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"content": "\u003cp>American author George Saunders has won the Man Booker prize for his first novel, \u003cem>Lincoln in the Bardo, \u003c/em>a polyphonous meditation on death, grief and American history.\u003c/p>\n\u003cp>Saunders, widely lauded for his short stories, was considered the favorite to win the award. His novel centers on the death of Abraham Lincoln’s beloved son Willie, and the night that Lincoln reportedly spent in the graveyard, devastated by his grief and lingering by his son’s body.\u003c/p>\n\u003cp>In the book, Saunders weaves fragments of historical documents (both authentic and imagined) with the voices of ghosts trapped in the graveyard with young Willie, watching in wonder at the strength of his father’s love. The devastating toll of the Civil War is the backdrop for the scene of very particular loss.\u003c/p>\n\u003cp>Lola Young, the chair of the panel of judges that awarded the Booker Prize, called the novel “utterly original,” praising the narrative as “witty, intelligent, and deeply moving.”\u003c/p>\n\u003cp>In February, Saunders \u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">told NPR\u003c/a> that he carried the idea for the novel around with him for 20 years — although he wasn’t sure it would be a novel at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Four years ago, I was like, jeez, this has been bothering me all these years, maybe it’s time to give it a try,” he said. “And I kind of almost had a contract with this book. Kind of like, don’t bloat up on me — be a story if you can be a story. If you can be a nice paragraph, that’s fine. So I kind of kept it on a short leash, but it just kept growing, so I finally said, ‘OK, you are what you are.’ ”\u003c/p>\n\u003cp>Saunders explained that the “bardo” of the title is a Tibetan concept for a sort of transitional zone — a space between death and whatever comes after, in the world of the novel.\u003c/p>\n\u003cp>This is the second year in a row that an American has taken home the prize — in a year when U.S. authors made up fully 50 percent of the shortlist.\u003c/p>\n\u003cp>The Man Booker, one of the most prestigious prizes in literature, has been awarded annually since 1969. It comes with a £50,000 (nearly $66,000) cash prize, and is generally associated with a substantial boost in sales for the winning book.\u003c/p>\n\u003cp>The award was originally reserved only for writers from the U.K. or the Commonwealth (countries that were once part of the British empire.), but four years ago, the prize was opened up to Americans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/25/499368241/novelist-paul-beatty-is-first-american-to-win-britains-man-booker-prize\" target=\"_blank\" rel=\"noopener\">the prize went to Paul Beatty\u003c/a> for \u003cem>The Sellout\u003c/em>. It was the first time the Man Booker had ever been awarded to an American. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=George+Saunders+Wins+Man+Booker+Prize+For+%27Lincoln+In+The+Bardo%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American author George Saunders has won the Man Booker prize for his first novel, \u003cem>Lincoln in the Bardo, \u003c/em>a polyphonous meditation on death, grief and American history.\u003c/p>\n\u003cp>Saunders, widely lauded for his short stories, was considered the favorite to win the award. His novel centers on the death of Abraham Lincoln’s beloved son Willie, and the night that Lincoln reportedly spent in the graveyard, devastated by his grief and lingering by his son’s body.\u003c/p>\n\u003cp>In the book, Saunders weaves fragments of historical documents (both authentic and imagined) with the voices of ghosts trapped in the graveyard with young Willie, watching in wonder at the strength of his father’s love. The devastating toll of the Civil War is the backdrop for the scene of very particular loss.\u003c/p>\n\u003cp>Lola Young, the chair of the panel of judges that awarded the Booker Prize, called the novel “utterly original,” praising the narrative as “witty, intelligent, and deeply moving.”\u003c/p>\n\u003cp>In February, Saunders \u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">told NPR\u003c/a> that he carried the idea for the novel around with him for 20 years — although he wasn’t sure it would be a novel at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Four years ago, I was like, jeez, this has been bothering me all these years, maybe it’s time to give it a try,” he said. “And I kind of almost had a contract with this book. Kind of like, don’t bloat up on me — be a story if you can be a story. If you can be a nice paragraph, that’s fine. So I kind of kept it on a short leash, but it just kept growing, so I finally said, ‘OK, you are what you are.’ ”\u003c/p>\n\u003cp>Saunders explained that the “bardo” of the title is a Tibetan concept for a sort of transitional zone — a space between death and whatever comes after, in the world of the novel.\u003c/p>\n\u003cp>This is the second year in a row that an American has taken home the prize — in a year when U.S. authors made up fully 50 percent of the shortlist.\u003c/p>\n\u003cp>The Man Booker, one of the most prestigious prizes in literature, has been awarded annually since 1969. It comes with a £50,000 (nearly $66,000) cash prize, and is generally associated with a substantial boost in sales for the winning book.\u003c/p>\n\u003cp>The award was originally reserved only for writers from the U.K. or the Commonwealth (countries that were once part of the British empire.), but four years ago, the prize was opened up to Americans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/25/499368241/novelist-paul-beatty-is-first-american-to-win-britains-man-booker-prize\" target=\"_blank\" rel=\"noopener\">the prize went to Paul Beatty\u003c/a> for \u003cem>The Sellout\u003c/em>. It was the first time the Man Booker had ever been awarded to an American. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=George+Saunders+Wins+Man+Booker+Prize+For+%27Lincoln+In+The+Bardo%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jerry Rubin gets a bad rap. He was a lot of things: an activist, a provocateur, a showman who orchestrated media blitzes with the expert precision.\u003c/p>\n\u003cp>But for a lot of people familiar with Rubin through his facetious, rabble-rousing activism, he devolved into a sellout. For all the legend-making surrounding Abbie Hoffman, Rubin’s collaborator, creative partner and eventual sparring partner in the Yippie vs. Yuppie debates, his mythos survived only because he remained true to his ideology up to his untimely death by suicide in 1989. It’s a narrative that lends itself to lore. Not so with Rubin.\u003c/p>\n\u003cp>“He’s been pretty much written out of the history books,” said Pat Thomas in an interview with KQED. Thomas, who wrote \u003cem>Did It!\u003c/em> — the first biography dedicated in Rubin’s honor — captures Rubin’s life in painstaking detail.\u003c/p>\n\u003cp>Thomas interviewed upwards of 70 people who knew Rubin closely, from exes to fellow activists to his younger brother, Gil. Every page is laden with Thomas’ quest to cohere the contradictions between Rubin as ‘60s revolutionary and Rubin as ‘80s yuppie.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13810077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Hoffman and master snarksmith Paul Krassner, Rubin co-founded the Youth International Party in 1967. Members of the Party — who branded themselves the Yippies — were notorious for their flair for the theatric. They staged endless interludes within the political theater of Capitol Hill.\u003c/p>\n\u003cp>Among their list of “accomplishments,” the Yippies ran a pig for president, levitated the Pentagon, and staged protests at the 1968 Democratic National Convention that resulted in a violent retaliation by police — and the \u003ca href=\"http://www.chicagotribune.com/news/nationworld/politics/chi-chicagodays-seventrial-story-story.html\" rel=\"noopener\" target=\"_blank\">Chicago Seven trials\u003c/a> that followed.\u003c/p>\n\u003cp>If the SDS were the straight-and-narrow honor roll students of ’60s-era activism, Rubin and the ragtag collective of Yippies were the guileless class clowns. And, according to Thomas, the true legacy of Rubin was the sense of humor embedded into his political action.\u003c/p>\n\u003cp>“[Humor] can win people over way more than dogmatic rhetoric or browbeating people in a classroom or the jury room,” said Thomas. “Rubin’s great legacy is humor disarms you.”\u003c/p>\n\u003cp>The ground zero for his irreverent, oftentimes off-color form of protest was born right on the UC Berkeley campus — a site that remains rife with \u003ca href=\"http://www.npr.org/2017/09/22/552427627/why-a-potential-free-speech-week-at-berkeley-is-causing-a-stir\" target=\"_blank\" rel=\"noopener\">political tension\u003c/a>.\u003c/p>\n\u003ch3>One Step Further\u003c/h3>\n\u003cp>Rubin became fascinated with spectacle-driven activism while he attended Cal. After a stint as a cub reporter for the \u003ci>Cincinnati Post,\u003c/i> he entered the graduate sociology program at UC Berkeley. But but his zeal for front-line protesting outweighed his ambitions in academia, so Rubin dropped out of Berkeley after a six weeks. It was then he became a full-time protestor. At the height of the Berkeley Free Speech Movement, captured by Mario Savio and his acerbic polemics, Rubin staged what would become the largest teach-in on the UC Berkeley campus.\u003c/p>\n\u003cfigure id=\"attachment_13810775\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg\" alt=\"'60s activist Jerry Rubin protesting with the Vietnam Day Committee.\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1.jpg 1078w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’60s activist Jerry Rubin protesting with the Vietnam Day Committee. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rubin took the Free Speech Movement one step further, taking Savio’s message and turned it against what was happening in Vietnam,” Thomas said.\u003c/p>\n\u003cp>With renowned mathematician and Berkeley professor Stephen Smale and his then-partner, fellow activist Barbara Gullahorn, he co-founded the Vietnam Day Committee (VDC). A loose organization of activists based out of Victorian home on Fulton St., the VDC lasted for a year.\u003c/p>\n\u003cp>The organization’s most outsized impact was facilitating the Vietnam Day Teach-In. Nearly 30,000 students and residents were in attendance during the three-day event held right on Sproul Plaza. It was the largest teach-in to ever take place in American history.\u003c/p>\n\u003cp>Folks like novelist Norman Mailer, comedian Dick Gregory and folk crooner Phil Ochs were among those who participated in the torrent of lectures, musical performances and assorted rallying cries over the three days.\u003c/p>\n\u003cp>The momentum following the Teach-In was enormous; it was the catalyst, according to Thomas, with which the larger anti-war movement in the Bay Area and the New Left was born.\u003c/p>\n\u003cp>At a certain point, however, Rubin’s vision shifted from public intellectualism to public performance.\u003c/p>\n\u003ch3>All for Good Causes\u003c/h3>\n\u003cp>For Rubin, a protest was only as impactful as the media attention that it could garner — a belief that lingered during his time as a cub reporter for the \u003cem>Cincinnati Post\u003c/em>. His stunts included dressing up as a Viet Cong member, portraying a Founding Father at the House Un-American Activities Committee (HUAC), and, later on with the Yippies, levitating the Pentagon.\u003c/p>\n\u003cp>Rubin’s first big shift into political theater was inspired by a Yale professor who urged for mass civil disobedience at the VDC teach-in. Trains filled with troops and war munitions being shipped off to Vietnam would travel through Berkeley en route to the Port of Oakland; Rubin and a mass of his friends in the VDC, says Thomas, “started literally lying down on the tracks.”\u003c/p>\n\u003cp>Later, Rubin would man a truck that would follow anonymous vehicles filled with Napalm, which was manufactured in the Bay Area. Attached to the side of the truck was a banner that read “Danger! Napalm! Bombs Ahead.”\u003c/p>\n\u003cp>Rubin was in pursuit of mobilizing a critical mass of the Bay Area into a united front, from middle-class folks who drove by the napalm trucks, to the hippies whose concerns for peace were overshadowed by the lust for the Summer of Love. At the Human Be-In, Rubin hopped on stage with the Grateful Dead and Jefferson Airplane, taking the occasion to foment anti-war sentiment among the largely apolitical San Francisco hippies. Rubin even ran for mayor of Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_13810778\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg\" alt=\"A campaign poster from Jerry Rubin's efforts to become the mayor of Berkeley\" width=\"800\" height=\"1011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4.jpg 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A campaign poster from Jerry Rubin’s efforts to become the mayor of Berkeley \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in his pursuit to get the hippies involved, he butted heads. Jerry Garcia, Thomas notes in the book, wasn’t a fan of his antics. The hippies he preached to at the Human Be-In resisted his aggressive diatribes. Ronald Reagan, who was still an actor-turned-conservative pundit in the late ’60s, stumped against Rubin and his ilk, condemning them as Communist traitors. Even Jack Kurzweil, a core member of the Vietnam Day Committee, grew distrustful of Rubin after an incident at the Port of Oakland where a man nearly got killed on the tracks.\u003c/p>\n\u003cp>“Jerry’s response,” according to Kurzweil’s account in the book, “was ‘Oh no, let him stay there. If he dies, it will be great publicity!”\u003c/p>\n\u003cp>Rubin would abandon Berkeley to find notoriety elsewhere. After his stint at Berkeley, he went to New York and dropped dollar bills all over the New York Stock Exchange, which caused so much chaos the exchange shut down. It became an \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1981/10/18/jerry-rubin/beb88e6b-ba7e-4839-80ac-4442f6d47809/?utm_term=.1940a061f7ae\" target=\"_blank\" rel=\"noopener\">international incident — Rubin’s first of many.\u003c/a>\u003c/p>\n\u003cp>The New Left was splintered by Rubin’s antics. It was clear he was driven by this endless quest for publicity — a fact that Thomas will readily admit to.\u003c/p>\n\u003cp>“Jerry had a big ego,” he admits. “You got to have a big ego to want to get up on a soapbox, and it was ego that drove Jerry. But it was all for good causes.”\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>\u003ci>Pat Thomas will be appearing at Green Apple Books in \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-pat-thomas\" rel=\"noopener\" target=\"_blank\">San Francisco on Nov. 8\u003c/a> and Pegasus Books in \u003ca href=\"http://www.pegasusbookstore.com/event/pat-rubin\" rel=\"noopener\" target=\"_blank\">Berkeley on Nov. 12\u003c/a>.>\n\n<em>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Rubin gets a bad rap. He was a lot of things: an activist, a provocateur, a showman who orchestrated media blitzes with the expert precision.\u003c/p>\n\u003cp>But for a lot of people familiar with Rubin through his facetious, rabble-rousing activism, he devolved into a sellout. For all the legend-making surrounding Abbie Hoffman, Rubin’s collaborator, creative partner and eventual sparring partner in the Yippie vs. Yuppie debates, his mythos survived only because he remained true to his ideology up to his untimely death by suicide in 1989. It’s a narrative that lends itself to lore. Not so with Rubin.\u003c/p>\n\u003cp>“He’s been pretty much written out of the history books,” said Pat Thomas in an interview with KQED. Thomas, who wrote \u003cem>Did It!\u003c/em> — the first biography dedicated in Rubin’s honor — captures Rubin’s life in painstaking detail.\u003c/p>\n\u003cp>Thomas interviewed upwards of 70 people who knew Rubin closely, from exes to fellow activists to his younger brother, Gil. Every page is laden with Thomas’ quest to cohere the contradictions between Rubin as ‘60s revolutionary and Rubin as ‘80s yuppie.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13810077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Hoffman and master snarksmith Paul Krassner, Rubin co-founded the Youth International Party in 1967. Members of the Party — who branded themselves the Yippies — were notorious for their flair for the theatric. They staged endless interludes within the political theater of Capitol Hill.\u003c/p>\n\u003cp>Among their list of “accomplishments,” the Yippies ran a pig for president, levitated the Pentagon, and staged protests at the 1968 Democratic National Convention that resulted in a violent retaliation by police — and the \u003ca href=\"http://www.chicagotribune.com/news/nationworld/politics/chi-chicagodays-seventrial-story-story.html\" rel=\"noopener\" target=\"_blank\">Chicago Seven trials\u003c/a> that followed.\u003c/p>\n\u003cp>If the SDS were the straight-and-narrow honor roll students of ’60s-era activism, Rubin and the ragtag collective of Yippies were the guileless class clowns. And, according to Thomas, the true legacy of Rubin was the sense of humor embedded into his political action.\u003c/p>\n\u003cp>“[Humor] can win people over way more than dogmatic rhetoric or browbeating people in a classroom or the jury room,” said Thomas. “Rubin’s great legacy is humor disarms you.”\u003c/p>\n\u003cp>The ground zero for his irreverent, oftentimes off-color form of protest was born right on the UC Berkeley campus — a site that remains rife with \u003ca href=\"http://www.npr.org/2017/09/22/552427627/why-a-potential-free-speech-week-at-berkeley-is-causing-a-stir\" target=\"_blank\" rel=\"noopener\">political tension\u003c/a>.\u003c/p>\n\u003ch3>One Step Further\u003c/h3>\n\u003cp>Rubin became fascinated with spectacle-driven activism while he attended Cal. After a stint as a cub reporter for the \u003ci>Cincinnati Post,\u003c/i> he entered the graduate sociology program at UC Berkeley. But but his zeal for front-line protesting outweighed his ambitions in academia, so Rubin dropped out of Berkeley after a six weeks. It was then he became a full-time protestor. At the height of the Berkeley Free Speech Movement, captured by Mario Savio and his acerbic polemics, Rubin staged what would become the largest teach-in on the UC Berkeley campus.\u003c/p>\n\u003cfigure id=\"attachment_13810775\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg\" alt=\"'60s activist Jerry Rubin protesting with the Vietnam Day Committee.\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1.jpg 1078w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’60s activist Jerry Rubin protesting with the Vietnam Day Committee. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rubin took the Free Speech Movement one step further, taking Savio’s message and turned it against what was happening in Vietnam,” Thomas said.\u003c/p>\n\u003cp>With renowned mathematician and Berkeley professor Stephen Smale and his then-partner, fellow activist Barbara Gullahorn, he co-founded the Vietnam Day Committee (VDC). A loose organization of activists based out of Victorian home on Fulton St., the VDC lasted for a year.\u003c/p>\n\u003cp>The organization’s most outsized impact was facilitating the Vietnam Day Teach-In. Nearly 30,000 students and residents were in attendance during the three-day event held right on Sproul Plaza. It was the largest teach-in to ever take place in American history.\u003c/p>\n\u003cp>Folks like novelist Norman Mailer, comedian Dick Gregory and folk crooner Phil Ochs were among those who participated in the torrent of lectures, musical performances and assorted rallying cries over the three days.\u003c/p>\n\u003cp>The momentum following the Teach-In was enormous; it was the catalyst, according to Thomas, with which the larger anti-war movement in the Bay Area and the New Left was born.\u003c/p>\n\u003cp>At a certain point, however, Rubin’s vision shifted from public intellectualism to public performance.\u003c/p>\n\u003ch3>All for Good Causes\u003c/h3>\n\u003cp>For Rubin, a protest was only as impactful as the media attention that it could garner — a belief that lingered during his time as a cub reporter for the \u003cem>Cincinnati Post\u003c/em>. His stunts included dressing up as a Viet Cong member, portraying a Founding Father at the House Un-American Activities Committee (HUAC), and, later on with the Yippies, levitating the Pentagon.\u003c/p>\n\u003cp>Rubin’s first big shift into political theater was inspired by a Yale professor who urged for mass civil disobedience at the VDC teach-in. Trains filled with troops and war munitions being shipped off to Vietnam would travel through Berkeley en route to the Port of Oakland; Rubin and a mass of his friends in the VDC, says Thomas, “started literally lying down on the tracks.”\u003c/p>\n\u003cp>Later, Rubin would man a truck that would follow anonymous vehicles filled with Napalm, which was manufactured in the Bay Area. Attached to the side of the truck was a banner that read “Danger! Napalm! Bombs Ahead.”\u003c/p>\n\u003cp>Rubin was in pursuit of mobilizing a critical mass of the Bay Area into a united front, from middle-class folks who drove by the napalm trucks, to the hippies whose concerns for peace were overshadowed by the lust for the Summer of Love. At the Human Be-In, Rubin hopped on stage with the Grateful Dead and Jefferson Airplane, taking the occasion to foment anti-war sentiment among the largely apolitical San Francisco hippies. Rubin even ran for mayor of Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_13810778\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg\" alt=\"A campaign poster from Jerry Rubin's efforts to become the mayor of Berkeley\" width=\"800\" height=\"1011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4.jpg 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A campaign poster from Jerry Rubin’s efforts to become the mayor of Berkeley \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in his pursuit to get the hippies involved, he butted heads. Jerry Garcia, Thomas notes in the book, wasn’t a fan of his antics. The hippies he preached to at the Human Be-In resisted his aggressive diatribes. Ronald Reagan, who was still an actor-turned-conservative pundit in the late ’60s, stumped against Rubin and his ilk, condemning them as Communist traitors. Even Jack Kurzweil, a core member of the Vietnam Day Committee, grew distrustful of Rubin after an incident at the Port of Oakland where a man nearly got killed on the tracks.\u003c/p>\n\u003cp>“Jerry’s response,” according to Kurzweil’s account in the book, “was ‘Oh no, let him stay there. If he dies, it will be great publicity!”\u003c/p>\n\u003cp>Rubin would abandon Berkeley to find notoriety elsewhere. After his stint at Berkeley, he went to New York and dropped dollar bills all over the New York Stock Exchange, which caused so much chaos the exchange shut down. It became an \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1981/10/18/jerry-rubin/beb88e6b-ba7e-4839-80ac-4442f6d47809/?utm_term=.1940a061f7ae\" target=\"_blank\" rel=\"noopener\">international incident — Rubin’s first of many.\u003c/a>\u003c/p>\n\u003cp>The New Left was splintered by Rubin’s antics. It was clear he was driven by this endless quest for publicity — a fact that Thomas will readily admit to.\u003c/p>\n\u003cp>“Jerry had a big ego,” he admits. “You got to have a big ego to want to get up on a soapbox, and it was ego that drove Jerry. But it was all for good causes.”\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>\u003ci>Pat Thomas will be appearing at Green Apple Books in \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-pat-thomas\" rel=\"noopener\" target=\"_blank\">San Francisco on Nov. 8\u003c/a> and Pegasus Books in \u003ca href=\"http://www.pegasusbookstore.com/event/pat-rubin\" rel=\"noopener\" target=\"_blank\">Berkeley on Nov. 12\u003c/a>.>\n\n<em>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The home of \u003cem>Peanuts\u003c/em> creator Charles Schulz burned to the ground in the deadly California wildfires but his widow escaped, her stepson said Thursday.\u003c/p>\n\u003cp>Jean Schulz, 78, evacuated before flames engulfed her hillside home Monday and is staying with a daughter, Monte Schulz said.\u003c/p>\n\u003cp>[contextly_sidebar id=”wWrfBLaQEF0a6MvuYhojfjy482ZP0R7E”]\u003c/p>\n\u003cp>The Schulzes built the California split-level home in the 1970s and the cartoonist lived there until his death in 2000.\u003c/p>\n\u003cp>“It’s the house he died in. All of their memorabilia and everything is all gone,” Monte Schulz said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He had not heard from his stepmother and learned about the disaster from his brother, Craig Schulz, who also lost his Santa Rosa home in the fire.\u003c/p>\n\u003cp>“The fire came by at, like, two in the morning,” Monte Schulz said. “Everything’s gone.”\u003c/p>\n\u003cp>Fires in the Northern California wine country have killed at least 26 people since they began Sunday.\u003c/p>\n\u003cp>Monte Schulz said he had not visited his stepmother’s home in recent years because he lives more than 300 miles away in Santa Barbara. He wasn’t sure what might have burned.\u003c/p>\n\u003cp>“Obviously stuff from my dad and their life together, all gone,” he said.\u003c/p>\n\u003cp>Schulz usually worked at an outside studio and most of his original artwork and memorabilia are at the \u003ca href=\"https://schulzmuseum.org/museum-research-center-closed-notice/\">Charles M. Schulz Museum\u003c/a> and Research Center in Santa Rosa, which escaped the flames.\u003c/p>\n\u003cp>But the loss of the house itself is painful, Monte Schulz said.\u003c/p>\n\u003cp>“I had memories of being in that house. I never lived there but I visited all the time,” he said. “That time of our lives is now completely erased.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schulz had long ties to Santa Rosa and to Sonoma County. He and his first wife, Joyce, built a home in the city of Sebastopol in 1958. The airport in Santa Rosa Airport is officially titled the Charles M. Schulz-Sonoma County Airport and features bronze sculptures of the Peanuts characters. Its logo is Snoopy flying on top of his doghouse.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The home of \u003cem>Peanuts\u003c/em> creator Charles Schulz burned to the ground in the deadly California wildfires but his widow escaped, her stepson said Thursday.\u003c/p>\n\u003cp>Jean Schulz, 78, evacuated before flames engulfed her hillside home Monday and is staying with a daughter, Monte Schulz said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Schulzes built the California split-level home in the 1970s and the cartoonist lived there until his death in 2000.\u003c/p>\n\u003cp>“It’s the house he died in. All of their memorabilia and everything is all gone,” Monte Schulz said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He had not heard from his stepmother and learned about the disaster from his brother, Craig Schulz, who also lost his Santa Rosa home in the fire.\u003c/p>\n\u003cp>“The fire came by at, like, two in the morning,” Monte Schulz said. “Everything’s gone.”\u003c/p>\n\u003cp>Fires in the Northern California wine country have killed at least 26 people since they began Sunday.\u003c/p>\n\u003cp>Monte Schulz said he had not visited his stepmother’s home in recent years because he lives more than 300 miles away in Santa Barbara. He wasn’t sure what might have burned.\u003c/p>\n\u003cp>“Obviously stuff from my dad and their life together, all gone,” he said.\u003c/p>\n\u003cp>Schulz usually worked at an outside studio and most of his original artwork and memorabilia are at the \u003ca href=\"https://schulzmuseum.org/museum-research-center-closed-notice/\">Charles M. Schulz Museum\u003c/a> and Research Center in Santa Rosa, which escaped the flames.\u003c/p>\n\u003cp>But the loss of the house itself is painful, Monte Schulz said.\u003c/p>\n\u003cp>“I had memories of being in that house. I never lived there but I visited all the time,” he said. “That time of our lives is now completely erased.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schulz had long ties to Santa Rosa and to Sonoma County. He and his first wife, Joyce, built a home in the city of Sebastopol in 1958. The airport in Santa Rosa Airport is officially titled the Charles M. Schulz-Sonoma County Airport and features bronze sculptures of the Peanuts characters. Its logo is Snoopy flying on top of his doghouse.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\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>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Baha’i poet who was jailed for almost a decade in Iran has won a writing award celebrating free speech.\u003c/p>\n\u003cp>Mahvash Sabet shares the PEN Pinter prize with Northern Ireland poet Michael Longley. The award was announced Tuesday in London.\u003c/p>\n\u003cp>Sabet was one of seven Baha’i leaders detained in 2008 and sentenced for espionage in 2010. She was released in September.\u003c/p>\n\u003cp>A volume of her verses, \u003cem>Prison Poems\u003c/em>, was published in Britain in 2013.\u003c/p>\n\u003cp>Iran’s Baha’i minority has been persecuted since the religion was banned after the 1979 Islamic Revolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The award was established in 2009 in memory of Nobel Prize-winning playwright Harold Pinter. It goes jointly to a British, Irish or Commonwealth writer who shares Pinter’s “unflinching, unswerving” gaze on society, and an international writer who has faced persecution.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Baha’i poet who was jailed for almost a decade in Iran has won a writing award celebrating free speech.\u003c/p>\n\u003cp>Mahvash Sabet shares the PEN Pinter prize with Northern Ireland poet Michael Longley. The award was announced Tuesday in London.\u003c/p>\n\u003cp>Sabet was one of seven Baha’i leaders detained in 2008 and sentenced for espionage in 2010. She was released in September.\u003c/p>\n\u003cp>A volume of her verses, \u003cem>Prison Poems\u003c/em>, was published in Britain in 2013.\u003c/p>\n\u003cp>Iran’s Baha’i minority has been persecuted since the religion was banned after the 1979 Islamic Revolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "literary-snapshot-a-day-in-the-bay",
"title": "Literary Snapshot: How Do Bay Area Writers Spend Their Day?",
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"content": "\u003cp>The act of writing can be fickle, merciless, tiresome. Many writers cling to routines as creative hail marys to the gods of productivity. While some have a no-fuss schedule, able to write whenever time is available, others favor routines with habitual locations and specific times. What does a literary day look like for the Bay Area? Think of it: as most get in cars, trains, and bicycles to begin their commutes, a whole other class of people — writers — engage in their daily rituals to settle down at their desks and do the work.\u003c/p>\n\u003cp>I asked five Bay Area authors to describe a typical writing day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tobias Wolff, Peninsula\u003c/em>\u003c/h2>\n\u003cp>True writerly work is the most unromantic enterprise imaginable. If you’re doing it right, you have sentenced yourself to what any court would deem cruel and unusual punishment. Daily solitary confinement made more cruel by additional confinement to a chair for hours on end, during which you beat your brains out against a screen while taking semicolons out and putting them back in.\u003c/p>\n\u003cp>I’m serving my sentence in a carrell in the basement of Green Library at Stanford, under a buzzing fluorescent light. Some cells have windows; mine does not, by my choice—I would waste too much time gazing out of it, yearning for freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hope to be out on parole in 2018, provided I finish the book I’m working on, and don’t go crazy first.\u003c/p>\n\u003cp>\u003cem>Tobias Wolff is the author of ‘A Boy’s Life,’ and more recently ‘\u003ca href=\"https://www.indiebound.org/book/9780880010498\">The Barracks Thief\u003c/a>.’\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Vanessa Hua, East Bay\u003c/em>\u003c/h2>\n\u003cp>Now that the days are getting shorter, my six-year-old twins are rising before dawn, but still we scramble to get out the door to school. After drop off, I settle down at my desk, where I look over my task list—I’m big on lists!—which keep me on track about what I need to revise in my novel, what I need to do for an upcoming column or freelance piece, and other correspondence I need to return. I listen to ambient electronic music: \u003cem>Tycho, Ulrich Schnauss, Bonobo, Boards of Canada, Air. \u003c/em>Lyrics can be distracting, but sometimes I get into a nostalgic mood and listen to favorites from college, \u003cem>They Might Be Giants, Indigo Girls, \u003c/em>or \u003cem>Erasure. \u003c/em>Towards the end of the day, I go for a run or a swim—exercise is key to my creative practice. It’s when I’m away from my computer that solutions to narrative dilemmas bubble up from my unconscious. It’s been said that sitting is the new smoking, in terms of the harm it causes, and we need to keep our strength! After I get back, I start getting dinner ready—something I can pop into the oven and don’t have to tend to—then work for another hour and a half or so before the babysitter leaves. I write a to-do list at the end of the day, so that I’m ready to go the next morning. After family time and putting the twins to bed, I read research related to my novel, for pleasure, or catch up on the news before light’s out.\u003c/p>\n\u003cp>\u003cem>Vanessa Hua is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780997199628\">Deceit and Other Possibilities\u003c/a>.’ Catch her at Litquake for \u003ca href=\"https://litquake2017.sched.com/event/BJvx/you-cant-write-that-writing-from-privilege\">You Can’t Write That: Writing from Privilege\u003c/a> on Monday, Oct. 9, at the San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tongo Eisen-Martin, San Francisco\u003c/em>\u003c/h2>\n\u003cp>I write in kitchens (a home’s true commons) or back bedrooms (for inner-city hermitage purposes). I start small. Sometimes three or four words are already there for me to begin excavating around. Sometimes I use immediate sights within a room or sounds from outside to fish lines of representation or corresponding phenomena out of my mind. I stay pretty close to the immediate and even after lines throw me off of cliffs down into a past, future or parallel, I try to land back in the room. Energies, sensations, joys, and aggravations are all starting points. Out and back. Sometimes I will have music playing if my mind won’t let energy in. Music is a good jump-start. The trade off is that music also dominates the tones, colors, even topics of a given landscape of a poem; zaps some of my lucidity. I like to leave my immediate reality just where it is when writing.\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780872867451\">Heaven is All Goodbyes\u003c/a>.’ He reads at Grace Cathedral on Oct. 13 at 7:30pm as part of Litquake’s \u003ca href=\"http://sched.co/BY3T\">Exalted Verse: Poets at Grace Cathedral\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Shanthi Sekaran, San Francisco\u003c/em>\u003c/h2>\n\u003cp>When I was writing \u003cem>Lucky Boy\u003c/em>, steeped in teaching and childcare, I gave myself one full writing day per week at the San Francisco Writers’ Grotto. My do-or-die day. Once I got into the swing of that book, I could write anywhere, anytime, and that’s what I did. Maybe that’s what mothers do. I’d steal a few minutes before bed, an hour during soccer practice. Now, starting my next novel, I’m searching again for some sort of process. All I know is that I like writing free-hand before I start typing. Writing by hand creates a physical—maybe metaphysical?—flow from mind to hand, passing, somewhere along the way, through avenues of longing and urgency. Wednesdays are my saving grace, when I meet two writer friends for coffee-and-no-gossip (the gossip happens at lunch). We work in a café in Oakland, where the tables are big and chunky. My only requirement: a big, meaty table. None of those coaster-sized French café tables for me. And tea. A big table and tea. And often chocolate. Table, tea, chocolate. One day, I fully intend to start the daily thing: 9:35 every morning, like a good and disciplined writer. I hope to start tomorrow. Or maybe the day after that.\u003c/p>\n\u003cp>\u003cem>Shanthi Sekaran is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781101982266\">Lucky Boy\u003c/a>.’ Hear her read for \u003ca href=\"https://litcrawlsanfrancisco2017.sched.com/event/BROw/an-evening-with-the-rumpus\">The Rumpus at Litcrawl\u003c/a> on Oct. 14 at The Laundry in San Francisco at 6:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Andrew Lam, San Francisco\u003c/em>\u003c/h2>\n\u003cp>My daily rituals have been odd for many reasons: Until two weeks ago, I worked three days a week as an editor at New America Media, and those three days more or less were shot. They afforded me little time to work on my own writing. Instead I worked on others’ writing and posting stories for that website. The remaining days I ended up doing freelance work or working on writing that was close to my heart. Preferably, I get up early in the morning when dreams and memories and reality share a tenuous terrain. It’s when writing is most fluid and uninhibited. If I get some writing done then throughout the day I think about what I managed to jot down and, even when walking or out and about, I would use my cell phone to record new ideas and thoughts. Then again the next morning…\u003c/p>\n\u003cp>\u003cem>Andrew Lam is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781597141383\">East Eats West: Writing in Two Hemispheres\u003c/a>.’ Catch him on Wednesday, Oct. 11 at 7pm in conversation at the Swedish American Hall for Litquake’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\">Some Stories Deserve to be True: International Nonfiction\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Tobias Wolff, Vanessa Hua, Tongo Eisen-Martin, Shanthi Sekaran, and Andrew Lam reveal their habitual locations and times to get their writing done. ",
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"title": "Literary Snapshot: How Do Bay Area Writers Spend Their Day? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The act of writing can be fickle, merciless, tiresome. Many writers cling to routines as creative hail marys to the gods of productivity. While some have a no-fuss schedule, able to write whenever time is available, others favor routines with habitual locations and specific times. What does a literary day look like for the Bay Area? Think of it: as most get in cars, trains, and bicycles to begin their commutes, a whole other class of people — writers — engage in their daily rituals to settle down at their desks and do the work.\u003c/p>\n\u003cp>I asked five Bay Area authors to describe a typical writing day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tobias Wolff, Peninsula\u003c/em>\u003c/h2>\n\u003cp>True writerly work is the most unromantic enterprise imaginable. If you’re doing it right, you have sentenced yourself to what any court would deem cruel and unusual punishment. Daily solitary confinement made more cruel by additional confinement to a chair for hours on end, during which you beat your brains out against a screen while taking semicolons out and putting them back in.\u003c/p>\n\u003cp>I’m serving my sentence in a carrell in the basement of Green Library at Stanford, under a buzzing fluorescent light. Some cells have windows; mine does not, by my choice—I would waste too much time gazing out of it, yearning for freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hope to be out on parole in 2018, provided I finish the book I’m working on, and don’t go crazy first.\u003c/p>\n\u003cp>\u003cem>Tobias Wolff is the author of ‘A Boy’s Life,’ and more recently ‘\u003ca href=\"https://www.indiebound.org/book/9780880010498\">The Barracks Thief\u003c/a>.’\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Vanessa Hua, East Bay\u003c/em>\u003c/h2>\n\u003cp>Now that the days are getting shorter, my six-year-old twins are rising before dawn, but still we scramble to get out the door to school. After drop off, I settle down at my desk, where I look over my task list—I’m big on lists!—which keep me on track about what I need to revise in my novel, what I need to do for an upcoming column or freelance piece, and other correspondence I need to return. I listen to ambient electronic music: \u003cem>Tycho, Ulrich Schnauss, Bonobo, Boards of Canada, Air. \u003c/em>Lyrics can be distracting, but sometimes I get into a nostalgic mood and listen to favorites from college, \u003cem>They Might Be Giants, Indigo Girls, \u003c/em>or \u003cem>Erasure. \u003c/em>Towards the end of the day, I go for a run or a swim—exercise is key to my creative practice. It’s when I’m away from my computer that solutions to narrative dilemmas bubble up from my unconscious. It’s been said that sitting is the new smoking, in terms of the harm it causes, and we need to keep our strength! After I get back, I start getting dinner ready—something I can pop into the oven and don’t have to tend to—then work for another hour and a half or so before the babysitter leaves. I write a to-do list at the end of the day, so that I’m ready to go the next morning. After family time and putting the twins to bed, I read research related to my novel, for pleasure, or catch up on the news before light’s out.\u003c/p>\n\u003cp>\u003cem>Vanessa Hua is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780997199628\">Deceit and Other Possibilities\u003c/a>.’ Catch her at Litquake for \u003ca href=\"https://litquake2017.sched.com/event/BJvx/you-cant-write-that-writing-from-privilege\">You Can’t Write That: Writing from Privilege\u003c/a> on Monday, Oct. 9, at the San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tongo Eisen-Martin, San Francisco\u003c/em>\u003c/h2>\n\u003cp>I write in kitchens (a home’s true commons) or back bedrooms (for inner-city hermitage purposes). I start small. Sometimes three or four words are already there for me to begin excavating around. Sometimes I use immediate sights within a room or sounds from outside to fish lines of representation or corresponding phenomena out of my mind. I stay pretty close to the immediate and even after lines throw me off of cliffs down into a past, future or parallel, I try to land back in the room. Energies, sensations, joys, and aggravations are all starting points. Out and back. Sometimes I will have music playing if my mind won’t let energy in. Music is a good jump-start. The trade off is that music also dominates the tones, colors, even topics of a given landscape of a poem; zaps some of my lucidity. I like to leave my immediate reality just where it is when writing.\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780872867451\">Heaven is All Goodbyes\u003c/a>.’ He reads at Grace Cathedral on Oct. 13 at 7:30pm as part of Litquake’s \u003ca href=\"http://sched.co/BY3T\">Exalted Verse: Poets at Grace Cathedral\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Shanthi Sekaran, San Francisco\u003c/em>\u003c/h2>\n\u003cp>When I was writing \u003cem>Lucky Boy\u003c/em>, steeped in teaching and childcare, I gave myself one full writing day per week at the San Francisco Writers’ Grotto. My do-or-die day. Once I got into the swing of that book, I could write anywhere, anytime, and that’s what I did. Maybe that’s what mothers do. I’d steal a few minutes before bed, an hour during soccer practice. Now, starting my next novel, I’m searching again for some sort of process. All I know is that I like writing free-hand before I start typing. Writing by hand creates a physical—maybe metaphysical?—flow from mind to hand, passing, somewhere along the way, through avenues of longing and urgency. Wednesdays are my saving grace, when I meet two writer friends for coffee-and-no-gossip (the gossip happens at lunch). We work in a café in Oakland, where the tables are big and chunky. My only requirement: a big, meaty table. None of those coaster-sized French café tables for me. And tea. A big table and tea. And often chocolate. Table, tea, chocolate. One day, I fully intend to start the daily thing: 9:35 every morning, like a good and disciplined writer. I hope to start tomorrow. Or maybe the day after that.\u003c/p>\n\u003cp>\u003cem>Shanthi Sekaran is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781101982266\">Lucky Boy\u003c/a>.’ Hear her read for \u003ca href=\"https://litcrawlsanfrancisco2017.sched.com/event/BROw/an-evening-with-the-rumpus\">The Rumpus at Litcrawl\u003c/a> on Oct. 14 at The Laundry in San Francisco at 6:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Andrew Lam, San Francisco\u003c/em>\u003c/h2>\n\u003cp>My daily rituals have been odd for many reasons: Until two weeks ago, I worked three days a week as an editor at New America Media, and those three days more or less were shot. They afforded me little time to work on my own writing. Instead I worked on others’ writing and posting stories for that website. The remaining days I ended up doing freelance work or working on writing that was close to my heart. Preferably, I get up early in the morning when dreams and memories and reality share a tenuous terrain. It’s when writing is most fluid and uninhibited. If I get some writing done then throughout the day I think about what I managed to jot down and, even when walking or out and about, I would use my cell phone to record new ideas and thoughts. Then again the next morning…\u003c/p>\n\u003cp>\u003cem>Andrew Lam is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781597141383\">East Eats West: Writing in Two Hemispheres\u003c/a>.’ Catch him on Wednesday, Oct. 11 at 7pm in conversation at the Swedish American Hall for Litquake’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\">Some Stories Deserve to be True: International Nonfiction\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Air: Cy and John's Do List Picks for Oct. 6, 2017",
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"content": "\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\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>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "A Literary Festival Explores Every Kind of Writing — and a Bit of Drinking",
"headTitle": "A Literary Festival Explores Every Kind of Writing — and a Bit of Drinking | KQED",
"content": "\u003cp>Litquake, the festival of all things literary, is back in San Francisco, Oakland, Napa, Berkeley, and Marin, with a huge menu of writers for every taste and age group. There are YA panels and poets, erotic tale tellers, a Barbary Coast prostitute walking tour, a panel on how to break into publishing, a literary death match, and a bar crawl to close out the festival. We’re partial to a staging of Joan Didion’s \u003cem>Slouching Toward Bethlehem\u003c/em> by the theater troupe Word for Word, readings by local poets Tongo Eisen-Martin and Jose Vadi, a panel on microdosing with Berkeley’s Ayelet Waldman, and spiritual readings in the majestic Grace Cathedral. The festival runs Oct. 5–14; \u003ca href=\"http://www.litquake.org/2017-litquake-festival\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=INMnqiOD_pE&t=40s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Litquake, the festival of all things literary, is back in San Francisco, Oakland, Napa, Berkeley, and Marin, with a huge menu of writers for every taste and age group. There are YA panels and poets, erotic tale tellers, a Barbary Coast prostitute walking tour, a panel on how to break into publishing, a literary death match, and a bar crawl to close out the festival. We’re partial to a staging of Joan Didion’s \u003cem>Slouching Toward Bethlehem\u003c/em> by the theater troupe Word for Word, readings by local poets Tongo Eisen-Martin and Jose Vadi, a panel on microdosing with Berkeley’s Ayelet Waldman, and spiritual readings in the majestic Grace Cathedral. The festival runs Oct. 5–14; \u003ca href=\"http://www.litquake.org/2017-litquake-festival\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\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/INMnqiOD_pE'\n title='//www.youtube.com/embed/INMnqiOD_pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It began with more than 1,500 books.\u003c/p>\n\u003cp>With all the works submitted by publishers, the judges for this year’s National Book Awards have had their hands (and bookshelves) full the past few months. But that daunting number of contenders winnowed further Wednesday, as the National Book Foundation announced the finalists for its literary prize — just five works each in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#young\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>You can find those shortlists below, paired with links to NPR’s previous coverage for readers to get to know those nominees better.\u003c/p>\n\u003cp>For now, at least, there are two winners whose names we won’t have to wait on: Annie Proulx, who has already won a National Book Award for \u003cem>The Shipping News\u003c/em>, will be honored this year with the \u003ca href=\"http://www.nationalbook.org/amerletters_2017_aproulx.html#.WdTThltSypo\" target=\"_blank\" rel=\"noopener\">Medal for Distinguished Contribution to American Letters\u003c/a>, the NBF’s version of a lifetime achievement award. And Dick Robinson, president and CEO of Scholastic, will be receiving the \u003ca href=\"http://www.nationalbook.org/literarian.html#.WdTTKFtSypo\" target=\"_blank\" rel=\"noopener\">Literarian Award for Outstanding Service to the American Literary Community\u003c/a>.\u003c/p>\n\u003cp>The rest of this year’s winners will be announced on Nov. 15 in New York City.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/01/21/510780479/a-failed-revolution-and-a-failed-marriage-in-dark-at-the-crossing\" target=\"_blank\" rel=\"noopener\">Elliot Ackerman\u003c/a>: \u003c/strong>\u003cem>Dark at the Crossing\u003cbr>\u003c/em>\u003cstrong>Lisa Ko: \u003c/strong>\u003cem>The Leavers\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11779763\" target=\"_blank\" rel=\"noopener\">Min Jin Lee\u003c/a>: \u003c/strong> \u003ca href=\"http://www.npr.org/2017/02/07/512910187/culture-clash-survival-and-hope-in-pachinko\" target=\"_blank\" rel=\"noopener\">Pachinko\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Carmen Maria Machado:\u003c/strong>\u003cem> Her Body and Other Parties: Stories\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/08/31/547271081/writing-mississippi-jesmyn-ward-salvages-stories-of-the-silenced\" target=\"_blank\" rel=\"noopener\">Jesmyn Ward\u003c/a>: \u003c/strong>\u003ca href=\"http://www.npr.org/2017/09/06/547560046/sing-mourns-the-dead-both-buried-and-unburied\" target=\"_blank\" rel=\"noopener\">Sing, Unburied, Sing\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Erica Armstrong Dunbar: \u003c/strong>\u003cem>Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/05/02/525452958/why-white-evangelicals-are-splintering-politically\" target=\"_blank\" rel=\"noopener\">Frances FitzGerald\u003c/a>: \u003c/strong>\u003cem>The Evangelicals: The Struggle to Shape America\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/09/07/492962278/sad-and-absurd-the-u-s-s-r-s-disastrous-effort-to-create-a-jewish-homeland\" target=\"_blank\" rel=\"noopener\">Masha Gessen\u003c/a>: \u003c/strong>\u003cem>The Future Is History: How Totalitarianism Reclaimed Russia\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/04/17/524348264/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri\" target=\"_blank\" rel=\"noopener\">David Grann\u003c/a>:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/04/17/523964584/in-the-1920s-a-community-conspired-to-kill-native-americans-for-their-oil-money\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon: The Osage Murders and the Birth of the FBI\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Nancy MacLean:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/06/18/531929217/democracy-in-chains-traces-the-rise-of-american-libertarianism\" target=\"_blank\" rel=\"noopener\">Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Frank Bidart: \u003c/strong>\u003cem>Half-light: Collected Poems 1965-2016\u003cbr>\u003c/em>\u003cstrong>Leslie Harrison: \u003c/strong>\u003cem>The Book of Endings\u003cbr>\u003c/em>\u003cstrong>Layli Long Soldier: \u003c/strong>\u003cem>WHEREAS\u003cbr>\u003c/em>\u003cstrong>Shane McCrae: \u003c/strong>\u003cem>In the Language of My Captor\u003cbr>\u003c/em>\u003cstrong>Danez Smith: \u003c/strong>\u003cem>Don’t Call Us Dead: Poems\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"young\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003cstrong>Elana K. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It began with more than 1,500 books.\u003c/p>\n\u003cp>With all the works submitted by publishers, the judges for this year’s National Book Awards have had their hands (and bookshelves) full the past few months. But that daunting number of contenders winnowed further Wednesday, as the National Book Foundation announced the finalists for its literary prize — just five works each in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#young\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>You can find those shortlists below, paired with links to NPR’s previous coverage for readers to get to know those nominees better.\u003c/p>\n\u003cp>For now, at least, there are two winners whose names we won’t have to wait on: Annie Proulx, who has already won a National Book Award for \u003cem>The Shipping News\u003c/em>, will be honored this year with the \u003ca href=\"http://www.nationalbook.org/amerletters_2017_aproulx.html#.WdTThltSypo\" target=\"_blank\" rel=\"noopener\">Medal for Distinguished Contribution to American Letters\u003c/a>, the NBF’s version of a lifetime achievement award. And Dick Robinson, president and CEO of Scholastic, will be receiving the \u003ca href=\"http://www.nationalbook.org/literarian.html#.WdTTKFtSypo\" target=\"_blank\" rel=\"noopener\">Literarian Award for Outstanding Service to the American Literary Community\u003c/a>.\u003c/p>\n\u003cp>The rest of this year’s winners will be announced on Nov. 15 in New York City.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/01/21/510780479/a-failed-revolution-and-a-failed-marriage-in-dark-at-the-crossing\" target=\"_blank\" rel=\"noopener\">Elliot Ackerman\u003c/a>: \u003c/strong>\u003cem>Dark at the Crossing\u003cbr>\u003c/em>\u003cstrong>Lisa Ko: \u003c/strong>\u003cem>The Leavers\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11779763\" target=\"_blank\" rel=\"noopener\">Min Jin Lee\u003c/a>: \u003c/strong> \u003ca href=\"http://www.npr.org/2017/02/07/512910187/culture-clash-survival-and-hope-in-pachinko\" target=\"_blank\" rel=\"noopener\">Pachinko\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Carmen Maria Machado:\u003c/strong>\u003cem> Her Body and Other Parties: Stories\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/08/31/547271081/writing-mississippi-jesmyn-ward-salvages-stories-of-the-silenced\" target=\"_blank\" rel=\"noopener\">Jesmyn Ward\u003c/a>: \u003c/strong>\u003ca href=\"http://www.npr.org/2017/09/06/547560046/sing-mourns-the-dead-both-buried-and-unburied\" target=\"_blank\" rel=\"noopener\">Sing, Unburied, Sing\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Erica Armstrong Dunbar: \u003c/strong>\u003cem>Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/05/02/525452958/why-white-evangelicals-are-splintering-politically\" target=\"_blank\" rel=\"noopener\">Frances FitzGerald\u003c/a>: \u003c/strong>\u003cem>The Evangelicals: The Struggle to Shape America\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/09/07/492962278/sad-and-absurd-the-u-s-s-r-s-disastrous-effort-to-create-a-jewish-homeland\" target=\"_blank\" rel=\"noopener\">Masha Gessen\u003c/a>: \u003c/strong>\u003cem>The Future Is History: How Totalitarianism Reclaimed Russia\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/04/17/524348264/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri\" target=\"_blank\" rel=\"noopener\">David Grann\u003c/a>:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/04/17/523964584/in-the-1920s-a-community-conspired-to-kill-native-americans-for-their-oil-money\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon: The Osage Murders and the Birth of the FBI\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Nancy MacLean:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/06/18/531929217/democracy-in-chains-traces-the-rise-of-american-libertarianism\" target=\"_blank\" rel=\"noopener\">Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Frank Bidart: \u003c/strong>\u003cem>Half-light: Collected Poems 1965-2016\u003cbr>\u003c/em>\u003cstrong>Leslie Harrison: \u003c/strong>\u003cem>The Book of Endings\u003cbr>\u003c/em>\u003cstrong>Layli Long Soldier: \u003c/strong>\u003cem>WHEREAS\u003cbr>\u003c/em>\u003cstrong>Shane McCrae: \u003c/strong>\u003cem>In the Language of My Captor\u003cbr>\u003c/em>\u003cstrong>Danez Smith: \u003c/strong>\u003cem>Don’t Call Us Dead: Poems\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"young\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003cstrong>Elana K. Arnold: \u003c/strong>\u003cem>What Girls Are Made Of\u003cbr>\u003c/em>\u003cstrong>Robin Benway: \u003c/strong>\u003cem>Far from the Tree\u003cbr>\u003c/em>\u003cstrong>Erika L. Sánchez: \u003c/strong>\u003cem>I Am Not Your Perfect Mexican Daughter\u003cbr>\u003c/em>\u003cstrong>Rita Williams-Garcia:\u003c/strong>\u003cem> Clayton Byrd Goes Underground\u003cbr>\u003c/em>\u003cstrong>Ibi Zoboi: \u003c/strong>\u003cem>American Street\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Here+Are+The+Finalists+For+The+2017+National+Book+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Playboy' Founder Hugh Hefner Dies At 91",
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"content": "\u003cp>Hugh Hefner created \u003cem>Playboy\u003c/em> at his kitchen table in Chicago. The magazine was blamed for (or credited with) setting off a cultural revolution in America, but within a few years Hefner was branded a male chauvinist. He was a proponent of free speech and a champion of civil rights who was decried as a merchant of smut.\u003c/p>\n\u003cp>Hefner died Wednesday at the age of 91, the magazine announced in a statement, writing that he “peacefully passed away today from natural causes at his home, The Playboy Mansion, surrounded by loved ones.”\u003c/p>\n\u003cp>“My father lived an exceptional and impactful life as a media and cultural pioneer and a leading voice behind some of the most significant social and cultural movements of our time in advocating free speech, civil rights and sexual freedom,” Hefner’s son Cooper, now the company’s chief creative officer, wrote in the company’s statment. “He defined a lifestyle and ethos that lie at the heart of the Playboy brand.”\u003c/p>\n\u003cp>\u003cem>Playboy\u003c/em> published outstanding writers (Joseph Heller, Margaret Atwood, Norman Mailer) and distinctive interviews with acclaimed and controversial figures, including Fidel Castro, Miles Davis and Malcolm X.\u003cstrong> \u003c/strong>But who are we kidding? The magazine made millions because serious pieces were printed on the flip side of pictures of naked women.\u003c/p>\n\u003cp>In 2007, Hefner told NPR, “The playmate of the month, the centerfold, came directly out of the influences of pinup photography and art from World War II and before. But what set them apart was what I described at the time as the girl next door: It all comes from that notion of being a fresh, wholesome, all-American person, and — in the context of the playmate — a sexual icon. The recognition … that nice girls like sex, too. Very revolutionary in the 1950s.”\u003c/p>\n\u003ch3>“I Get It For The Articles”\u003c/h3>\n\u003cp>In 1952, Hefner was working as a cartoonist for \u003cem>Esquire\u003c/em> magazine in Chicago. When he was turned down for a $5 raise, he decided to try something new: Hefner gathered $8,000 from 50 investors, including his mother, to create a prototype for a new magazine. He found a 5-year-old shot of a nude model in the files of a Chicago calendar company, and bought it for $500. The model was Marilyn Monroe, before she had become a star, and the magazine sold out in days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michael Hainey, who has worked as an editor at \u003cem>GQ\u003c/em> and \u003cem>Esquire\u003c/em>, says, “The joke about \u003cem>Playboy\u003c/em> is: ‘I get it for the articles.’ But in fact the journalism in it was profound. … [Hefner] was experimenting always with publishing controversial, cutting-edge stuff.”\u003c/p>\n\u003cp>In 1955, \u003cem>Playboy\u003c/em> published Charles Beaumont’s “\u003ca href=\"https://lostgayfiction.wordpress.com/2011/12/04/the-crooked-man-by-charles-beaumont/\">The Crooked Man\u003c/a>,” a short story set a future where the majority of the population is gay and heterosexual men are persecuted. It was originally rejected by \u003cem>Esquire\u003c/em>. “He always paid top dollar for fiction, published a lot of authors who never would’ve found an audience,” Hainey says. ” … He fought a lot of battles in terms of the First Amendment and free speech.”\u003c/p>\n\u003cp>The 1950s were a buttoned-down time, but \u003cem>Playboy\u003c/em> was \u003cem>un\u003c/em>buttoned — all about jazz, booze and swinging. The magazine’s success led Hefner to create Playboy Clubs in Chicago in 1960. He hired black comics like Dick Gregory and Bill Cosby at a time when most clubs were segregated, and he gave gigs to comic Lenny Bruce despite his many obscenity charges.\u003c/p>\n\u003cp>But Hefner’s profile as a hip, liberal activist was cracked by the rise of feminism in the 1970s, when he and \u003cem>Playboy\u003c/em> were accused of demeaning women as sex objects. In 2003, on \u003cem>Playboy\u003c/em>‘s 50th anniversary, Hefner told NPR, “I recognize that I remain — even after half a century — a controversial figure, but America has always had conflicts related to things related to sex. In other words, we remain essentially a very Puritan people.”\u003c/p>\n\u003cp>He also reframed the sex object criticism, saying, “I think you ought to talk to the women who’ve been in the magazine and see how they feel about that. I mean, what is more Puritan than somebody who has a strong opinion about somebody else’s life and who disapproves of it because somehow or other it’s not their particular way?”\u003c/p>\n\u003cp>As popular culture changed, \u003cem>Playboy\u003c/em> was caught between critics, who considered Hefner the emblem of anti-feminism, and competitors like Larry Flynt’s \u003cem>Hustler\u003c/em>, who were explicit to the point of raunchy. Circulation declined, Playboy Clubs closed and in the 1980s Hefner handed control of the magazine over to his daughter, Christie Hefner. She told NPR in 2003 that she believes the enterprise her father founded didn’t demean women. In fact, it elevated the struggle for civil rights and free speech.\u003c/p>\n\u003cp>She said, “If you want to reduce the magazine to its center three pages, then, in effect, you’ve objectified the magazine as much as anything else.”\u003c/p>\n\u003ch3>“Sex Was Handed To Us By The Powers That Be”\u003c/h3>\n\u003cp>Hugh Hefner spent the last decades of his life more as a cultural symbol than a force. He relocated to a Southern Californian mansion (complete with a koi pond, game room, grotto and movie theater) to host lavish parties. But the host reportedly mostly stayed in his bedroom suite, working in silk pajamas on his round bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the time of his 2003 NPR interview, Hefner shared his mansion with seven women, all young enough to be his granddaughters. But the man who set out to surround himself with sexuality and extravagance looked isolated and lonely. He said his eventful life had convinced him romance was an illusion:\u003c/p>\n\u003cblockquote>\n\u003cp>Sex was handed to us by the powers that be, but romance is something that we invented, that is unique to humankind. And what’s interesting about the Western romantic tradition, of course, is that some of the classics are, you know, \u003cem>Romeo and Juliet,\u003c/em> where everybody dies. … In the fairy tales it’s pursuit, and then ‘they lived happily ever after.’ But we never really deal with “they lived happily ever after.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27Playboy%27+Founder+Hugh+Hefner%2C+Champion+Of+Free+Speech+And+%27Smut%27%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hugh Hefner created \u003cem>Playboy\u003c/em> at his kitchen table in Chicago. The magazine was blamed for (or credited with) setting off a cultural revolution in America, but within a few years Hefner was branded a male chauvinist. He was a proponent of free speech and a champion of civil rights who was decried as a merchant of smut.\u003c/p>\n\u003cp>Hefner died Wednesday at the age of 91, the magazine announced in a statement, writing that he “peacefully passed away today from natural causes at his home, The Playboy Mansion, surrounded by loved ones.”\u003c/p>\n\u003cp>“My father lived an exceptional and impactful life as a media and cultural pioneer and a leading voice behind some of the most significant social and cultural movements of our time in advocating free speech, civil rights and sexual freedom,” Hefner’s son Cooper, now the company’s chief creative officer, wrote in the company’s statment. “He defined a lifestyle and ethos that lie at the heart of the Playboy brand.”\u003c/p>\n\u003cp>\u003cem>Playboy\u003c/em> published outstanding writers (Joseph Heller, Margaret Atwood, Norman Mailer) and distinctive interviews with acclaimed and controversial figures, including Fidel Castro, Miles Davis and Malcolm X.\u003cstrong> \u003c/strong>But who are we kidding? The magazine made millions because serious pieces were printed on the flip side of pictures of naked women.\u003c/p>\n\u003cp>In 2007, Hefner told NPR, “The playmate of the month, the centerfold, came directly out of the influences of pinup photography and art from World War II and before. But what set them apart was what I described at the time as the girl next door: It all comes from that notion of being a fresh, wholesome, all-American person, and — in the context of the playmate — a sexual icon. The recognition … that nice girls like sex, too. Very revolutionary in the 1950s.”\u003c/p>\n\u003ch3>“I Get It For The Articles”\u003c/h3>\n\u003cp>In 1952, Hefner was working as a cartoonist for \u003cem>Esquire\u003c/em> magazine in Chicago. When he was turned down for a $5 raise, he decided to try something new: Hefner gathered $8,000 from 50 investors, including his mother, to create a prototype for a new magazine. He found a 5-year-old shot of a nude model in the files of a Chicago calendar company, and bought it for $500. The model was Marilyn Monroe, before she had become a star, and the magazine sold out in days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Hainey, who has worked as an editor at \u003cem>GQ\u003c/em> and \u003cem>Esquire\u003c/em>, says, “The joke about \u003cem>Playboy\u003c/em> is: ‘I get it for the articles.’ But in fact the journalism in it was profound. … [Hefner] was experimenting always with publishing controversial, cutting-edge stuff.”\u003c/p>\n\u003cp>In 1955, \u003cem>Playboy\u003c/em> published Charles Beaumont’s “\u003ca href=\"https://lostgayfiction.wordpress.com/2011/12/04/the-crooked-man-by-charles-beaumont/\">The Crooked Man\u003c/a>,” a short story set a future where the majority of the population is gay and heterosexual men are persecuted. It was originally rejected by \u003cem>Esquire\u003c/em>. “He always paid top dollar for fiction, published a lot of authors who never would’ve found an audience,” Hainey says. ” … He fought a lot of battles in terms of the First Amendment and free speech.”\u003c/p>\n\u003cp>The 1950s were a buttoned-down time, but \u003cem>Playboy\u003c/em> was \u003cem>un\u003c/em>buttoned — all about jazz, booze and swinging. The magazine’s success led Hefner to create Playboy Clubs in Chicago in 1960. He hired black comics like Dick Gregory and Bill Cosby at a time when most clubs were segregated, and he gave gigs to comic Lenny Bruce despite his many obscenity charges.\u003c/p>\n\u003cp>But Hefner’s profile as a hip, liberal activist was cracked by the rise of feminism in the 1970s, when he and \u003cem>Playboy\u003c/em> were accused of demeaning women as sex objects. In 2003, on \u003cem>Playboy\u003c/em>‘s 50th anniversary, Hefner told NPR, “I recognize that I remain — even after half a century — a controversial figure, but America has always had conflicts related to things related to sex. In other words, we remain essentially a very Puritan people.”\u003c/p>\n\u003cp>He also reframed the sex object criticism, saying, “I think you ought to talk to the women who’ve been in the magazine and see how they feel about that. I mean, what is more Puritan than somebody who has a strong opinion about somebody else’s life and who disapproves of it because somehow or other it’s not their particular way?”\u003c/p>\n\u003cp>As popular culture changed, \u003cem>Playboy\u003c/em> was caught between critics, who considered Hefner the emblem of anti-feminism, and competitors like Larry Flynt’s \u003cem>Hustler\u003c/em>, who were explicit to the point of raunchy. Circulation declined, Playboy Clubs closed and in the 1980s Hefner handed control of the magazine over to his daughter, Christie Hefner. She told NPR in 2003 that she believes the enterprise her father founded didn’t demean women. In fact, it elevated the struggle for civil rights and free speech.\u003c/p>\n\u003cp>She said, “If you want to reduce the magazine to its center three pages, then, in effect, you’ve objectified the magazine as much as anything else.”\u003c/p>\n\u003ch3>“Sex Was Handed To Us By The Powers That Be”\u003c/h3>\n\u003cp>Hugh Hefner spent the last decades of his life more as a cultural symbol than a force. He relocated to a Southern Californian mansion (complete with a koi pond, game room, grotto and movie theater) to host lavish parties. But the host reportedly mostly stayed in his bedroom suite, working in silk pajamas on his round bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the time of his 2003 NPR interview, Hefner shared his mansion with seven women, all young enough to be his granddaughters. But the man who set out to surround himself with sexuality and extravagance looked isolated and lonely. He said his eventful life had convinced him romance was an illusion:\u003c/p>\n\u003cblockquote>\n\u003cp>Sex was handed to us by the powers that be, but romance is something that we invented, that is unique to humankind. And what’s interesting about the Western romantic tradition, of course, is that some of the classics are, you know, \u003cem>Romeo and Juliet,\u003c/em> where everybody dies. … In the fairy tales it’s pursuit, and then ‘they lived happily ever after.’ But we never really deal with “they lived happily ever after.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27Playboy%27+Founder+Hugh+Hefner%2C+Champion+Of+Free+Speech+And+%27Smut%27%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Aardvark Books, the bookstore near San Francisco’s Castro District, is expected to close after 39 years of business.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/books/article/San-Francisco-s-Aardvark-Books-to-close-12227481.php\" target=\"_blank\" rel=\"noopener\">Employees Monday\u003c/a> \u003ca href=\"http://hoodline.com/2017/09/after-39-years-final-chapter-for-church-street-s-aardvark-books\" target=\"_blank\" rel=\"noopener\">confirmed reports\u003c/a> that the building that houses Aardvark is up for \u003ca href=\"https://www.redfin.com/CA/San-Francisco/227-Church-St-94114/home/143855813#property-details\" target=\"_blank\" rel=\"noopener\">sale for $2.85 million\u003c/a>, and is advertised to be “delivered vacant,” meaning the bookstore is being forced out. \u003c/p>\n\u003cp>Aardvark Books manager David Lugn said that the store, which sells both new and used books, will stay open through January of 2018. After it closes, Dog Eared Books will be the remaining bookstore in the area, as Books Inc. on Market St. closed last year.\u003c/p>\n\u003cp>“Now Aardvark is closing. Slowly, San Francisco is shredding its reputation as a literary city,” Timothy Faust wrote on \u003ca href=\"https://twitter.com/crulge/status/912405268646055939\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13809528\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Aardvark-books1-800x450.jpg\" alt=\"Owen the cat at Aardvark Books\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13809528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Owen the cat at Aardvark Books \u003ccite>( Elaine N./Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opened in 1978, the independently owned store sells a wide range of publications, from magazines to comic books. It’s also known for housing an orange tabby cat named Owen, who will need to find a home when the store closes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everyone seems to want the cat, so the cat will be fine,” Lugn said. “Yet no one is looking for homes for the employees.”\u003c/p>\n\u003cp>Lugn said the employees have known about the possibility of the store closing “for a while,” but it was confirmed to them when they discovered the Redfin listing Friday. Since then, many customers have come into the store and lamented its upcoming loss. \u003c/p>\n\u003cp>“People who we don’t even know have been coming in and saying, ‘Oh no, this is my favorite place!'” Lugn said Monday evening. “But right now no one is in. Come on down before we close.”\u003c/p>\n\u003cp>Aardvark’s owner John Hadreas was not available for comment.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aardvark Books, the bookstore near San Francisco’s Castro District, is expected to close after 39 years of business.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/books/article/San-Francisco-s-Aardvark-Books-to-close-12227481.php\" target=\"_blank\" rel=\"noopener\">Employees Monday\u003c/a> \u003ca href=\"http://hoodline.com/2017/09/after-39-years-final-chapter-for-church-street-s-aardvark-books\" target=\"_blank\" rel=\"noopener\">confirmed reports\u003c/a> that the building that houses Aardvark is up for \u003ca href=\"https://www.redfin.com/CA/San-Francisco/227-Church-St-94114/home/143855813#property-details\" target=\"_blank\" rel=\"noopener\">sale for $2.85 million\u003c/a>, and is advertised to be “delivered vacant,” meaning the bookstore is being forced out. \u003c/p>\n\u003cp>Aardvark Books manager David Lugn said that the store, which sells both new and used books, will stay open through January of 2018. After it closes, Dog Eared Books will be the remaining bookstore in the area, as Books Inc. on Market St. closed last year.\u003c/p>\n\u003cp>“Now Aardvark is closing. Slowly, San Francisco is shredding its reputation as a literary city,” Timothy Faust wrote on \u003ca href=\"https://twitter.com/crulge/status/912405268646055939\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13809528\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Aardvark-books1-800x450.jpg\" alt=\"Owen the cat at Aardvark Books\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13809528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Aardvark-books1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Owen the cat at Aardvark Books \u003ccite>( Elaine N./Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opened in 1978, the independently owned store sells a wide range of publications, from magazines to comic books. It’s also known for housing an orange tabby cat named Owen, who will need to find a home when the store closes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone seems to want the cat, so the cat will be fine,” Lugn said. “Yet no one is looking for homes for the employees.”\u003c/p>\n\u003cp>Lugn said the employees have known about the possibility of the store closing “for a while,” but it was confirmed to them when they discovered the Redfin listing Friday. Since then, many customers have come into the store and lamented its upcoming loss. \u003c/p>\n\u003cp>“People who we don’t even know have been coming in and saying, ‘Oh no, this is my favorite place!'” Lugn said Monday evening. “But right now no one is in. Come on down before we close.”\u003c/p>\n\u003cp>Aardvark’s owner John Hadreas was not available for comment.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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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": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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