Court — had been published. But “Howl” was already the stuff of legends, thanks to Ginsberg’s powerful live performances of the piece. After the first reading in 1955, at San Francisco’s Six Gallery (immortalized in Jack Kerouac’s \u003cem>Dharma Bums\u003c/em>), Ginsberg’s March 1956 performance of the poem at Berkeley’s Town Hall Theater was packed to the gills with fans.\u003c/p>\n\u003cp>“Ginsberg was a magnificent reader, even back then [in the early stages of his career],” says Garrett Caples, City Lights’ poetry editor. “He knew what he was doing in terms of oration, and he was obviously heavily influenced by jazz. He was just a marvelous performer.”\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/WkNp56UZax4'\n title='//www.youtube.com/embed/WkNp56UZax4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’re not lucky enough to have ever seen Ginsberg live, however, there’s the next best thing: recordings. In early 1959, the poet read his famous piece and others at a benefit for a new literary magazine that had been born out of censorship at the University of Chicago. Later that year, Berkeley’s Fantasy Records pressed the recording to translucent red vinyl and released it as \u003cem>HOWL and Other Poems\u003c/em>. And nearly 60 years later, at a time when the poem’s impassioned cry against fascism and complacency is as relevant as ever, the poet is getting a posthumous reissue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Out Feb. 23 on Craft Recordings and feted with a Feb. 22 reception at City Lights’ iconic North Beach bookstore, the set includes Ginsberg’s readings on, yes, translucent red vinyl; a replica of the original Pocket Poets’ edition of \u003cem>Howl\u003c/em> — Caples notes it’s the first staple-bound book the publisher has put out in quite a while; a reproduction of the original City Lights invite to the 1956 reading; and a black-and-white photo of Ginsberg at his typewriter. (\u003ca href=\"https://en.wikipedia.org/wiki/Record_Store_Day\" target=\"_blank\" rel=\"noopener\">Record Store Day\u003c/a> is still a couple months away, but when you’re one of the most influential poets of the 20th century, you can apparently get your own deluxe reissue box set any day of the year.)\u003c/p>\n\u003cp>New, too, are liner notes by poet Anne Waldman, a peer of Ginsberg’s who was at his bedside when he died, and Ann Charters, a Beat scholar who writes of attending Ginsberg’s Berkeley reading of the title poem as a 19-year-old freshman at Cal.\u003c/p>\n\u003cfigure id=\"attachment_13824756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg\" alt=\"\" width=\"800\" height=\"615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1920x1477.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-1180x908.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-960x738.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot-520x400.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Pack-Shot.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The new HOWL box set.\u003c/figcaption>\u003c/figure>\n\u003cp>But the audio itself, once you get it on a turntable, really needs no window dressing. In each poem — “Howl” is the centerpiece, but “Supermarket In California,” “America,” “Kaddish” and others are all searing — Ginsberg’s cadence, which has been compared to that of a cantor, is at once soothing and invigorating. His skill as a performer comes as no surprise, of course, to those aware of his impact on music: Bob Dylan, Patti Smith, the Clash, U2, and other musical icons have long cited Ginsberg’s work as an influence. In 1990, Philip Glass composed a chamber opera titled \u003cem>Hydrogen Jukebox\u003c/em> that was built around the poem.\u003c/p>\n\u003cp>In more recent years, the poem’s impact has hardly faded from pop culture. The 2010 movie \u003cem>Howl\u003c/em> explored the Six Gallery reading and obscenity trial, with James Franco portraying the poet. In 2015, at a \u003ca href=\"https://www.npr.org/2015/04/12/399159190/i-saw-the-all-stars-of-our-generation-honor-allen-ginsbergs-howl\" target=\"_blank\" rel=\"noopener\">Los Angeles event celebrating the poem’s 50th anniversary\u003c/a>, Courtney Love, Peaches, Devendra Banhart, and Nick Cave all performed in tribute, while Amy Poehler and Chris Parnell collaborated with producer Mocean Worker to turn Ginsberg’s “Ballad of the Skeletons” into a hip-hop song. (The lineage between rhythmically performed spoken-word poetry and modern-day rap has, of course, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=131125923\">been well-documented\u003c/a>.)\u003c/p>\n\u003cp>It’s not hard to see why the poet’s work has held up, to say the least: On the 1959 recording, Ginsberg’s empathy comes across in stereo. His words are bold and unflinching, yet simultaneously self-effacing and humble. Which is to say, his poetry is terrifically human; not to mention brave, even before one considers the implications of writing about gay sex, drugs, and communism in the height of red scare-America.\u003c/p>\n\u003cp>“If you had to reduce the 20th century to two English poems it’d be [T.S. Eliot’s] ‘The Waste Land’ in the first half and ‘Howl’ in the second,” says Caples. “It was epoch-shifting. How seldom that a work of art’s influence is this thoroughgoing… and we’re still reaping the benefits.”\u003c/p>\n\u003cfigure id=\"attachment_13824758\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-1.png\" alt=\"\" width=\"750\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-1-520x323.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A reprint of the original invitation to the first reading of HOWL in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>The other poems on the record weren’t actually published until 1961, he notes, meaning they existed as part of an “oral audio object” for mass consumption before they were available to read — and provided a peek into where Ginsberg’s writing was going at the time, as well.\u003c/p>\n\u003cp>Ginsberg’s death in 1997 from liver cancer wasn’t just a loss for the poetry world, says Caples, when I mention wishing the writer were around to respond to our current political moment.\u003c/p>\n\u003cp>“It was a loss to American culture,” he says, noting he actually takes some comfort in the persistent germaneness of the poem’s themes — it shows that what we’re dealing with isn’t entirely new. “There aren’t many poets in America that people would bother to turn to for their take on world events.”\u003c/p>\n\u003cp>Caples will speak at the City Lights event, alongside Charters, San Francisco Poet Laureate Kim Schuck, poet Neeli Cherkovski, and Bill Belmont, who produced the box set. Present in the air in the bookstore and in the spaces between the words of “Howl,” of course, will be \u003ca href=\"https://ww2.kqed.org/news/2015/03/03/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Lawrence Ferlinghetti\u003c/a>, who provided a physical center for Beat writers with his bookshop and a platform with his publishing house. Ferlinghetti was the one arrested in 1957 on charges of printing and selling lewd and indecent material; at 98, he’s one of the few members of the Beat generation who can tell its stories firsthand.\u003c/p>\n\u003cp>“We are kind of spoiled in that sense,” says Caples. “We still have Lawrence Ferlinghetti.”\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A reception for the reissue of ‘Howl’ on vinyl takes place at 7pm on Thursday, Feb. 22 at City Lights Bookstore, 261 Columbus Ave. in San Francisco. Free; \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=3132\" target=\"_blank\" rel=\"noopener\">click here for more info\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-powerful-harrowing-look-at-the-border-through-an-agents-eyes",
"title": "A Powerful, Harrowing Look at the Border Through an Agent's Eyes",
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"content": "\u003cp>We may think of the U.S.-Mexico border as a solid boundary, but where it is marked by the erosion-prone Rio Grande, “the border, no matter how painstakingly fixed upon the land, [changes] its course [endlessly] with the whims of [the] river,” writes poet, academic, and former U.S. Border Patrol agent Francisco Cantú in his debut memoir, \u003cem>The Line Becomes a River\u003c/em>.\u003c/p>\n\u003cp>A son of immigrants himself, Cantú became a Border Patrol agent to learn about the border firsthand after graduating college. Your response to his decision probably mirrors his mother’s, who told him, simply: “Are you crazy? There are a hundred other ways of knowing a place.”\u003c/p>\n\u003cp>Cantú tells her that there’s something at the border he can’t look away from. He tells her of his plan to study the problems of the border and then quit after a few years so that, having been on the inside and experienced the border from all angles, he could shape more humane immigration policy.\u003c/p>\n\u003cp>What Cantú fails to realize (and his mother immediately comprehends) is that the knowledge he sought would come at a cost, and that Cantú would become someone she would no longer be able to recognize in the process.\u003c/p>\n\u003cfigure id=\"attachment_13823977\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13823977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs.jpg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of the Rio Grande. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>A poetic treatise on the making of the border, the indomitability of the desert, and the nightmare-inducing experience of collecting dead bodies and surviving migrants for “voluntary” deportation — this is a book I have long been waiting for. It offers a multitudinous experience of the border — the border as an abstraction, the border as poetic symbol, the border as a real force of devastation, the border as a place that consumes Cantú with guilt and upends all plans he had for himself after the experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As he went through his patrol training, Cantú watched as his body became a tool. But his resolve to experience the border was unshakeable. Once, during shooting practice, as a bird landed on his target. He shot at the bird wanting to prove to himself that he could take a life: “I walked over and picked up its body and in my hands the dead animal seemed weightless,” he writes. “I rubbed its yellow feathers with my fingertip. I began to feel sick and I wondered, for one brief moment, if I was going insane.”\u003c/p>\n\u003cp>He dug a small hole to bury the bird. The beauty of this memoir is that Cantú remains sensitive and discerning even while he is undergoing the transformation into an agent. And yet the change is there, and it is chilling:\u003c/p>\n\u003cblockquote>\u003cp>Of course, what you do depends on who you’re with, depends on what kind of agent you are… but it’s true that we slash their bottles and drain their water into the dry earth, that we dump their backpacks and pile their food and clothes to be crushed and pissed on and stepped over, strewn across the desert and set ablaze. And Christ, it sounds terrible, and maybe it is, but the idea is that when they come out from their hiding places…to find their stockpiles ransacked and stripped, they’ll realize their situation… that it’s hopeless to continue, and they’ll quit right then and there, they’ll save themselves and struggle toward the nearest highway or dirt road to flag down some passing agent…—that’s the idea, the sense in it all.\u003c/p>\n\u003cp>But still, I have nightmares, visions of them staggering through the desert, men from Michoacán, from places I’ve known, men lost and wandering without food or water, dying slowly as they look for some road, some village, some way out. In my dreams I seek them out, searching in vain until finally I discover their bodies lying facedown on the ground before me, dead and stinking on the desert floor, human waypoints in a vast and smoldering expanse.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823981 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg\" alt=\"\" width=\"463\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-240x363.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-375x567.jpeg 375w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>At the border, Cantú encounters drug mules, and he hears of migrants who’ve been kidnapped by their smugglers until their family pays extortion. He encounters children, teenagers, couples, desperate to provide a better future for their children, desperate to reunite with loved ones. He encounters migrants who’ve ran out of food and have collapsed, dead, in the desert.\u003c/p>\n\u003cp>During the downtime of patrol nights, Cantú observes the beautiful display of the desert’s inhospitality: the ground seething “with volcanic heat,” the glittering Milky Way above, and sometimes in the distance, lightning “like a line of hot neon, [illuminated] the desert in a shuddering white light.”\u003c/p>\n\u003cp>After quitting the Border Patrol, Cantú finds himself courting yet another aspect of the border. A friend who is undocumented is deported, and Cantú spends much of his time trying to help the family that the border has torn apart. The driving question of this memoir is whether one can be absolved of complicity, and if not, whether there is a place where one can hold that place of guilt. For readers, \u003cem>The Line Becomes a River\u003c/em>, offers a unique but hard look at what the border is really like, both for migrants and the people in charge of deporting them.\u003c/p>\n\u003cp>In this memoir, Cantú cites the poetry of Sara Uribe:\u003c/p>\n\u003cblockquote>\u003cp>Count them all.\u003c/p>\n\u003cp>Name them so as to say: this body could be mine.\u003c/p>\n\u003cp>The body of one of my own.\u003c/p>\n\u003cp>So as not to forget that all the bodies without names are our lost bodies.\u003c/p>\u003c/blockquote>\n\u003cp>It occurs to me this book tries to do just that: It attempts to count, it attempts to plea for all the lost bodies. \u003cem>The Line Becomes a River\u003c/em> is a powerful, harrowing view of the border — a no man’s land where no one returns the same.\u003c/p>\n\u003cp>Run, don’t walk, to your bookstore.\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>Francisco Cantú will be in conversation with R.O. Kwon at Green Apple Books (1231 9th Avenue in San Francisco) on Monday, February 19th at 7:30 p.m. More information \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-francisco-cant%C3%BA\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>The Spine is a bi-weekly column. Catch us back here in two weeks!\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We may think of the U.S.-Mexico border as a solid boundary, but where it is marked by the erosion-prone Rio Grande, “the border, no matter how painstakingly fixed upon the land, [changes] its course [endlessly] with the whims of [the] river,” writes poet, academic, and former U.S. Border Patrol agent Francisco Cantú in his debut memoir, \u003cem>The Line Becomes a River\u003c/em>.\u003c/p>\n\u003cp>A son of immigrants himself, Cantú became a Border Patrol agent to learn about the border firsthand after graduating college. Your response to his decision probably mirrors his mother’s, who told him, simply: “Are you crazy? There are a hundred other ways of knowing a place.”\u003c/p>\n\u003cp>Cantú tells her that there’s something at the border he can’t look away from. He tells her of his plan to study the problems of the border and then quit after a few years so that, having been on the inside and experienced the border from all angles, he could shape more humane immigration policy.\u003c/p>\n\u003cp>What Cantú fails to realize (and his mother immediately comprehends) is that the knowledge he sought would come at a cost, and that Cantú would become someone she would no longer be able to recognize in the process.\u003c/p>\n\u003cfigure id=\"attachment_13823977\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13823977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs.jpg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of the Rio Grande. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>A poetic treatise on the making of the border, the indomitability of the desert, and the nightmare-inducing experience of collecting dead bodies and surviving migrants for “voluntary” deportation — this is a book I have long been waiting for. It offers a multitudinous experience of the border — the border as an abstraction, the border as poetic symbol, the border as a real force of devastation, the border as a place that consumes Cantú with guilt and upends all plans he had for himself after the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As he went through his patrol training, Cantú watched as his body became a tool. But his resolve to experience the border was unshakeable. Once, during shooting practice, as a bird landed on his target. He shot at the bird wanting to prove to himself that he could take a life: “I walked over and picked up its body and in my hands the dead animal seemed weightless,” he writes. “I rubbed its yellow feathers with my fingertip. I began to feel sick and I wondered, for one brief moment, if I was going insane.”\u003c/p>\n\u003cp>He dug a small hole to bury the bird. The beauty of this memoir is that Cantú remains sensitive and discerning even while he is undergoing the transformation into an agent. And yet the change is there, and it is chilling:\u003c/p>\n\u003cblockquote>\u003cp>Of course, what you do depends on who you’re with, depends on what kind of agent you are… but it’s true that we slash their bottles and drain their water into the dry earth, that we dump their backpacks and pile their food and clothes to be crushed and pissed on and stepped over, strewn across the desert and set ablaze. And Christ, it sounds terrible, and maybe it is, but the idea is that when they come out from their hiding places…to find their stockpiles ransacked and stripped, they’ll realize their situation… that it’s hopeless to continue, and they’ll quit right then and there, they’ll save themselves and struggle toward the nearest highway or dirt road to flag down some passing agent…—that’s the idea, the sense in it all.\u003c/p>\n\u003cp>But still, I have nightmares, visions of them staggering through the desert, men from Michoacán, from places I’ve known, men lost and wandering without food or water, dying slowly as they look for some road, some village, some way out. In my dreams I seek them out, searching in vain until finally I discover their bodies lying facedown on the ground before me, dead and stinking on the desert floor, human waypoints in a vast and smoldering expanse.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823981 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg\" alt=\"\" width=\"463\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-240x363.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-375x567.jpeg 375w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>At the border, Cantú encounters drug mules, and he hears of migrants who’ve been kidnapped by their smugglers until their family pays extortion. He encounters children, teenagers, couples, desperate to provide a better future for their children, desperate to reunite with loved ones. He encounters migrants who’ve ran out of food and have collapsed, dead, in the desert.\u003c/p>\n\u003cp>During the downtime of patrol nights, Cantú observes the beautiful display of the desert’s inhospitality: the ground seething “with volcanic heat,” the glittering Milky Way above, and sometimes in the distance, lightning “like a line of hot neon, [illuminated] the desert in a shuddering white light.”\u003c/p>\n\u003cp>After quitting the Border Patrol, Cantú finds himself courting yet another aspect of the border. A friend who is undocumented is deported, and Cantú spends much of his time trying to help the family that the border has torn apart. The driving question of this memoir is whether one can be absolved of complicity, and if not, whether there is a place where one can hold that place of guilt. For readers, \u003cem>The Line Becomes a River\u003c/em>, offers a unique but hard look at what the border is really like, both for migrants and the people in charge of deporting them.\u003c/p>\n\u003cp>In this memoir, Cantú cites the poetry of Sara Uribe:\u003c/p>\n\u003cblockquote>\u003cp>Count them all.\u003c/p>\n\u003cp>Name them so as to say: this body could be mine.\u003c/p>\n\u003cp>The body of one of my own.\u003c/p>\n\u003cp>So as not to forget that all the bodies without names are our lost bodies.\u003c/p>\u003c/blockquote>\n\u003cp>It occurs to me this book tries to do just that: It attempts to count, it attempts to plea for all the lost bodies. \u003cem>The Line Becomes a River\u003c/em> is a powerful, harrowing view of the border — a no man’s land where no one returns the same.\u003c/p>\n\u003cp>Run, don’t walk, to your bookstore.\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>Francisco Cantú will be in conversation with R.O. Kwon at Green Apple Books (1231 9th Avenue in San Francisco) on Monday, February 19th at 7:30 p.m. More information \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-francisco-cant%C3%BA\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>The Spine is a bi-weekly column. Catch us back here in two weeks!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "on-the-air-cy-and-marcs-do-list-picks-for-feb-9-2018",
"title": "On the Air: Cy and Marc's Do List Picks for Feb. 9, 2018",
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"content": "\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" 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"excerpt": "The Do List's Cy Musiker is joined by Marc Bamuthi Joseph to talk 'Black Panther,' Shabazz Palaces, 'Born Yesterday,' Sonya Renee Taylor and more.",
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"title": "On the Air: Cy and Marc's Do List Picks for Feb. 9, 2018 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"slug": "mira-t-lees-debut-novel-captures-how-sibling-relationships-change",
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"content": "\u003cp>Mira T. Lee’s debut novel, \u003cem>Everything Here is Beautiful\u003c/em>, is a moving puzzle of the ways loved ones try and fail to read one another — and how mental illness and the immigrant experience complicate those relationships. Told in alternating points of view, this is a story of two sisters who grapple with their decisions to preserve themselves and each other.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13820013 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ehib_thumb.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ehib_thumb.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ehib_thumb-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ehib_thumb-240x362.jpg 240w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003c/p>\n\u003cp>Lee’s prose is economical, sharp, and piercing. But the reason I enjoyed this smarting book is for its sixth sense in portraying the bond between two sisters who are nothing like one another, and how that disparity can transition into distance.\u003c/p>\n\u003cp>While there is exuberance and joy in the telling, that particular toll of doom rings from the first pages:\u003c/p>\n\u003cblockquote>\u003cp>A summer day in New Jersey. A house with a yard. The younger one, four, likes to fold her body over the seat of her swing, observe the world from upside down. She circles her feet, twists the pair of steel ropes until they’re all the way wound. She kicks up her legs. The swing spins. She likes the sensation of dizziness.\u003c/p>\n\u003cp>The older one, eleven, in the kitchen, chops ginger and scallions, puts on the rice. Sets out a small plate of pickled radishes.\u003c/p>\u003c/blockquote>\n\u003cp>Lucia is carefree, enigmatic, intuitive — or as described by her mother, “restless, wild, born on American soil.” Jie, born in China, is responsible and practical — if only because the family’s sudden emigration puts her in that position. Early on, I loved Lee’s portrayal of sisterly giddiness, as in this line of Lucia speaking to Jie:\u003c/p>\n\u003cblockquote>\u003cp>We’ll be roommates someday in an old folk’s home! We’ll be cranky and play bridge and complain to the nurses about our hemorrhoids. Ha, ha, when you’re eighty I’ll only be seventy-three!\u003c/p>\u003c/blockquote>\n\u003cp>This dialogue takes place after their mother’s death, when the sisters’ grief becomes a strange exhaustion. The scene is a testament to Lee’s ability to ring out candor and hidden depths from the most unexpected places.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet as Lucia and Jie age, their roles calcify — one caretaker, the other victim; one reliable, the other unpredictable.\u003c/p>\n\u003cp>From scene to scene, in the great accumulation of wrongs that can span college, marriage, separation, pregnancy, new jobs, moves to Ecuador or Switzerland, depression, frustration, and illness, the gradual separation of the sisters gathers a haunting tone.\u003c/p>\n\u003cp>Probably the great coup of this book is in its round portrayal of Lucia — as she is seen by her sister, her lovers, and as she sees herself (both when she is in and out of the grips of schizophrenia).\u003c/p>\n\u003cp>In stable periods Lucia is keen and observant:\u003c/p>\n\u003cblockquote>\u003cp>…I met Yonah and fell in love.\u003c/p>\n\u003cp>His essence? Something big. Bulletproof, with the presence of a rhinoceros, yet still unassuming, slightly comical, like a duck.\u003c/p>\u003c/blockquote>\n\u003cp>Other times, her interiority is chilling:\u003c/p>\n\u003cblockquote>\u003cp>…a pair of serpents lived inside my head. Their job was to warn me of the dangers of motherhood, which boiled down to this:\u003c/p>\n\u003cp>\u003cem>If you touch your baby, she will die.\u003c/em>\u003c/p>\n\u003cp>The serpents spoke in opposite voices. If one was soft, the other was loud; if one politely reminded me to keep my hands to myself, the other said I deserved to have my arms lopped off for not listening. They scrutinized my every move. \u003cem>She is removing the baby’s diaper. She is wiping the baby’s bum. The baby is crying. See, the baby is no good. Cheap. Defective. Don’t touch the baby like that! Chop it off. Return to the proper authorities for a refund.\u003c/em>\u003c/p>\n\u003cp>Twelve touches, they said. Twelve more touches. Then my baby, contaminated, would die.\u003c/p>\u003c/blockquote>\n\u003cp>How does a family battle with mental illness? In \u003cem>Everything Here is Beautiful\u003c/em>, the strategies are neither perfect nor expected nor do they yield the best results. In this manner, Lee has managed to write a book that feels wholly alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch Mira T. Lee on Thursday, February 15th at 7 p.m. at Books Inc. in Palo Alto (855 El Camino Real). She’ll be in conversation with Anne Raeff.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly 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>Mira T. Lee’s debut novel, \u003cem>Everything Here is Beautiful\u003c/em>, is a moving puzzle of the ways loved ones try and fail to read one another — and how mental illness and the immigrant experience complicate those relationships. Told in alternating points of view, this is a story of two sisters who grapple with their decisions to preserve themselves and each other.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13820013 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ehib_thumb.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ehib_thumb.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ehib_thumb-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ehib_thumb-240x362.jpg 240w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003c/p>\n\u003cp>Lee’s prose is economical, sharp, and piercing. But the reason I enjoyed this smarting book is for its sixth sense in portraying the bond between two sisters who are nothing like one another, and how that disparity can transition into distance.\u003c/p>\n\u003cp>While there is exuberance and joy in the telling, that particular toll of doom rings from the first pages:\u003c/p>\n\u003cblockquote>\u003cp>A summer day in New Jersey. A house with a yard. The younger one, four, likes to fold her body over the seat of her swing, observe the world from upside down. She circles her feet, twists the pair of steel ropes until they’re all the way wound. She kicks up her legs. The swing spins. She likes the sensation of dizziness.\u003c/p>\n\u003cp>The older one, eleven, in the kitchen, chops ginger and scallions, puts on the rice. Sets out a small plate of pickled radishes.\u003c/p>\u003c/blockquote>\n\u003cp>Lucia is carefree, enigmatic, intuitive — or as described by her mother, “restless, wild, born on American soil.” Jie, born in China, is responsible and practical — if only because the family’s sudden emigration puts her in that position. Early on, I loved Lee’s portrayal of sisterly giddiness, as in this line of Lucia speaking to Jie:\u003c/p>\n\u003cblockquote>\u003cp>We’ll be roommates someday in an old folk’s home! We’ll be cranky and play bridge and complain to the nurses about our hemorrhoids. Ha, ha, when you’re eighty I’ll only be seventy-three!\u003c/p>\u003c/blockquote>\n\u003cp>This dialogue takes place after their mother’s death, when the sisters’ grief becomes a strange exhaustion. The scene is a testament to Lee’s ability to ring out candor and hidden depths from the most unexpected places.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet as Lucia and Jie age, their roles calcify — one caretaker, the other victim; one reliable, the other unpredictable.\u003c/p>\n\u003cp>From scene to scene, in the great accumulation of wrongs that can span college, marriage, separation, pregnancy, new jobs, moves to Ecuador or Switzerland, depression, frustration, and illness, the gradual separation of the sisters gathers a haunting tone.\u003c/p>\n\u003cp>Probably the great coup of this book is in its round portrayal of Lucia — as she is seen by her sister, her lovers, and as she sees herself (both when she is in and out of the grips of schizophrenia).\u003c/p>\n\u003cp>In stable periods Lucia is keen and observant:\u003c/p>\n\u003cblockquote>\u003cp>…I met Yonah and fell in love.\u003c/p>\n\u003cp>His essence? Something big. Bulletproof, with the presence of a rhinoceros, yet still unassuming, slightly comical, like a duck.\u003c/p>\u003c/blockquote>\n\u003cp>Other times, her interiority is chilling:\u003c/p>\n\u003cblockquote>\u003cp>…a pair of serpents lived inside my head. Their job was to warn me of the dangers of motherhood, which boiled down to this:\u003c/p>\n\u003cp>\u003cem>If you touch your baby, she will die.\u003c/em>\u003c/p>\n\u003cp>The serpents spoke in opposite voices. If one was soft, the other was loud; if one politely reminded me to keep my hands to myself, the other said I deserved to have my arms lopped off for not listening. They scrutinized my every move. \u003cem>She is removing the baby’s diaper. She is wiping the baby’s bum. The baby is crying. See, the baby is no good. Cheap. Defective. Don’t touch the baby like that! Chop it off. Return to the proper authorities for a refund.\u003c/em>\u003c/p>\n\u003cp>Twelve touches, they said. Twelve more touches. Then my baby, contaminated, would die.\u003c/p>\u003c/blockquote>\n\u003cp>How does a family battle with mental illness? In \u003cem>Everything Here is Beautiful\u003c/em>, the strategies are neither perfect nor expected nor do they yield the best results. In this manner, Lee has managed to write a book that feels wholly alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch Mira T. Lee on Thursday, February 15th at 7 p.m. at Books Inc. in Palo Alto (855 El Camino Real). She’ll be in conversation with Anne Raeff.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us here back in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ursula K. Le Guin, a prolific novelist best known for the Earthsea series and \u003cem>The Left Hand of Darkness\u003c/em>, died Monday at the age of 88 in Portland, Ore. Across more than 20 novels and scores of short stories, Le Guin crafted fantastic worlds to grapple with profoundly difficult questions here on Earth, from class divisions to feminist theory.\u003c/p>\n\u003cp>Her agent Ginger Clark confirmed Le Guin’s death to NPR.\u003c/p>\n\u003cp>Across the decadeslong span of her career — from her first short story submission at the age of 11, to her tireless work well into her 80s — Le Guin stood as a towering figure in science fiction and fantasy. Indeed, she completed a triple crown of the genres’ biggest prizes, earning the Hugo, Nebula and Locus awards several times over.\u003c/p>\n\u003cp>Still, while Le Guin deployed alien planets and impossible societies in her novels, fellow Hugo winner Mary Robinette Kowal told NPR’s Petra Mayer that Le Guin’s work could not be confined to a simple label found atop bookstore shelves.\u003c/p>\n\u003cp>“Throughout her life she embraced new forms of technology, she was constantly pushing boundaries and barriers, that is inspiring to me,” Kowal said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She was one of the first really big voices in science fiction and fantasy who was a woman,” she added. “And I think she did a lot for science-fiction and fantasy — not just for women and women’s roles because of her feminism, but also legitimizing us as an art form. There are a lot of people who will read an Ursula Le Guin book and go, ‘Well, this isn’t science fiction, it’s \u003cem>literature\u003c/em>. But of course, it is science fiction. A lot of times, she can be a gateway drug for people.”\u003c/p>\n\u003cp>For evidence of this mainstream respect, a reader need look no further than the lifetime achievement honors bestowed on her at the 2014 National Book Awards — where she also delivered a fiery defense of the practice of literature as a whole.\u003c/p>\n\u003cp>“Hard times are coming,” she warned, “when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom — poets, visionaries, realists of a larger reality.”\u003c/p>\n\u003cp>Many of those writers deeply mourned her passing on Tuesday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Et9Nf-rsALk\u003c/p>\n\u003cp>“Her words are always with us. Some of them are written on my soul,” \u003ca href=\"https://twitter.com/neilhimself/status/955930053426274305\" rel=\"noopener\" target=\"_blank\">Neil Gaiman tweeted\u003c/a>. “I miss her as a glorious funny prickly person, & I miss her as the deepest and smartest of the writers, too.”\u003c/p>\n\u003cp>And those words will live beyond her death Monday, ringing loudly between the covers of novels like \u003cem>The Dispossessed\u003c/em> and \u003cem>The Lathe of Heaven\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Writing is a kind of way of speaking, and I hear it,” Le Guin \u003ca href=\"https://www.npr.org/2015/08/29/435549081/ursula-k-le-guin-steers-her-craft-into-a-new-century\" rel=\"noopener\" target=\"_blank\">told Weekend Edition in 2015\u003c/a>. “And I think a lot of readers hear it, too. Even if they hear it in silence.”\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=Ursula+K.+Le+Guin%2C+Whose+Novels+Plucked+Truth+From+High+Fantasy%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ursula K. Le Guin, a prolific novelist best known for the Earthsea series and \u003cem>The Left Hand of Darkness\u003c/em>, died Monday at the age of 88 in Portland, Ore. Across more than 20 novels and scores of short stories, Le Guin crafted fantastic worlds to grapple with profoundly difficult questions here on Earth, from class divisions to feminist theory.\u003c/p>\n\u003cp>Her agent Ginger Clark confirmed Le Guin’s death to NPR.\u003c/p>\n\u003cp>Across the decadeslong span of her career — from her first short story submission at the age of 11, to her tireless work well into her 80s — Le Guin stood as a towering figure in science fiction and fantasy. Indeed, she completed a triple crown of the genres’ biggest prizes, earning the Hugo, Nebula and Locus awards several times over.\u003c/p>\n\u003cp>Still, while Le Guin deployed alien planets and impossible societies in her novels, fellow Hugo winner Mary Robinette Kowal told NPR’s Petra Mayer that Le Guin’s work could not be confined to a simple label found atop bookstore shelves.\u003c/p>\n\u003cp>“Throughout her life she embraced new forms of technology, she was constantly pushing boundaries and barriers, that is inspiring to me,” Kowal said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She was one of the first really big voices in science fiction and fantasy who was a woman,” she added. “And I think she did a lot for science-fiction and fantasy — not just for women and women’s roles because of her feminism, but also legitimizing us as an art form. There are a lot of people who will read an Ursula Le Guin book and go, ‘Well, this isn’t science fiction, it’s \u003cem>literature\u003c/em>. But of course, it is science fiction. A lot of times, she can be a gateway drug for people.”\u003c/p>\n\u003cp>For evidence of this mainstream respect, a reader need look no further than the lifetime achievement honors bestowed on her at the 2014 National Book Awards — where she also delivered a fiery defense of the practice of literature as a whole.\u003c/p>\n\u003cp>“Hard times are coming,” she warned, “when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom — poets, visionaries, realists of a larger reality.”\u003c/p>\n\u003cp>Many of those writers deeply mourned her passing on Tuesday.\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/Et9Nf-rsALk'\n title='//www.youtube.com/embed/Et9Nf-rsALk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Her words are always with us. Some of them are written on my soul,” \u003ca href=\"https://twitter.com/neilhimself/status/955930053426274305\" rel=\"noopener\" target=\"_blank\">Neil Gaiman tweeted\u003c/a>. “I miss her as a glorious funny prickly person, & I miss her as the deepest and smartest of the writers, too.”\u003c/p>\n\u003cp>And those words will live beyond her death Monday, ringing loudly between the covers of novels like \u003cem>The Dispossessed\u003c/em> and \u003cem>The Lathe of Heaven\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Writing is a kind of way of speaking, and I hear it,” Le Guin \u003ca href=\"https://www.npr.org/2015/08/29/435549081/ursula-k-le-guin-steers-her-craft-into-a-new-century\" rel=\"noopener\" target=\"_blank\">told Weekend Edition in 2015\u003c/a>. “And I think a lot of readers hear it, too. Even if they hear it in silence.”\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=Ursula+K.+Le+Guin%2C+Whose+Novels+Plucked+Truth+From+High+Fantasy%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Journey into 1963 with Comic Artist Diego Gómez",
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"content": "\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The year of Martin Luther King, Jr.'s March on Washington, social upheaval loomed in ways both big and small — as captured in Diego Gómez's new comic book.",
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"title": "Journey into 1963 with Comic Artist Diego Gómez | KQED",
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"headline": "Journey into 1963 with Comic Artist Diego Gómez",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I started the year by poring over an old, slim volume I found at San Francisco’s public library book sale. It’s a plain cream cover without text or images. I’ve kept it for years, dutifully moving it to the top of my to-read pile even though it often gets buried under higher-priority books.\u003c/p>\n\u003cp>There is a title one page in: \u003cem>Life is a Lousy Drag \u003c/em>along with an illustration of a grandfather clock. Written by Jim Schock in 1958, it is meant as a hip ethnography — a mordant critique of the Beat generation. But it has the opposite effect, leaving one positively enthralled with the weirdness of that long-ago San Francisco.\u003c/p>\n\u003cp>Not that long ago, visitors to the city were met with vociferous performances of nonsensical words, sounds, and music, what the Beats called a “turn-on” — all done in the name of shocking and alienating tourists. Not that long ago, one could have overheard this gem of an exchange, which Schock ridicules but which I madly, unapologetically appreciate:\u003c/p>\n\u003cfigure id=\"attachment_13818866\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818866 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-1020x1358.jpg\" alt=\"\" width=\"640\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-768x1023.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-1180x1572.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-960x1279.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag.jpg 1538w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“I—self—the idol of the idle. The beat generation’s cool hipsters with their almost total ignorance of ontology resort to rank mysticism for expression. Guy talking to a chick says, ‘Look me in the eye.’ Chick retorts: ‘Which I?'”\u003c/figcaption>\u003c/figure>\n\u003cp>It is a city I can’t even recognize, not even if I squint. It all put me in the mind to look forward, and around, to see what was coming to bookstores near you by authors near you. Here are eight new books by Bay Area authors, along with the places to catch them live.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Monk of Mokha\u003c/em> by Dave Eggers\u003cbr>\nSunday, January 28, 1:00 p.m.\u003cbr>\nBooks Inc (3515 California St in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818740 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/monkofmokha-160x245.jpg\" alt=\"\" width=\"160\" height=\"245\" srcset=\"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, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg 326w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In \u003cem>The Monk of Mokha\u003c/em>, Dave Eggers turns his attention to Mokhtar Alkhanshali, a Yemeni-American who dreams of nothing but coffee but is captured by a militia in Aden. It’s a story that touches on coffee and coffee workers, immigration, Yemen, and the Tenderloin (where Mokhtar grew up and Eggers describes as “a valley of desperation in a city of towering wealth”).\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Job of the Wasp\u003c/em> by Colin Winnette\u003cbr>\nWednesday, January 31, 7:00 p.m.\u003cbr>\nEast Bay Booksellers (5433 College Ave in Oakland)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818795 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/job-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/job-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/job-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/job.jpg 333w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In this modern take of the gothic genre, the supernatural runs afoul at an isolated school for orphan boys. A new arrival to the state-run facility hears whispers at night—then corpses begin to turn up. \u003cem>Publisher’s Weekly\u003c/em> says: “This is a worthwhile novel for readers of the dark and twisted, who will find both in spades.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Doc/Undoc\u003c/em> by Guillermo Gomez-Peña and Felicia Rice\u003cbr>\nThursday, Feb 1st, 7:00 p.m.\u003cbr>\nCanessa Gallery (708 Montgomery Street in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818734 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/docundoc-160x238.jpg\" alt=\"\" width=\"160\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-240x356.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-375x557.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-520x772.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc.jpg 594w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This new work by Mexican performance artist Guillermo Gomez-Peña and artist Felicia Rice asks what it means to be documented and undocumented. Featuring Gomez-Peña’s performance scripts (“Pero, if only I had never left in the first place / what would have become of my life? / It would be considerably simpler”) and Rice’s drawings, \u003cem>Doc/Undoc\u003c/em> is supposed to work like a medicine-meets-curiosity cabinet. Its texts are there to be read, or even performed, shamanically, at border crossings and encounters with racism and revolution.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Song of a Captive Bird\u003c/em> by Jasmin Darznik\u003cbr>\nThursday, Feb 15, 2018, 7:30 p.m.\u003cbr>\nThe Booksmith (1644 Haight St in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818739 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/songofacaptive-160x242.jpeg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/songofacaptive-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/songofacaptive-240x362.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/songofacaptive.jpeg 298w\" sizes=\"(max-width: 160px) 100vw, 160px\">Inspired by the writings and films of the feminist Iranian poet Forugh Farrokhzad, \u003cem>Song of a Captive Bird \u003c/em>tells the story of a young poet born into a strict household where she is expected to be quiet, modest, and obedient. Instead, she fights to find her voice and destiny.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Girls Burn Brighter\u003c/em> by Shobha Rao\u003cbr>\nTuesday, March 6, 2018, 7:00 p.m.\u003cbr>\nCity Lights Bookstore (261 Columbus Avenue in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818737 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/girlsburn-160x242.jpg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/girlsburn-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/girlsburn-240x363.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/girlsburn.jpg 314w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>When Poornima fell into a well as a baby, her father hesitated: “I was standing there, and I was thinking…She’s just a girl. Let her go…That’s the thing with girls, isn’t it…You think, Push. That’s all it would take. Just one little push.” Set in India and the United States, \u003cem>Girls Burn Brighter\u003c/em> is the story of a friendship torn apart and two girls’ journey to reclaim it.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Last Watchman of Old Cairo\u003c/strong>\u003c/em> by Michael David Lukas\u003cbr>\nTuesday, March 13, 7:00 p.m.\u003cbr>\nBook Passage (51 Tamal Vista Blvd. in Corte Madera)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818793 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/lastwatchman-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/lastwatchman-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/lastwatchman-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/lastwatchman.jpg 331w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This captivating story of a son thrust into an ancient web of familial secrecy and communities torn apart is seriously addictive. Joseph, the son of a Muslim father and Jewish mother, receives a mysterious package after his father’s death. It leads him to the story of an ancestor, entrusted to be the first watchman of the synagogue where baby Moses was taken from the Nile. This story is weaved with the account of twin sisters who are on the hunt for disappearing sacred texts.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Bury What We Cannot Take\u003c/strong>\u003c/em> by Kirstin Chen\u003cbr>\nThursday, March 22, 7:30 p.m.\u003cbr>\nThe Bindery (1727 Haight St in San Francisco)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818794 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/bury-160x256.jpg\" alt=\"\" width=\"160\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/bury-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/bury-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/bury.jpg 312w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s 1957 when twelve-year old Ah Liam witnesses his grandmother smash a portrait of Chairman Mao with a hammer. He dutifully reports her to the authorities to prove his love for the party. This triggers unimaginable consequences in this achingly beautiful, powerful, and taut book.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Against Memoir\u003c/em> by Michelle Tea\u003cbr>\nWednesday, May 16, 2018, 7:00 p.m.\u003cbr>\nCity Lights Bookstore (261 Columbus Avenue in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818738 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/againstmemoir-160x233.jpg\" alt=\"\" width=\"160\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-800x1163.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-768x1116.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-1020x1482.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-1180x1715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-960x1395.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-375x545.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-520x756.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir.jpg 1200w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cem>Against Memoir \u003c/em> is ripe with Michelle Tea’s signature raw, powerful prose. These are essays about art, music, love, queerness, writing, and life. But they’re also about prostitutes, alcoholics, and teenagers trying to survive. They are keenly observed, conversational, and cut through with striking lyricism.\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>\u003c/p>\n\u003cp>\u003cem>The Spine: bringing you literary happenings since 2017. The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I started the year by poring over an old, slim volume I found at San Francisco’s public library book sale. It’s a plain cream cover without text or images. I’ve kept it for years, dutifully moving it to the top of my to-read pile even though it often gets buried under higher-priority books.\u003c/p>\n\u003cp>There is a title one page in: \u003cem>Life is a Lousy Drag \u003c/em>along with an illustration of a grandfather clock. Written by Jim Schock in 1958, it is meant as a hip ethnography — a mordant critique of the Beat generation. But it has the opposite effect, leaving one positively enthralled with the weirdness of that long-ago San Francisco.\u003c/p>\n\u003cp>Not that long ago, visitors to the city were met with vociferous performances of nonsensical words, sounds, and music, what the Beats called a “turn-on” — all done in the name of shocking and alienating tourists. Not that long ago, one could have overheard this gem of an exchange, which Schock ridicules but which I madly, unapologetically appreciate:\u003c/p>\n\u003cfigure id=\"attachment_13818866\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818866 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-1020x1358.jpg\" alt=\"\" width=\"640\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-768x1023.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-1180x1572.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-960x1279.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Life-is-a-Drag.jpg 1538w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“I—self—the idol of the idle. The beat generation’s cool hipsters with their almost total ignorance of ontology resort to rank mysticism for expression. Guy talking to a chick says, ‘Look me in the eye.’ Chick retorts: ‘Which I?'”\u003c/figcaption>\u003c/figure>\n\u003cp>It is a city I can’t even recognize, not even if I squint. It all put me in the mind to look forward, and around, to see what was coming to bookstores near you by authors near you. Here are eight new books by Bay Area authors, along with the places to catch them live.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Monk of Mokha\u003c/em> by Dave Eggers\u003cbr>\nSunday, January 28, 1:00 p.m.\u003cbr>\nBooks Inc (3515 California St in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818740 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/monkofmokha-160x245.jpg\" alt=\"\" width=\"160\" height=\"245\" srcset=\"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, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg 326w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In \u003cem>The Monk of Mokha\u003c/em>, Dave Eggers turns his attention to Mokhtar Alkhanshali, a Yemeni-American who dreams of nothing but coffee but is captured by a militia in Aden. It’s a story that touches on coffee and coffee workers, immigration, Yemen, and the Tenderloin (where Mokhtar grew up and Eggers describes as “a valley of desperation in a city of towering wealth”).\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Job of the Wasp\u003c/em> by Colin Winnette\u003cbr>\nWednesday, January 31, 7:00 p.m.\u003cbr>\nEast Bay Booksellers (5433 College Ave in Oakland)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818795 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/job-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/job-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/job-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/job.jpg 333w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In this modern take of the gothic genre, the supernatural runs afoul at an isolated school for orphan boys. A new arrival to the state-run facility hears whispers at night—then corpses begin to turn up. \u003cem>Publisher’s Weekly\u003c/em> says: “This is a worthwhile novel for readers of the dark and twisted, who will find both in spades.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Doc/Undoc\u003c/em> by Guillermo Gomez-Peña and Felicia Rice\u003cbr>\nThursday, Feb 1st, 7:00 p.m.\u003cbr>\nCanessa Gallery (708 Montgomery Street in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818734 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/docundoc-160x238.jpg\" alt=\"\" width=\"160\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-240x356.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-375x557.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc-520x772.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/docundoc.jpg 594w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This new work by Mexican performance artist Guillermo Gomez-Peña and artist Felicia Rice asks what it means to be documented and undocumented. Featuring Gomez-Peña’s performance scripts (“Pero, if only I had never left in the first place / what would have become of my life? / It would be considerably simpler”) and Rice’s drawings, \u003cem>Doc/Undoc\u003c/em> is supposed to work like a medicine-meets-curiosity cabinet. Its texts are there to be read, or even performed, shamanically, at border crossings and encounters with racism and revolution.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Song of a Captive Bird\u003c/em> by Jasmin Darznik\u003cbr>\nThursday, Feb 15, 2018, 7:30 p.m.\u003cbr>\nThe Booksmith (1644 Haight St in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818739 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/songofacaptive-160x242.jpeg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/songofacaptive-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/songofacaptive-240x362.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/songofacaptive.jpeg 298w\" sizes=\"(max-width: 160px) 100vw, 160px\">Inspired by the writings and films of the feminist Iranian poet Forugh Farrokhzad, \u003cem>Song of a Captive Bird \u003c/em>tells the story of a young poet born into a strict household where she is expected to be quiet, modest, and obedient. Instead, she fights to find her voice and destiny.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Girls Burn Brighter\u003c/em> by Shobha Rao\u003cbr>\nTuesday, March 6, 2018, 7:00 p.m.\u003cbr>\nCity Lights Bookstore (261 Columbus Avenue in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818737 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/girlsburn-160x242.jpg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/girlsburn-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/girlsburn-240x363.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/girlsburn.jpg 314w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>When Poornima fell into a well as a baby, her father hesitated: “I was standing there, and I was thinking…She’s just a girl. Let her go…That’s the thing with girls, isn’t it…You think, Push. That’s all it would take. Just one little push.” Set in India and the United States, \u003cem>Girls Burn Brighter\u003c/em> is the story of a friendship torn apart and two girls’ journey to reclaim it.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Last Watchman of Old Cairo\u003c/strong>\u003c/em> by Michael David Lukas\u003cbr>\nTuesday, March 13, 7:00 p.m.\u003cbr>\nBook Passage (51 Tamal Vista Blvd. in Corte Madera)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818793 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/lastwatchman-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/lastwatchman-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/lastwatchman-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/lastwatchman.jpg 331w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This captivating story of a son thrust into an ancient web of familial secrecy and communities torn apart is seriously addictive. Joseph, the son of a Muslim father and Jewish mother, receives a mysterious package after his father’s death. It leads him to the story of an ancestor, entrusted to be the first watchman of the synagogue where baby Moses was taken from the Nile. This story is weaved with the account of twin sisters who are on the hunt for disappearing sacred texts.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Bury What We Cannot Take\u003c/strong>\u003c/em> by Kirstin Chen\u003cbr>\nThursday, March 22, 7:30 p.m.\u003cbr>\nThe Bindery (1727 Haight St in San Francisco)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818794 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/bury-160x256.jpg\" alt=\"\" width=\"160\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/bury-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/bury-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/bury.jpg 312w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s 1957 when twelve-year old Ah Liam witnesses his grandmother smash a portrait of Chairman Mao with a hammer. He dutifully reports her to the authorities to prove his love for the party. This triggers unimaginable consequences in this achingly beautiful, powerful, and taut book.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Against Memoir\u003c/em> by Michelle Tea\u003cbr>\nWednesday, May 16, 2018, 7:00 p.m.\u003cbr>\nCity Lights Bookstore (261 Columbus Avenue in San Francisco)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13818738 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/againstmemoir-160x233.jpg\" alt=\"\" width=\"160\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-800x1163.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-768x1116.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-1020x1482.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-1180x1715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-960x1395.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-375x545.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir-520x756.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/againstmemoir.jpg 1200w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cem>Against Memoir \u003c/em> is ripe with Michelle Tea’s signature raw, powerful prose. These are essays about art, music, love, queerness, writing, and life. But they’re also about prostitutes, alcoholics, and teenagers trying to survive. They are keenly observed, conversational, and cut through with striking lyricism.\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>\u003c/p>\n\u003cp>\u003cem>The Spine: bringing you literary happenings since 2017. 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>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\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>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\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>\u003c/p>\u003c/div>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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