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"content": "\u003cp>Every year San Francisco chooses a book to read together, and this year the selection is \u003cem>Black Against Empire,\u003c/em> an engrossing history about the Black Panther Party by Joshua Bloom and Waldo E. Martin.\u003c/p>\n\u003cp>This marks the first year the \u003cem>One City One Book\u003c/em> pick is strongly academic, albeit one that Oakland’s Alicia Garza felt changed by — a few months after reading, she created #BlackLivesMatter. Winner of the American Book Award in 2014, \u003cem>Black Against Empire \u003c/em>is a fascinating, sweeping study of the leftist movement that boldly fought for equal rights, opportunity, and freedom — with free breakfasts, freedom schools, free ambulances, health clinics, but also with desperate or even violent methods.\u003c/p>\n\u003cfigure id=\"attachment_13809139\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809139\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg\" alt=\"\" width=\"800\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-768x861.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1020x1143.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1180x1323.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-960x1076.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-240x269.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-375x420.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-520x583.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention.jpg 1338w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Convention, Lincoln Memorial. 1970. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom and Martin are meticulous analysts of the hotbed of national issues that fomented the rise of the Black Panthers, and in \u003cem>Black Against Empire,\u003c/em> their research throws the larger national context — and thus how it might apply to our present times — into high relief. For the month of October, the Library extends a deep mediation on the Panthers and the history of the black community struggling for the basic rights that any other American takes for granted with an exciting array of programming, including film screenings, panels, and bicycle history tours.\u003c/p>\n\u003cp>At the San Francisco Public Library, Naomi Jelks, who helped pick the book, tells me \u003cem>Black Against Empire\u003c/em> is resonant, comprehensive, powerful — a book that made her think of Alphonse Karr’s adage, “The more things change, the more they stay the same.” When I visit, it’s Saturday morning. There are no librarians around, but their individual stacks of books, left precariously balanced by desks and cabinets throughout the offices give the whole place the feel of suspended animation. The nooks and crannies above the cabinets are piled high with bright plastic top hats sporting queer book covers fastened to the sash (leftovers from a Pride event, I am told, and imagined by a staff member who worked in a circus.)\u003c/p>\n\u003cfigure id=\"attachment_13809150\" class=\"wp-caption aligncenter\" style=\"max-width: 697px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13809150 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg\" alt=\"\" width=\"697\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg 697w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-240x292.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-375x456.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-520x632.jpg 520w\" sizes=\"(max-width: 697px) 100vw, 697px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Newspaper. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>“The deciding factor in selecting this book really had to do with the times that we’re living in,” Jelks said. “Oakland was not only (in 1967) the birthplace of the Black Panthers, it was also the birthplace for the movement for Black Lives, or, #BlackLivesMatter. In the Bay Area, the struggle for black and brown communities is still in dealing with issues of police brutality, or struggles with creating respectful relationships with the police. We really wanted to have a space where we look at that history and how it applies in today’s world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The addition of \u003cem>Black Against Empire\u003c/em> into the annals of the \u003cem>One City One Book\u003c/em> program was a willful expansion of the San Franciscan Summer of Love (which just celebrated its 50th anniversary) to include what was going on with people of color in the country and the unfortunate prejudices they still face today.\u003c/p>\n\u003cfigure id=\"attachment_13809143\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg\" alt=\"Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, 'No Coward Soldiers: Black Cultural Politics in Postwar America.'\" width=\"280\" height=\"352\" class=\"size-full wp-image-13809143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, ‘No Coward Soldiers: Black Cultural Politics in Postwar America.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Against Empire\u003c/em>—in its study of the boiling-kettle politics involved in emergent revolution and state actions to quell and undermine such revolutions—is a look into how the Black Panther rose from a two-person idea in Oakland, to a nationwide organization capable of threatening the state. The conditions that gave rise to the Black Panthers included the containment of black people in poverty, under police brutality, segregation, and lack of equal opportunity. The very first Black Panther action followed the 1966 killing of sixteen-year-old Matthew Johnson in Hunter’s Point — he was shot in the back fleeing from police. After the incident, Black Panther founders Bobby Seale and Huey Newton found their calling: they would protect black lives by patrolling their neighborhoods.\u003c/p>\n\u003cp>Seale and Newton gathered two friends and began driving the streets. They openly carried legal firearms and confronted police officers (who had no short history of violence) with a newfound pride. Citing local ordinances and the constitution, the Panthers clung to their right to bear arms and did not submit to the police who tried to disarm them. \u003cem>Black Against Empire \u003c/em>takes readers through this crucial moment in history, showing just how inconceivable and welcome was the image of a black person standing up against a police officer and coming out of it alive. The Panthers caught the nation’s political imagination.\u003c/p>\n\u003cfigure id=\"attachment_13809142\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg\" alt=\"\" width=\"280\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Bloom, Assistant Professor of Sociology at the University of Pittsburg and co-editor of “Working for Justice: The L.A. Model of Organizing and Advocacy.”\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area readers who dig into this rich, voluminous study will be rewarded with a better understanding of our present time. Kevin Hunsanger, who also sits in the \u003cem>One Book One City \u003c/em>committee, said, “\u003cem>Black Against Empire \u003c/em>not only offers a wonderfully readable history of the Black Panther movement, but is also a road map of sorts of successful protests, and something that is equally vital today — and quite possibly more vital tomorrow. Plus, the book has the notorious distinction of having won a National Book Critic’s Circle award, while also being banned in California prison systems.”\u003c/p>\n\u003cp>Indeed. Make your way to some of the robust programming this Fall. Here are three not to miss:\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 29, at 1pm.\u003c/strong> \u003cbr>\n\u003cem>The Irrepressible Politics of the Black Panther Party (\u003c/em>\u003cem>Main Library, Koret Auditorium, 100 Larkin St.)\u003cbr>\n\u003c/em>Join authors Joshua Bloom and Waldo Martin in conversation with journalist and hip hop historian “Davey D” Cook to discuss \u003cem>Black Against Empire\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 7, at 1pm.\u003c/strong>\u003cbr>\n\u003cem>Bicycle Tour with the bike collective Red Bike and Green\u003c/em> (\u003cem>Meet at Defermery Park in Oakland)\u003cbr>\n\u003c/em>Defemery Park, a.k.a. Little Bobby Hutton Park, is an important location for the Panthers. Billy Famer, archivist for the Black Panthers, will offer an introduction to set off the bike ride through historical sites involving the Black Panther Party.\u003c/p>\n\u003cp>\u003cstrong>Tuesdays, Oct. 10 and 24, at 6pm. \u003c/strong>\u003cbr>\n\u003cem>Hands on History (Main Library, SF History Center, 100 Larkin St., 6th floor)\u003cbr>\n\u003c/em>Here is your opportunity to touch and feel the ephemera of Black Panthers and San Francisco legacy of resistance. Includes a close-up look at original manuscripts, newspapers, and photographs.\u003c/p>\n\u003cp>More events and information \u003ca href=\"https://sfpl.org/pdf/book-and-materials/one-city-one-book/programGuide2017.pdf\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Black Against Empire is available now at your local library and for sale wherever books are sold. \u003c/em>\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": "Joshua Bloom and Waldo E. Martin's engrossing history about the Black Panther Party is this year's 'One City, One Book' selection for San Francisco.",
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"title": "San Francisco Reads: 'Black Against Empire' | KQED",
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"headline": "San Francisco Reads: 'Black Against Empire'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year San Francisco chooses a book to read together, and this year the selection is \u003cem>Black Against Empire,\u003c/em> an engrossing history about the Black Panther Party by Joshua Bloom and Waldo E. Martin.\u003c/p>\n\u003cp>This marks the first year the \u003cem>One City One Book\u003c/em> pick is strongly academic, albeit one that Oakland’s Alicia Garza felt changed by — a few months after reading, she created #BlackLivesMatter. Winner of the American Book Award in 2014, \u003cem>Black Against Empire \u003c/em>is a fascinating, sweeping study of the leftist movement that boldly fought for equal rights, opportunity, and freedom — with free breakfasts, freedom schools, free ambulances, health clinics, but also with desperate or even violent methods.\u003c/p>\n\u003cfigure id=\"attachment_13809139\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809139\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg\" alt=\"\" width=\"800\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-800x897.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-768x861.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1020x1143.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-1180x1323.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-960x1076.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-240x269.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-375x420.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention-520x583.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_convention.jpg 1338w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Convention, Lincoln Memorial. 1970. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom and Martin are meticulous analysts of the hotbed of national issues that fomented the rise of the Black Panthers, and in \u003cem>Black Against Empire,\u003c/em> their research throws the larger national context — and thus how it might apply to our present times — into high relief. For the month of October, the Library extends a deep mediation on the Panthers and the history of the black community struggling for the basic rights that any other American takes for granted with an exciting array of programming, including film screenings, panels, and bicycle history tours.\u003c/p>\n\u003cp>At the San Francisco Public Library, Naomi Jelks, who helped pick the book, tells me \u003cem>Black Against Empire\u003c/em> is resonant, comprehensive, powerful — a book that made her think of Alphonse Karr’s adage, “The more things change, the more they stay the same.” When I visit, it’s Saturday morning. There are no librarians around, but their individual stacks of books, left precariously balanced by desks and cabinets throughout the offices give the whole place the feel of suspended animation. The nooks and crannies above the cabinets are piled high with bright plastic top hats sporting queer book covers fastened to the sash (leftovers from a Pride event, I am told, and imagined by a staff member who worked in a circus.)\u003c/p>\n\u003cfigure id=\"attachment_13809150\" class=\"wp-caption aligncenter\" style=\"max-width: 697px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13809150 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg\" alt=\"\" width=\"697\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771.jpg 697w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-240x292.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-375x456.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Black_Panther_movement_newspaper_24819735771-520x632.jpg 520w\" sizes=\"(max-width: 697px) 100vw, 697px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Newspaper. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>“The deciding factor in selecting this book really had to do with the times that we’re living in,” Jelks said. “Oakland was not only (in 1967) the birthplace of the Black Panthers, it was also the birthplace for the movement for Black Lives, or, #BlackLivesMatter. In the Bay Area, the struggle for black and brown communities is still in dealing with issues of police brutality, or struggles with creating respectful relationships with the police. We really wanted to have a space where we look at that history and how it applies in today’s world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The addition of \u003cem>Black Against Empire\u003c/em> into the annals of the \u003cem>One City One Book\u003c/em> program was a willful expansion of the San Franciscan Summer of Love (which just celebrated its 50th anniversary) to include what was going on with people of color in the country and the unfortunate prejudices they still face today.\u003c/p>\n\u003cfigure id=\"attachment_13809143\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg\" alt=\"Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, 'No Coward Soldiers: Black Cultural Politics in Postwar America.'\" width=\"280\" height=\"352\" class=\"size-full wp-image-13809143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/WaldoEMartin280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Waldo E. Martin, Emeritus Professor of History and Citizenship at the University of California, Berkeley, and author of, most recently, ‘No Coward Soldiers: Black Cultural Politics in Postwar America.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Against Empire\u003c/em>—in its study of the boiling-kettle politics involved in emergent revolution and state actions to quell and undermine such revolutions—is a look into how the Black Panther rose from a two-person idea in Oakland, to a nationwide organization capable of threatening the state. The conditions that gave rise to the Black Panthers included the containment of black people in poverty, under police brutality, segregation, and lack of equal opportunity. The very first Black Panther action followed the 1966 killing of sixteen-year-old Matthew Johnson in Hunter’s Point — he was shot in the back fleeing from police. After the incident, Black Panther founders Bobby Seale and Huey Newton found their calling: they would protect black lives by patrolling their neighborhoods.\u003c/p>\n\u003cp>Seale and Newton gathered two friends and began driving the streets. They openly carried legal firearms and confronted police officers (who had no short history of violence) with a newfound pride. Citing local ordinances and the constitution, the Panthers clung to their right to bear arms and did not submit to the police who tried to disarm them. \u003cem>Black Against Empire \u003c/em>takes readers through this crucial moment in history, showing just how inconceivable and welcome was the image of a black person standing up against a police officer and coming out of it alive. The Panthers caught the nation’s political imagination.\u003c/p>\n\u003cfigure id=\"attachment_13809142\" class=\"wp-caption alignright\" style=\"max-width: 280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg\" alt=\"\" width=\"280\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/JoshuaBloom280-240x302.jpg 240w\" sizes=\"(max-width: 280px) 100vw, 280px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Bloom, Assistant Professor of Sociology at the University of Pittsburg and co-editor of “Working for Justice: The L.A. Model of Organizing and Advocacy.”\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area readers who dig into this rich, voluminous study will be rewarded with a better understanding of our present time. Kevin Hunsanger, who also sits in the \u003cem>One Book One City \u003c/em>committee, said, “\u003cem>Black Against Empire \u003c/em>not only offers a wonderfully readable history of the Black Panther movement, but is also a road map of sorts of successful protests, and something that is equally vital today — and quite possibly more vital tomorrow. Plus, the book has the notorious distinction of having won a National Book Critic’s Circle award, while also being banned in California prison systems.”\u003c/p>\n\u003cp>Indeed. Make your way to some of the robust programming this Fall. Here are three not to miss:\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 29, at 1pm.\u003c/strong> \u003cbr>\n\u003cem>The Irrepressible Politics of the Black Panther Party (\u003c/em>\u003cem>Main Library, Koret Auditorium, 100 Larkin St.)\u003cbr>\n\u003c/em>Join authors Joshua Bloom and Waldo Martin in conversation with journalist and hip hop historian “Davey D” Cook to discuss \u003cem>Black Against Empire\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 7, at 1pm.\u003c/strong>\u003cbr>\n\u003cem>Bicycle Tour with the bike collective Red Bike and Green\u003c/em> (\u003cem>Meet at Defermery Park in Oakland)\u003cbr>\n\u003c/em>Defemery Park, a.k.a. Little Bobby Hutton Park, is an important location for the Panthers. Billy Famer, archivist for the Black Panthers, will offer an introduction to set off the bike ride through historical sites involving the Black Panther Party.\u003c/p>\n\u003cp>\u003cstrong>Tuesdays, Oct. 10 and 24, at 6pm. \u003c/strong>\u003cbr>\n\u003cem>Hands on History (Main Library, SF History Center, 100 Larkin St., 6th floor)\u003cbr>\n\u003c/em>Here is your opportunity to touch and feel the ephemera of Black Panthers and San Francisco legacy of resistance. Includes a close-up look at original manuscripts, newspapers, and photographs.\u003c/p>\n\u003cp>More events and information \u003ca href=\"https://sfpl.org/pdf/book-and-materials/one-city-one-book/programGuide2017.pdf\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Black Against Empire is available now at your local library and for sale wherever books are sold. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>The Man Booker Prize rolled out its 2017 shortlist on Wednesday, delivering a list of six nominees showcasing a hefty dose of literary heavyweights and a pair of newcomers. Of the six novels on the list, just one will go on to win this year’s prestigious literary prize at gala ceremony next month in London.\u003c/p>\n\u003cp>Readers won’t have too hard a time recognizing several nominees. Ali Smith, for one, has now made the Man Booker shortlist four times in less than two decades, this time for \u003cem>Autumn\u003c/em>. Paul Auster, for another, has racked up his fair share of recognition during a prolific career that includes the seminal \u003cem>New York Trilogy. \u003c/em>His 880-page opus \u003cem>4 3 2 1\u003c/em> has earned a nod from Man Booker judges.\u003c/p>\n\u003cp>And while the shortlisted \u003cem>Lincoln in the Bardo\u003c/em> might be George Saunders’ first novel, it’s far from his first work. His short fiction has previously earned him the Folio Prize, a MacArthur “genius grant” and a spot on the shortlist for the National Book Award.\u003c/p>\n\u003cp>Mohsin Hamid, nominated for \u003cem>Exit West\u003c/em>, is no stranger to the Man Booker shortlist himself, having already earned a 2007 nod for \u003cem>The Reluctant Fundamentalist\u003c/em>.\u003c/p>\n\u003cp>So far, few surprises — but the shortlist announced Wednesday did showcase some fresh faces. Fiona Mozley, a 29-year-old doctoral candidate in medieval history, made the list with \u003cem>Elmet\u003c/em>, her debut novel. In fact, she didn’t even “want to expect it to be published,” she \u003ca href=\"https://www.standard.co.uk/lifestyle/books/man-booker-shortlist-2017-londoner-who-wrote-debut-novel-on-her-phone-competes-against-five-other-a3633671.html\">tells The Standard\u003c/a> in the U.K. “I thought if I didn’t tell my friends I was writing it, I’d be more likely to finish. So I just got on with it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mozley is not the only debut novelist. Emily Fridlund’s \u003cem>History of Wolves —\u003c/em> which “is as beautiful and as icy as the Minnesota woods where it’s set,” \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">NPR’s review writes\u003c/a> — rounds out the 2017 shortlist.\u003c/p>\n\u003cp>“Playful, sincere, unsettling, fierce: here is a group of novels grown from tradition but also radical and contemporary,” judge Baroness Lola Young says in a statement. “The emotional, cultural, political and intellectual range of these books is remarkable, and the ways in which they challenge our thinking is a testament to the power of literature.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2pP0x1UPhGE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Below, find the full shortlist, linked to NPR’s reviews of the works and interviews with their authors, where possible.\u003c/p>\n\u003chr>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/06/513769948/1-character-4-different-lives-in-paul-austers-4-3-2-1\">\u003cstrong>Paul Auster\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/01/512042685/four-lives-in-parallel-run-through-ambitious-4-3-2-1\">4 3 2 1\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Emily Fridlund\u003c/strong>, \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">History of Wolves\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/03/08/519217991/from-refugees-to-politics-mohsin-hamid-writes-the-change-he-wants-to-see\">\u003cstrong>Mohsin Hamid\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/03/01/515438471/escaping-a-world-on-fire-in-exit-west\">Exit West\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Fiona Mozley\u003c/strong>, Elmet\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">\u003cstrong>George Saunders\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/514294006/george-saunders-re-imagines-a-presidents-grief-with-lincoln-in-the-bardo\">Lincoln in the Bardo\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2014/11/29/367362530/art-and-death-are-two-things-at-once-in-how-to-be-both\">\u003cstrong>Ali Smith\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/512910724/autumn-champions-free-spirits-and-the-lifeforce-of-art\">Autumn\u003c/a>\u003c/li>\n\u003c/ul>\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=Man+Booker+Prize+Shortlist+Features+George+Saunders%2C+Mohsin+Hamid+And+Ali+Smith&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Man Booker Prize rolled out its 2017 shortlist on Wednesday, delivering a list of six nominees showcasing a hefty dose of literary heavyweights and a pair of newcomers. Of the six novels on the list, just one will go on to win this year’s prestigious literary prize at gala ceremony next month in London.\u003c/p>\n\u003cp>Readers won’t have too hard a time recognizing several nominees. Ali Smith, for one, has now made the Man Booker shortlist four times in less than two decades, this time for \u003cem>Autumn\u003c/em>. Paul Auster, for another, has racked up his fair share of recognition during a prolific career that includes the seminal \u003cem>New York Trilogy. \u003c/em>His 880-page opus \u003cem>4 3 2 1\u003c/em> has earned a nod from Man Booker judges.\u003c/p>\n\u003cp>And while the shortlisted \u003cem>Lincoln in the Bardo\u003c/em> might be George Saunders’ first novel, it’s far from his first work. His short fiction has previously earned him the Folio Prize, a MacArthur “genius grant” and a spot on the shortlist for the National Book Award.\u003c/p>\n\u003cp>Mohsin Hamid, nominated for \u003cem>Exit West\u003c/em>, is no stranger to the Man Booker shortlist himself, having already earned a 2007 nod for \u003cem>The Reluctant Fundamentalist\u003c/em>.\u003c/p>\n\u003cp>So far, few surprises — but the shortlist announced Wednesday did showcase some fresh faces. Fiona Mozley, a 29-year-old doctoral candidate in medieval history, made the list with \u003cem>Elmet\u003c/em>, her debut novel. In fact, she didn’t even “want to expect it to be published,” she \u003ca href=\"https://www.standard.co.uk/lifestyle/books/man-booker-shortlist-2017-londoner-who-wrote-debut-novel-on-her-phone-competes-against-five-other-a3633671.html\">tells The Standard\u003c/a> in the U.K. “I thought if I didn’t tell my friends I was writing it, I’d be more likely to finish. So I just got on with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mozley is not the only debut novelist. Emily Fridlund’s \u003cem>History of Wolves —\u003c/em> which “is as beautiful and as icy as the Minnesota woods where it’s set,” \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">NPR’s review writes\u003c/a> — rounds out the 2017 shortlist.\u003c/p>\n\u003cp>“Playful, sincere, unsettling, fierce: here is a group of novels grown from tradition but also radical and contemporary,” judge Baroness Lola Young says in a statement. “The emotional, cultural, political and intellectual range of these books is remarkable, and the ways in which they challenge our thinking is a testament to the power of literature.”\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/2pP0x1UPhGE'\n title='//www.youtube.com/embed/2pP0x1UPhGE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Below, find the full shortlist, linked to NPR’s reviews of the works and interviews with their authors, where possible.\u003c/p>\n\u003chr>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/06/513769948/1-character-4-different-lives-in-paul-austers-4-3-2-1\">\u003cstrong>Paul Auster\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/01/512042685/four-lives-in-parallel-run-through-ambitious-4-3-2-1\">4 3 2 1\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Emily Fridlund\u003c/strong>, \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">History of Wolves\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/03/08/519217991/from-refugees-to-politics-mohsin-hamid-writes-the-change-he-wants-to-see\">\u003cstrong>Mohsin Hamid\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/03/01/515438471/escaping-a-world-on-fire-in-exit-west\">Exit West\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Fiona Mozley\u003c/strong>, Elmet\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">\u003cstrong>George Saunders\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/514294006/george-saunders-re-imagines-a-presidents-grief-with-lincoln-in-the-bardo\">Lincoln in the Bardo\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2014/11/29/367362530/art-and-death-are-two-things-at-once-in-how-to-be-both\">\u003cstrong>Ali Smith\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/512910724/autumn-champions-free-spirits-and-the-lifeforce-of-art\">Autumn\u003c/a>\u003c/li>\n\u003c/ul>\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=Man+Booker+Prize+Shortlist+Features+George+Saunders%2C+Mohsin+Hamid+And+Ali+Smith&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Border Poetry: 'Unaccompanied' by Javier Zamora",
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"content": "\u003cp>This past Tuesday night at Galería de la Raza, a capacity, standing-room-only crowd filled the space for the full moon celebration of the release of \u003cem>Unaccompanied\u003c/em> by Javier Zamora. A book that speaks to the Zamora’s experience of crossing multiple borders from El Salvador to the United States at nine years old to be reunited with his parents, \u003cem>Unaccompanied\u003c/em> is a collection populated by deserts, border violence, a family’s desperate claim to survive, and the conjuring up and remembrance of a country left behind. At Galería de la Raza, the scent of pupusas and cheese filled the gallery. There was a kindling air of celebration.\u003c/p>\n\u003cp>Nothing belied the unrest the city had been in all day long.\u003c/p>\n\u003cp>Three miles away in downtown San Francisco, protesters that had congregated all afternoon in growing numbers in front of the Federal Building had shut down one lane of traffic and were marching down Market Street, chanting \u003cem>We are people, we are not illegal, no! \u003c/em>Earlier in the day, the Trump administration had \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/california-leaders-mobilized-after-daca-protections-rescinded/\" target=\"_blank\" rel=\"noopener\">officially announced\u003c/a> that the DACA program — which gives temporary legal status to undocumented immigrants brought to the U.S. as children, and allows them to work and get an education — would be phased out in six months’ time.\u003c/p>\n\u003cp>Not oblivious to the events going on outside the Mission, patrons at Galería de la Raza gathered with a different sense of urgency — to hear and celebrate a young voice versed in borders, and the effects of borders on the self and family.\u003c/p>\n\u003cp>Javier Zamora’s \u003cem>Unaccompanied \u003c/em>asks: Is fleeing from danger a crime? Is being driven by spotlights and vans into desert trees and into hiding a crime? The government says yes. \u003cem>Unaccompanied\u003c/em> begs to differ.\u003c/p>\n\u003cblockquote>\u003cp>It was dusk for kilometers and bats in the lavender sky,\u003cbr>\nlike spiders when a fly is caught, began to appear.\u003cbr>\nAnd there, not the promised land but barbwire and barbwire\u003c/p>\n\u003cp>with nothing growing under it. I tried to fly that dusk\u003cbr>\nafter a bat said \u003cem>la sangre del saguaro nos seduce. \u003c/em>Sometimes\u003cbr>\nI wake and my throat is dry, so I drive to botanical gardens\u003c/p>\n\u003cp>to search for red fruits at the top of saguaros, the ones\u003cbr>\nat dusk I threw rocks at for the sake of hunger…”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13807768\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Javier-Zamora-800x891.jpg\" alt=\"\" width=\"800\" height=\"891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-768x855.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-375x418.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-520x579.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Zamora. Author of the chapbook Nueve Años Inmigrantes.\u003c/figcaption>\u003c/figure>\n\u003cp>Zamora’s stunning collection, sprinkled with some Spanish, is deceptively prosaic. In \u003cem>Unaccompanied, \u003c/em>the politics of border-crossing take a backseat to the brutal realities that such a journey would entail. There is hunger, there is thirst, there is the saguaro, and bats. There are fruits. There is desert-found kindness among strangers. There are tight spaces: white vans and boats to travel in, and cells when found and captured.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some poems take place across the border, where the American Dream remains elusive and there are a different set of challenges. The silences and metaphysical speculations around being undocumented haunts the speaker of these poems. In “The Book I Made With a Counselor My First Week of School” Zamora writes:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>His grandma made the best pupusas, \u003c/em>the counselor wrote next to\u003cbr>\nStick-figure Abuelita\u003c/p>\u003c/blockquote>\n\u003cp>And next to a drawing of yucca plants:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Javier saw a dead coyote animal, which stank and had flies over it.\u003c/em>\u003c/p>\n\u003cp>I keep this book in an old shoebox underneath the bed. She asked in Spanish,\u003cbr>\nI just smiled, didn’t tell her, \u003cem>no animal, I knew that man.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>As in border crossings, these poems are peregrinations by night and through darkness. They echo in a need of survival and a fear of ambush most of us will likely never experience. The longest poem in \u003cem>Unaccompanied\u003c/em> is probably my favorite. Titled “June 10, 1999,” it tells of a harrowing border passage, of finding one’s way, and of being lost, regardless, after arrival:\u003c/p>\n\u003cblockquote>\u003cp>we were lost and didn’t know which star\u003cbr>\nwas north what was east west we all\u003cbr>\ndropped out of the van too soon to remember\u003cbr>\nsomeone said the sun rose east we circled\u003cbr>\nso much we had no maps and the guide we paid\u003cbr>\ntwisted his ankle as slowing us down\u003c/p>\n\u003cp>[…]\u003c/p>\n\u003cp>I didn’t recognize Dad\u003cbr>\ndifferent from pictures\u003c/p>\n\u003cp>he remembers the smell\u003cbr>\nshit piss dust in your hair\u003cbr>\nhe says now\u003cbr>\ncrying\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Mom had a bag with Nikes\u003cbr>\nLevi’s \u003cem>Star Wars\u003cbr>\n\u003c/em>\u003cem>Episode One\u003c/em> shirt\u003c/p>\n\u003cp>I left my ripped clothes\u003cbr>\ninside a Ross fitting room\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I’m tired of writing \u003cem>the fence the desert\u003cbr>\n\u003c/em>\u003cem>the van picked us up\u003cbr>\n\u003c/em>\u003cem>took me to parents\u003cbr>\n\u003c/em>I’m tired it’s always that\u003c/p>\u003c/blockquote>\n\u003cp>I imagine at times there must be a literary alignment of stars between the State and the Poet, so that a Poet’s work may respond in real time to a State’s injurious policy, or so goes our desire. The truth is that books outlast the present moment, and they survive by their own truths. There are things about crossing the border many of us cannot know and cannot imagine. In this collection, the search for home is both a physical and an emotional one, and finding one’s bearings grows toward the past — in the case of this book, coming to terms with an abandoned, forlorn Salvador, and a grandmother left behind.\u003c/p>\n\u003cp>\u003cem>Unaccompanied\u003c/em> is a courageous offering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Javier Zamora appears in conversation with Camille Dungy on Thursday, Sept. 28, at the Poetry Center at San Francisco State University (1600 Holloway Ave., San Francisco). More information \u003ca href=\"http://poetry.sfsu.edu/events/29053-camille-t-dungy-and-javier-zamora-reading-and-conversation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\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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"title": "Border Poetry: 'Unaccompanied' by Javier Zamora | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past Tuesday night at Galería de la Raza, a capacity, standing-room-only crowd filled the space for the full moon celebration of the release of \u003cem>Unaccompanied\u003c/em> by Javier Zamora. A book that speaks to the Zamora’s experience of crossing multiple borders from El Salvador to the United States at nine years old to be reunited with his parents, \u003cem>Unaccompanied\u003c/em> is a collection populated by deserts, border violence, a family’s desperate claim to survive, and the conjuring up and remembrance of a country left behind. At Galería de la Raza, the scent of pupusas and cheese filled the gallery. There was a kindling air of celebration.\u003c/p>\n\u003cp>Nothing belied the unrest the city had been in all day long.\u003c/p>\n\u003cp>Three miles away in downtown San Francisco, protesters that had congregated all afternoon in growing numbers in front of the Federal Building had shut down one lane of traffic and were marching down Market Street, chanting \u003cem>We are people, we are not illegal, no! \u003c/em>Earlier in the day, the Trump administration had \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/california-leaders-mobilized-after-daca-protections-rescinded/\" target=\"_blank\" rel=\"noopener\">officially announced\u003c/a> that the DACA program — which gives temporary legal status to undocumented immigrants brought to the U.S. as children, and allows them to work and get an education — would be phased out in six months’ time.\u003c/p>\n\u003cp>Not oblivious to the events going on outside the Mission, patrons at Galería de la Raza gathered with a different sense of urgency — to hear and celebrate a young voice versed in borders, and the effects of borders on the self and family.\u003c/p>\n\u003cp>Javier Zamora’s \u003cem>Unaccompanied \u003c/em>asks: Is fleeing from danger a crime? Is being driven by spotlights and vans into desert trees and into hiding a crime? The government says yes. \u003cem>Unaccompanied\u003c/em> begs to differ.\u003c/p>\n\u003cblockquote>\u003cp>It was dusk for kilometers and bats in the lavender sky,\u003cbr>\nlike spiders when a fly is caught, began to appear.\u003cbr>\nAnd there, not the promised land but barbwire and barbwire\u003c/p>\n\u003cp>with nothing growing under it. I tried to fly that dusk\u003cbr>\nafter a bat said \u003cem>la sangre del saguaro nos seduce. \u003c/em>Sometimes\u003cbr>\nI wake and my throat is dry, so I drive to botanical gardens\u003c/p>\n\u003cp>to search for red fruits at the top of saguaros, the ones\u003cbr>\nat dusk I threw rocks at for the sake of hunger…”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13807768\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Javier-Zamora-800x891.jpg\" alt=\"\" width=\"800\" height=\"891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-768x855.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-375x418.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Javier-Zamora-520x579.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Zamora. Author of the chapbook Nueve Años Inmigrantes.\u003c/figcaption>\u003c/figure>\n\u003cp>Zamora’s stunning collection, sprinkled with some Spanish, is deceptively prosaic. In \u003cem>Unaccompanied, \u003c/em>the politics of border-crossing take a backseat to the brutal realities that such a journey would entail. There is hunger, there is thirst, there is the saguaro, and bats. There are fruits. There is desert-found kindness among strangers. There are tight spaces: white vans and boats to travel in, and cells when found and captured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some poems take place across the border, where the American Dream remains elusive and there are a different set of challenges. The silences and metaphysical speculations around being undocumented haunts the speaker of these poems. In “The Book I Made With a Counselor My First Week of School” Zamora writes:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>His grandma made the best pupusas, \u003c/em>the counselor wrote next to\u003cbr>\nStick-figure Abuelita\u003c/p>\u003c/blockquote>\n\u003cp>And next to a drawing of yucca plants:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Javier saw a dead coyote animal, which stank and had flies over it.\u003c/em>\u003c/p>\n\u003cp>I keep this book in an old shoebox underneath the bed. She asked in Spanish,\u003cbr>\nI just smiled, didn’t tell her, \u003cem>no animal, I knew that man.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>As in border crossings, these poems are peregrinations by night and through darkness. They echo in a need of survival and a fear of ambush most of us will likely never experience. The longest poem in \u003cem>Unaccompanied\u003c/em> is probably my favorite. Titled “June 10, 1999,” it tells of a harrowing border passage, of finding one’s way, and of being lost, regardless, after arrival:\u003c/p>\n\u003cblockquote>\u003cp>we were lost and didn’t know which star\u003cbr>\nwas north what was east west we all\u003cbr>\ndropped out of the van too soon to remember\u003cbr>\nsomeone said the sun rose east we circled\u003cbr>\nso much we had no maps and the guide we paid\u003cbr>\ntwisted his ankle as slowing us down\u003c/p>\n\u003cp>[…]\u003c/p>\n\u003cp>I didn’t recognize Dad\u003cbr>\ndifferent from pictures\u003c/p>\n\u003cp>he remembers the smell\u003cbr>\nshit piss dust in your hair\u003cbr>\nhe says now\u003cbr>\ncrying\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Mom had a bag with Nikes\u003cbr>\nLevi’s \u003cem>Star Wars\u003cbr>\n\u003c/em>\u003cem>Episode One\u003c/em> shirt\u003c/p>\n\u003cp>I left my ripped clothes\u003cbr>\ninside a Ross fitting room\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I’m tired of writing \u003cem>the fence the desert\u003cbr>\n\u003c/em>\u003cem>the van picked us up\u003cbr>\n\u003c/em>\u003cem>took me to parents\u003cbr>\n\u003c/em>I’m tired it’s always that\u003c/p>\u003c/blockquote>\n\u003cp>I imagine at times there must be a literary alignment of stars between the State and the Poet, so that a Poet’s work may respond in real time to a State’s injurious policy, or so goes our desire. The truth is that books outlast the present moment, and they survive by their own truths. There are things about crossing the border many of us cannot know and cannot imagine. In this collection, the search for home is both a physical and an emotional one, and finding one’s bearings grows toward the past — in the case of this book, coming to terms with an abandoned, forlorn Salvador, and a grandmother left behind.\u003c/p>\n\u003cp>\u003cem>Unaccompanied\u003c/em> is a courageous offering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Javier Zamora appears in conversation with Camille Dungy on Thursday, Sept. 28, at the Poetry Center at San Francisco State University (1600 Holloway Ave., San Francisco). More information \u003ca href=\"http://poetry.sfsu.edu/events/29053-camille-t-dungy-and-javier-zamora-reading-and-conversation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>John Ashbery, a Pulitzer Prize-winning poet known for his surrealist, confounding works, has died at age 90.\u003c/p>\n\u003cp>The poet died of natural causes in his Hudson, N.Y., home early Sunday, confirms Farrar, Straus & Giroux, the publicist for a new Ashbery biography.\u003c/p>\n\u003cp>His 1975 collection, \u003cem>Self-Portrait in a Convex Mirror\u003c/em>, what many consider his masterpiece\u003cem>,\u003c/em> won a rare trifecta of the literary world: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. The title poem was a mediation on Parmigianino’s 16th century Italian painting of the same name. In 2012, Former President Barack Obama recognized Ashbery with the National Humanities Medal.\u003c/p>\n\u003cp>From an early age, his tendency to reject poetic conventions evolved under the influences of music, like John Cage, and visual art, particularly that of abstract expressionist painters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \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=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>John Ashbery, a Pulitzer Prize-winning poet known for his surrealist, confounding works, has died at age 90.\u003c/p>\n\u003cp>The poet died of natural causes in his Hudson, N.Y., home early Sunday, confirms Farrar, Straus & Giroux, the publicist for a new Ashbery biography.\u003c/p>\n\u003cp>His 1975 collection, \u003cem>Self-Portrait in a Convex Mirror\u003c/em>, what many consider his masterpiece\u003cem>,\u003c/em> won a rare trifecta of the literary world: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. The title poem was a mediation on Parmigianino’s 16th century Italian painting of the same name. In 2012, Former President Barack Obama recognized Ashbery with the National Humanities Medal.\u003c/p>\n\u003cp>From an early age, his tendency to reject poetic conventions evolved under the influences of music, like John Cage, and visual art, particularly that of abstract expressionist painters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \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=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At first glance, Thi Bui’s illustrated memoir tells the story of her family fleeing Vietnam in the 1970s to start life anew in California. But on a deeper level, the book transcends the stereotypical refugee plot line. \u003cem>The Best We Could Do\u003c/em> is the story of parents and children: the sacrifices that Bui’s parents make, and the struggles their children don’t fully understand until much, much later. \u003c/p>\n\u003cp>Through gorgeous illustrations and rich prose, the Berkeley artist crafts an homage to her parents’ complicated lives, weaving it through the backdrop of Vietnam’s own complicated history.\u003c/p>\n\u003cfigure id=\"attachment_13807216\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-1020x1436.jpg\" alt=\"'The Best That We Could Do,' 2017.\" width=\"640\" height=\"901\" class=\"size-large wp-image-13807216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-1180x1661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-960x1351.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-520x732.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1.jpg 1364w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best That We Could Do,’ 2017. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first, Bui’s thick inked lines show a mother overworked at her $3/hr. assembly-line job, and an unemployed father angrily chain smoking in the corner. But then Bui paints the fuller picture of her parents’ past, showing a well-educated, French-speaking mother who aimed to become a doctor, and a working-class father abandoned by his own parents who witnessed executions and violent uprisings as the war unfolded around them.\u003c/p>\n\u003cp>Bui says she didn’t fully understand her parents until she gave birth to her own son. “I appreciated them a lot more because I realized how hard it was to be a parent and not mess up,” she says. In the end, she paints her parents as deeply human: flawed yet persistently hopeful in their own ways.\u003c/p>\n\u003cp>She explains that the book’s title is rooted in that very contradiction: “Sometimes the best we can do isn’t good enough, and sometimes the best we can do is very heroic and amazing. And both those things can come from the same people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>In your memoir, you talk about how your parents were very private about their past. But you also reveal incredible details about their youth — even very painful parts. How did you get them to open up?\u003c/strong>\u003c/p>\n\u003cp>I just got better and better at asking questions. A big part of it was becoming a parent. It was a big change in my own perspective. I became a better oral historian and got better at putting myself in their shoes, and understanding what it was like to be them, rather than asking from the point of view of being their child.\u003c/p>\n\u003cp>\u003cstrong>I noticed the perspective of your dad changed over the course of the book. You started off painting him as very cold and angry, that he felt trapped at home unemployed and babysitting the kids. Then you go back in time, and show how his parents abandoned him, and later how he rescued a boat full of refugees while crossing the ocean. Why did you portray him as more empathetic in the end? \u003c/strong>\u003c/p>\n\u003cp>I thought a lot about representations of Asian men and Asian fathers both in American literature and Asian-American literature, and Asian fathers really get a bad rap. It was really important to me to be able to let him be a hero — and the chapter when he drives the boat, that really comes through.\u003c/p>\n\u003cfigure id=\"attachment_13807214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-800x554.jpg\" alt=\"'The Best That We Could Do,' 2017.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13807214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best That We Could Do,’ 2017. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You write about “intentional lessons” and “unintentional lessons” that one learns as an immigrant to a new country. What do you mean by that?\u003c/strong>\u003c/p>\n\u003cp>What I realized about my father is he a very afraid person. All though my childhood and life, he’s been very afraid of everything and it’s very crippling. It makes him dependent on my mom and his children to be his ambassadors in the world, and it’s left him feeling unfulfilled in the United States. When I was a child, it was terrifying to be taken care of by someone who was always terrified. That passing on of fear was an unintentional lesson that the world is a terrifying place.\u003c/p>\n\u003cp>\u003cstrong>You say you’re worried that the scars your parents have from war and trauma is something you “inherit” as the second generation, as the child of immigrants. In the book, you write, “How much of me is my own, and how much is stamped into my blood and bone, predestined?… That being my father’s child, I, too, was a product of war.” How do you break free of inheriting that burden?\u003c/strong>\u003c/p>\n\u003cp>Maybe being American isn’t always a bad thing. We grew up with our parents saying we were Americanized, and they took it as a bad thing since it meant loss of our Vietnamese side. But there is something to be said about that American lens: feeling the right to be happy, speak our opinions… and sometimes that is a useful trait when you need to combat that feeling of helplessness as a refugee. \u003c/p>\n\u003cfigure id=\"attachment_13807217\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-1020x1530.jpg\" alt=\"Thi Bui.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13807217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thi Bui. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’ve read that you worked on a special art project with your students who are also immigrants. \u003c/strong>\u003c/p>\n\u003cp>I’m on leave right now, but I’m an art teacher in Oakland at a school I helped start that is 100-percent for immigrant teens. Ten years ago we opened this school, and students came with so much life experience they couldn’t express in English. I thought if I taught them some simple things about comics, they could tell their stories and surprise me. We raised funds so each student could have a copy of his or her own “book.”\u003c/p>\n\u003cp>\u003cstrong>What were some of your favorite stories? \u003c/strong>\u003c/p>\n\u003cp>Oh gosh, so many! There’s the story of the boy who worked as a farmer in El Salvador and would wake up really early to study, then work on the farm, then rush to school, then rush back home — miles of travel. He had sort of plodded along in school since he hadn’t had [the time to study] because of that double life he lived. So when he wrote his story, he honored farmers he knew he had to work so hard.\u003c/p>\n\u003cp>Another girl dubbed her story “The Odyssey” and talks about coming with a \u003cem>coyote\u003c/em> and riding a train through Mexico to the U.S. and getting caught by immigration. They had lots of stories about missing friends and family back home, and how things were different when they came here. But they were very guarded about it. I think the language barrier keeps them from expressing everything they want to say. And maybe because in an environment where all the students are immigrants, they think it’s not that special, what they went through.\u003c/p>\n\u003cfigure id=\"attachment_13807215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-800x554.jpg\" alt=\"'The Best That We Could Do,' 2017.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13807215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best That We Could Do,’ 2017. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Did helping them shape those narratives affect your own storytelling? \u003c/strong>\u003c/p>\n\u003cp>It made me more hungry to write this book. And working in my free time really sharpened the hunger to get it done. Storytelling is my form of therapy.\u003c/p>\n\u003cp>\u003cstrong>What do you want people to think about when they finish reading your book?\u003c/strong>\u003c/p>\n\u003cp>The lessons that we learn are not that profound, and we keep learning them over and over again. It boils down to what I say with the book. Vietnamese people are people, too. It’s easy to romanticize or demonize or dehumanize other people in war. My hope is that people can see the humanity of others and the value of other lives rather than just our own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Thi Bui appears Thursday, Sept. 14, at Books Inc. in Berkeley in conversation with Lauren Markham; \u003ca href=\"http://www.booksinc.net/event/lauren-markham-thi-bui-books-inc-berkeley\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. She also appears Sunday, Sept. 24, at Eastwind Books of Berkeley; \u003ca href=\"https://www.eventbrite.com/e/book-talk-with-thi-bui-tickets-36735776697\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Talking with Thi Bui, the Berkeley author and illustrator of 'The Best We Could Do' — a gorgeous memoir of her parents' struggles immigrating from Vietnam.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, Thi Bui’s illustrated memoir tells the story of her family fleeing Vietnam in the 1970s to start life anew in California. But on a deeper level, the book transcends the stereotypical refugee plot line. \u003cem>The Best We Could Do\u003c/em> is the story of parents and children: the sacrifices that Bui’s parents make, and the struggles their children don’t fully understand until much, much later. \u003c/p>\n\u003cp>Through gorgeous illustrations and rich prose, the Berkeley artist crafts an homage to her parents’ complicated lives, weaving it through the backdrop of Vietnam’s own complicated history.\u003c/p>\n\u003cfigure id=\"attachment_13807216\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-1020x1436.jpg\" alt=\"'The Best That We Could Do,' 2017.\" width=\"640\" height=\"901\" class=\"size-large wp-image-13807216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-1180x1661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-960x1351.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1-520x732.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoCover1.jpg 1364w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best That We Could Do,’ 2017. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first, Bui’s thick inked lines show a mother overworked at her $3/hr. assembly-line job, and an unemployed father angrily chain smoking in the corner. But then Bui paints the fuller picture of her parents’ past, showing a well-educated, French-speaking mother who aimed to become a doctor, and a working-class father abandoned by his own parents who witnessed executions and violent uprisings as the war unfolded around them.\u003c/p>\n\u003cp>Bui says she didn’t fully understand her parents until she gave birth to her own son. “I appreciated them a lot more because I realized how hard it was to be a parent and not mess up,” she says. In the end, she paints her parents as deeply human: flawed yet persistently hopeful in their own ways.\u003c/p>\n\u003cp>She explains that the book’s title is rooted in that very contradiction: “Sometimes the best we can do isn’t good enough, and sometimes the best we can do is very heroic and amazing. And both those things can come from the same people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>In your memoir, you talk about how your parents were very private about their past. But you also reveal incredible details about their youth — even very painful parts. How did you get them to open up?\u003c/strong>\u003c/p>\n\u003cp>I just got better and better at asking questions. A big part of it was becoming a parent. It was a big change in my own perspective. I became a better oral historian and got better at putting myself in their shoes, and understanding what it was like to be them, rather than asking from the point of view of being their child.\u003c/p>\n\u003cp>\u003cstrong>I noticed the perspective of your dad changed over the course of the book. You started off painting him as very cold and angry, that he felt trapped at home unemployed and babysitting the kids. Then you go back in time, and show how his parents abandoned him, and later how he rescued a boat full of refugees while crossing the ocean. Why did you portray him as more empathetic in the end? \u003c/strong>\u003c/p>\n\u003cp>I thought a lot about representations of Asian men and Asian fathers both in American literature and Asian-American literature, and Asian fathers really get a bad rap. It was really important to me to be able to let him be a hero — and the chapter when he drives the boat, that really comes through.\u003c/p>\n\u003cfigure id=\"attachment_13807214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-800x554.jpg\" alt=\"'The Best That We Could Do,' 2017.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13807214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoA-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best That We Could Do,’ 2017. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You write about “intentional lessons” and “unintentional lessons” that one learns as an immigrant to a new country. What do you mean by that?\u003c/strong>\u003c/p>\n\u003cp>What I realized about my father is he a very afraid person. All though my childhood and life, he’s been very afraid of everything and it’s very crippling. It makes him dependent on my mom and his children to be his ambassadors in the world, and it’s left him feeling unfulfilled in the United States. When I was a child, it was terrifying to be taken care of by someone who was always terrified. That passing on of fear was an unintentional lesson that the world is a terrifying place.\u003c/p>\n\u003cp>\u003cstrong>You say you’re worried that the scars your parents have from war and trauma is something you “inherit” as the second generation, as the child of immigrants. In the book, you write, “How much of me is my own, and how much is stamped into my blood and bone, predestined?… That being my father’s child, I, too, was a product of war.” How do you break free of inheriting that burden?\u003c/strong>\u003c/p>\n\u003cp>Maybe being American isn’t always a bad thing. We grew up with our parents saying we were Americanized, and they took it as a bad thing since it meant loss of our Vietnamese side. But there is something to be said about that American lens: feeling the right to be happy, speak our opinions… and sometimes that is a useful trait when you need to combat that feeling of helplessness as a refugee. \u003c/p>\n\u003cfigure id=\"attachment_13807217\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-1020x1530.jpg\" alt=\"Thi Bui.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13807217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ThiBuiheadshot1.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thi Bui. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’ve read that you worked on a special art project with your students who are also immigrants. \u003c/strong>\u003c/p>\n\u003cp>I’m on leave right now, but I’m an art teacher in Oakland at a school I helped start that is 100-percent for immigrant teens. Ten years ago we opened this school, and students came with so much life experience they couldn’t express in English. I thought if I taught them some simple things about comics, they could tell their stories and surprise me. We raised funds so each student could have a copy of his or her own “book.”\u003c/p>\n\u003cp>\u003cstrong>What were some of your favorite stories? \u003c/strong>\u003c/p>\n\u003cp>Oh gosh, so many! There’s the story of the boy who worked as a farmer in El Salvador and would wake up really early to study, then work on the farm, then rush to school, then rush back home — miles of travel. He had sort of plodded along in school since he hadn’t had [the time to study] because of that double life he lived. So when he wrote his story, he honored farmers he knew he had to work so hard.\u003c/p>\n\u003cp>Another girl dubbed her story “The Odyssey” and talks about coming with a \u003cem>coyote\u003c/em> and riding a train through Mexico to the U.S. and getting caught by immigration. They had lots of stories about missing friends and family back home, and how things were different when they came here. But they were very guarded about it. I think the language barrier keeps them from expressing everything they want to say. And maybe because in an environment where all the students are immigrants, they think it’s not that special, what they went through.\u003c/p>\n\u003cfigure id=\"attachment_13807215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-800x554.jpg\" alt=\"'The Best That We Could Do,' 2017.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13807215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BestWeCouldDoB-520x360.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best That We Could Do,’ 2017. \u003ccite>(Courtesy Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Did helping them shape those narratives affect your own storytelling? \u003c/strong>\u003c/p>\n\u003cp>It made me more hungry to write this book. And working in my free time really sharpened the hunger to get it done. Storytelling is my form of therapy.\u003c/p>\n\u003cp>\u003cstrong>What do you want people to think about when they finish reading your book?\u003c/strong>\u003c/p>\n\u003cp>The lessons that we learn are not that profound, and we keep learning them over and over again. It boils down to what I say with the book. Vietnamese people are people, too. It’s easy to romanticize or demonize or dehumanize other people in war. My hope is that people can see the humanity of others and the value of other lives rather than just our own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Thi Bui appears Thursday, Sept. 14, at Books Inc. in Berkeley in conversation with Lauren Markham; \u003ca href=\"http://www.booksinc.net/event/lauren-markham-thi-bui-books-inc-berkeley\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. She also appears Sunday, Sept. 24, at Eastwind Books of Berkeley; \u003ca href=\"https://www.eventbrite.com/e/book-talk-with-thi-bui-tickets-36735776697\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a pair of rites we see often at the passing of great authors: first, the tributes from those who loved their books; then, the good-faith effort to find their unfinished works and shepherd them to the bookshelves they never would have found otherwise.\u003c/p>\n\u003cp>In the case of Terry Pratchett’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/12/392555605/terry-pratchett-prolific-fantasy-author-dies-at-66\" target=\"_blank\" rel=\"noopener\">death in 2015\u003c/a>, those tributes were \u003ca href=\"http://www.npr.org/2015/03/12/392574719/author-terry-pratchett-was-no-stranger-to-death\" target=\"_blank\" rel=\"noopener\">voluminous and poignant\u003c/a>, penned for a writer whose deft touch could leave readers laughing, thoughtful or \u003ca href=\"http://www.npr.org/2015/09/02/435543508/the-shepherds-crown-tells-terry-pratchetts-fans-how-to-mourn-him\" target=\"_blank\" rel=\"noopener\">crushed\u003c/a>. As for the prolific \u003ca href=\"http://www.npr.org/2015/03/16/393358428/theres-no-wrong-place-to-start-reading-pratchett\" target=\"_blank\" rel=\"noopener\">Discworld author\u003c/a>‘s unfinished works — well, those are just crushed.\u003c/p>\n\u003cp>As in, literally crushed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thetimes.co.uk/article/pratchett-wanted-final-work-destroyed-by-a-steamroller-5vdlkcf6wj8\">Per Sir Terry’s wishes\u003c/a>, a hard drive containing his unfinished books was introduced to the unforgiving end of a steamroller last Friday. The manager of Pratchett’s estate, Rob Wilkins, tweeted the ritual act’s before-and-after from the writer’s official account, \u003ca href=\"https://twitter.com/terryandrob/status/901028525200879616\">displaying the hard drive\u003c/a> — said to have contained \u003ca href=\"https://twitter.com/SteveHarrisDJ/status/902602964883435522\">10 separate works in progress\u003c/a> — then displaying what it looked like after meeting a steamroller named Lord Jericho at the \u003ca href=\"https://twitter.com/steamfair\">Great Dorset Steam Fair\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/terryandrob/status/901028525200879616\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/terryandrob/status/901037198665019392\u003c/p>\n\u003cp>Richard Henry, an official at \u003ca href=\"http://www.pratchetthisworld.com/\">The Salisbury Museum\u003c/a>, where the remains of the hard drive will be displayed along with \u003ca href=\"https://twitter.com/Wiltshire_flo/status/901048067549532165\">other artifacts\u003c/a> of Pratchett’s life and work, noted with Pratchett’s characteristic mordant humor that \u003ca href=\"https://twitter.com/Wiltshire_flo/status/902536668170866688\">Lord Jericho proved\u003c/a> “modern technology is no match for the might of the Industrial Revolution.”\u003c/p>\n\u003cp>https://twitter.com/Wiltshire_flo/status/902536668170866688\u003c/p>\n\u003cp>Henry \u003ca href=\"http://www.bbc.com/news/uk-england-dorset-41093066\">told the BBC\u003c/a> that Pratchett, who died at age 66, wanted his unfinished works destroyed after his death to prevent them from seeing the light of day without his blessing.\u003c/p>\n\u003cp>Pratchett had struggled with early-onset Alzheimer’s disease for nearly a decade before his death.\u003c/p>\n\u003cp>“It’s really nice that they have followed his requests so specifically,” Henry said — though he admitted the effort was not without complications.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s surprisingly difficult to find somebody to run over a hard drive with a steamroller. I think a few people thought we were kidding when I first started putting out feelers to see if it was possible or not.” \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=In+Fitting+Postscript%2C+Terry+Pratchett+Had+His+Unfinished+Works+Steamrolled&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a pair of rites we see often at the passing of great authors: first, the tributes from those who loved their books; then, the good-faith effort to find their unfinished works and shepherd them to the bookshelves they never would have found otherwise.\u003c/p>\n\u003cp>In the case of Terry Pratchett’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/12/392555605/terry-pratchett-prolific-fantasy-author-dies-at-66\" target=\"_blank\" rel=\"noopener\">death in 2015\u003c/a>, those tributes were \u003ca href=\"http://www.npr.org/2015/03/12/392574719/author-terry-pratchett-was-no-stranger-to-death\" target=\"_blank\" rel=\"noopener\">voluminous and poignant\u003c/a>, penned for a writer whose deft touch could leave readers laughing, thoughtful or \u003ca href=\"http://www.npr.org/2015/09/02/435543508/the-shepherds-crown-tells-terry-pratchetts-fans-how-to-mourn-him\" target=\"_blank\" rel=\"noopener\">crushed\u003c/a>. As for the prolific \u003ca href=\"http://www.npr.org/2015/03/16/393358428/theres-no-wrong-place-to-start-reading-pratchett\" target=\"_blank\" rel=\"noopener\">Discworld author\u003c/a>‘s unfinished works — well, those are just crushed.\u003c/p>\n\u003cp>As in, literally crushed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thetimes.co.uk/article/pratchett-wanted-final-work-destroyed-by-a-steamroller-5vdlkcf6wj8\">Per Sir Terry’s wishes\u003c/a>, a hard drive containing his unfinished books was introduced to the unforgiving end of a steamroller last Friday. The manager of Pratchett’s estate, Rob Wilkins, tweeted the ritual act’s before-and-after from the writer’s official account, \u003ca href=\"https://twitter.com/terryandrob/status/901028525200879616\">displaying the hard drive\u003c/a> — said to have contained \u003ca href=\"https://twitter.com/SteveHarrisDJ/status/902602964883435522\">10 separate works in progress\u003c/a> — then displaying what it looked like after meeting a steamroller named Lord Jericho at the \u003ca href=\"https://twitter.com/steamfair\">Great Dorset Steam Fair\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Richard Henry, an official at \u003ca href=\"http://www.pratchetthisworld.com/\">The Salisbury Museum\u003c/a>, where the remains of the hard drive will be displayed along with \u003ca href=\"https://twitter.com/Wiltshire_flo/status/901048067549532165\">other artifacts\u003c/a> of Pratchett’s life and work, noted with Pratchett’s characteristic mordant humor that \u003ca href=\"https://twitter.com/Wiltshire_flo/status/902536668170866688\">Lord Jericho proved\u003c/a> “modern technology is no match for the might of the Industrial Revolution.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Henry \u003ca href=\"http://www.bbc.com/news/uk-england-dorset-41093066\">told the BBC\u003c/a> that Pratchett, who died at age 66, wanted his unfinished works destroyed after his death to prevent them from seeing the light of day without his blessing.\u003c/p>\n\u003cp>Pratchett had struggled with early-onset Alzheimer’s disease for nearly a decade before his death.\u003c/p>\n\u003cp>“It’s really nice that they have followed his requests so specifically,” Henry said — though he admitted the effort was not without complications.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s surprisingly difficult to find somebody to run over a hard drive with a steamroller. I think a few people thought we were kidding when I first started putting out feelers to see if it was possible or not.” \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=In+Fitting+Postscript%2C+Terry+Pratchett+Had+His+Unfinished+Works+Steamrolled&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The director of the Berkeley Public Library (BPL) \u003ca href=\"https://www.berkeleypubliclibrary.org/about/news/heidi-dolamore-resigns-director-berkeley-public-library\" target=\"_blank\" rel=\"noopener\">announced Monday\u003c/a> that she will resign after a troubled year for Library officials and staff.\u003c/p>\n\u003cp>Heidi Dolamore, BPL’s director of library services, will officially step down from the post on Sep. 22, less than a year after she was appointed. An official reason for her departure had not been provided as of Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13806836\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg\" alt=\"Heidi Dolamore in 2013\" width=\"639\" height=\"637\" class=\"size-full wp-image-13806836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-150x150.jpg 150w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Dolamore in 2013 \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A former assistant director at the San Jose Public Library, Dolamore became BPL’s director as a tense relationship between library staff and the general public came to light. Earlier this year, \u003ca href=\"http://www.berkeleyside.com/2017/03/02/staffers-at-berkeley-library-describe-atmosphere-of-discomfort-and-distrust/\" target=\"_blank\" rel=\"noopener\">Berkeleyside reported\u003c/a> that BPL staffers had been subjected to a workplace that was filled with “discomfort and distrust.”\u003c/p>\n\u003cp>In addition, two members of the Board of Library Trustees (BOLT) — former president Julie Holcomb and vice president Jim Novosel — were dismissed by \u003ca href=\"http://www.eastbaytimes.com/2017/04/05/berkeley-council-ousts-two-library-trustees/\" target=\"_blank\" rel=\"noopener\">Berkeley’s City Council in April\u003c/a>, the first time the Council has utilized this power toward the largely-autonomous board.\u003c/p>\n\u003cp>The news came as a surprise to Andrea Mullarkey, a teen librarian at the Tarea Hall Pitman South Branch and shop steward for SEIU Local 1021. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The tensions that have been undergoing in previous years have been alleviated at this point,” said Mullarkey. “Things have been improving and staff has been getting traction on a lot of things.”\u003c/p>\n\u003cp>Elliot Warren, who served as Deputy Director under Dolamore, will fill her position until BOLT finds a replacement.\u003c/p>\n\u003cp>BOLT’s next open meeting will take place next Monday, Sept. 6, where they plan on covering the next steps in the hunt for the new director.\u003c/p>\n\u003cp>“I am confident that everyone will work together as a team to continue to provide excellent library service to the Berkeley community while the Board conducts the search process for a new Library Director,” said BOLT President Diane Davenport in a press release.\u003c/p>\n\u003cp>Mullarkey agrees, adding that Davenport and the current BOLT leadership has made it a point to reach out to all library stakeholders in their decision-making.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dolamare is the second BPL director in a row to resign before spending a year in the position. Former director Jeff Scott \u003ca href=\"http://www.berkeleyside.com/2015/09/04/berkeley-library-director-jeff-scott-was-not-a-good-fit/\" target=\"_blank\" rel=\"noopener\">vacated the position\u003c/a> in Aug. 2015 after he was criticized for the way he culled the library’s collection, among other issues. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The director of the Berkeley Public Library (BPL) \u003ca href=\"https://www.berkeleypubliclibrary.org/about/news/heidi-dolamore-resigns-director-berkeley-public-library\" target=\"_blank\" rel=\"noopener\">announced Monday\u003c/a> that she will resign after a troubled year for Library officials and staff.\u003c/p>\n\u003cp>Heidi Dolamore, BPL’s director of library services, will officially step down from the post on Sep. 22, less than a year after she was appointed. An official reason for her departure had not been provided as of Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13806836\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg\" alt=\"Heidi Dolamore in 2013\" width=\"639\" height=\"637\" class=\"size-full wp-image-13806836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Heidi-Dolamore-FB-150x150.jpg 150w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Dolamore in 2013 \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A former assistant director at the San Jose Public Library, Dolamore became BPL’s director as a tense relationship between library staff and the general public came to light. Earlier this year, \u003ca href=\"http://www.berkeleyside.com/2017/03/02/staffers-at-berkeley-library-describe-atmosphere-of-discomfort-and-distrust/\" target=\"_blank\" rel=\"noopener\">Berkeleyside reported\u003c/a> that BPL staffers had been subjected to a workplace that was filled with “discomfort and distrust.”\u003c/p>\n\u003cp>In addition, two members of the Board of Library Trustees (BOLT) — former president Julie Holcomb and vice president Jim Novosel — were dismissed by \u003ca href=\"http://www.eastbaytimes.com/2017/04/05/berkeley-council-ousts-two-library-trustees/\" target=\"_blank\" rel=\"noopener\">Berkeley’s City Council in April\u003c/a>, the first time the Council has utilized this power toward the largely-autonomous board.\u003c/p>\n\u003cp>The news came as a surprise to Andrea Mullarkey, a teen librarian at the Tarea Hall Pitman South Branch and shop steward for SEIU Local 1021. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The tensions that have been undergoing in previous years have been alleviated at this point,” said Mullarkey. “Things have been improving and staff has been getting traction on a lot of things.”\u003c/p>\n\u003cp>Elliot Warren, who served as Deputy Director under Dolamore, will fill her position until BOLT finds a replacement.\u003c/p>\n\u003cp>BOLT’s next open meeting will take place next Monday, Sept. 6, where they plan on covering the next steps in the hunt for the new director.\u003c/p>\n\u003cp>“I am confident that everyone will work together as a team to continue to provide excellent library service to the Berkeley community while the Board conducts the search process for a new Library Director,” said BOLT President Diane Davenport in a press release.\u003c/p>\n\u003cp>Mullarkey agrees, adding that Davenport and the current BOLT leadership has made it a point to reach out to all library stakeholders in their decision-making.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dolamare is the second BPL director in a row to resign before spending a year in the position. Former director Jeff Scott \u003ca href=\"http://www.berkeleyside.com/2015/09/04/berkeley-library-director-jeff-scott-was-not-a-good-fit/\" target=\"_blank\" rel=\"noopener\">vacated the position\u003c/a> in Aug. 2015 after he was criticized for the way he culled the library’s collection, among other issues. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What with the stunning eclipse, the troubling interactions of President Trump and Kim Jong-un, the daily fraying of truth, the melting arctic, and white supremacists gathering in Berkeley and San Francisco, the end of the world comes easily to mind.\u003c/p>\n\u003cp>The poet Czeslaw Milosz \u003ca href=\"https://www.poetryfoundation.org/poems/49451/a-song-on-the-end-of-the-world\">imagined\u003c/a> the end of the world as an unnamed destruction not remarked upon by the happy porpoises that jump in the sea, the women walking through fields, nor the vegetable peddlers that shout in the street. Instead, he writes:\u003c/p>\n\u003cblockquote>\u003cp>Only a white-haired old man, who would be a prophet\u003cbr>\nYet is not a prophet, for he’s much too busy,\u003cbr>\nRepeats while he binds his tomatoes:\u003cbr>\nThere will be no other end of the world,\u003cbr>\nThere will be no other end of the world.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13806401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin, author of ‘someone’s dead already’ and ‘Heaven is All Goodbyes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Heaven is All Goodbyes \u003c/em>by Tongo Eisen-Martin is not a book about the end of the world. But the author’s second poetry collection, \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800\" target=\"_blank\" rel=\"noopener\">released by City Lights\u003c/a>, has an feeling of being written from the brink of cataclysm.\u003c/p>\n\u003cp>In Eisen-Martin’s verse, black men get out of cars “against white supremacy,” Europe reaches America “carrying headaches and mirrors,” alarms are made of gold, and in perhaps the most succinct description of our national circumstance, “People are newspapers / and actors / And the congregation is all going to die in character.”\u003c/p>\n\u003cp>I read this book while in the bathtub, with my ears below water, like I was listening to a pristine record with headphones. Musical references pepper this collection, so it is no wonder I had music in mind. There is a sublime cadence in Eisen-Martin’s work that is polyphonic, gritty, and unexpectedly fragile, like jazz. These poems yell, shriek, whisper, mumble in a mosaic of disenfranchised voices pondering police brutality, guns, the power of community, the terror of inherited addiction, and the cold nature of a city that blankets the poor and colored in oppression.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And of course, death, and the passing of the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13806403 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg\" alt=\"\" width=\"351\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg 351w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-240x308.jpg 240w\" sizes=\"(max-width: 351px) 100vw, 351px\">In a recent interview for the Poetry Foundation, Eisen-Martin \u003ca href=\"https://www.poetryfoundation.org/harriet/2017/07/our-generation-rules-are-aeant-to-be-broken\">said\u003c/a> that watching musicians gave him ideas: “For example (and to paraphrase), the saxophonist Sonny Rollins, speaking about soloing, said that what he does is start with a familiar phrase everyone recognizes, and then through the following notes walks away from it towards his subconscious.”\u003c/p>\n\u003cp>These poems certainly do that — walk away from themselves and toward a subconscious riff.\u003c/p>\n\u003cp>Probably the most unique aspect of Eisen-Martin’s style is the decentralization of power featured in his poems, from which he builds a spectacle. The “I” is often not writ large; instead, buildings, streets, and alleys have eminence:\u003c/p>\n\u003cblockquote>\u003cp>When a neighborhood is in pain, houses stutter at each other\u003cbr>\nIn a theater of human and plaster\u003c/p>\n\u003cp>No one ever goes free, but the walls become more thoughtful and\u003cbr>\nremember our names\u003c/p>\n\u003cp>Men think they are passing around cigarettes\u003cbr>\nBut really the cigarettes are passing around men\u003c/p>\n\u003cp style=\"text-align: right\">houses stutter at each other\u003cbr>\nabout the rich man’s world\u003c/p>\n\u003cp style=\"text-align: right\">and the poor man’s water\u003cbr>\nabout the rich man’s world\u003cbr>\nand the poor man’s repetition\u003c/p>\n\u003c/blockquote>\n\u003cp>There is something comforting and soothing about this syntax, the way Eisen-Martin shifts the axis and importance of personhood from people to inanimate things. The air talks to itself in these poems, streets want to be ceilings, the coffin stares at the nails. And though there is grief in this work, it is often faceless, universal, and embodied—as in the last lines of \u003cem>The Confidence Scheme\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“I will buy you a drink tomorrow,”\u003cbr>\nthe pain here told the pain there.\u003c/p>\u003c/blockquote>\n\u003cp>I don’t know about you, but it’s exactly the type of poetry I would want to be reading at the end of the world — the kind that holds a mirror to itself, then a mirror to that mirror.\u003c/p>\n\u003cp>Eisen-Martin some years ago \u003ca href=\"https://thepoetryquestion.com/2015/06/09/the-power-of-poetry-5-tongo-eisen-martin/\">described\u003c/a> poetry as being “every stitch of an expanding universe speaking for itself.” The act of poetry was “the playfulness of people who are outnumbered and outgunned,” in his eyes.\u003c/p>\n\u003cp>“The universe expands, possibly contracts, and always wants us to be free,” he wrote. “And always we are ready for liberation. We are the universe looking at itself. Talking to itself. Healing itself. Instructing itself even. Always. We are ready for liberation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Tongo Eisen-Martin celebrates the release of \u003c/em>Heaven is All Goodbyes \u003cem>at City Lights Bookstore in San Francisco on Thursday, Sept. 14, at 8pm. More information \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=events\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What with the stunning eclipse, the troubling interactions of President Trump and Kim Jong-un, the daily fraying of truth, the melting arctic, and white supremacists gathering in Berkeley and San Francisco, the end of the world comes easily to mind.\u003c/p>\n\u003cp>The poet Czeslaw Milosz \u003ca href=\"https://www.poetryfoundation.org/poems/49451/a-song-on-the-end-of-the-world\">imagined\u003c/a> the end of the world as an unnamed destruction not remarked upon by the happy porpoises that jump in the sea, the women walking through fields, nor the vegetable peddlers that shout in the street. Instead, he writes:\u003c/p>\n\u003cblockquote>\u003cp>Only a white-haired old man, who would be a prophet\u003cbr>\nYet is not a prophet, for he’s much too busy,\u003cbr>\nRepeats while he binds his tomatoes:\u003cbr>\nThere will be no other end of the world,\u003cbr>\nThere will be no other end of the world.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13806401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin, author of ‘someone’s dead already’ and ‘Heaven is All Goodbyes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Heaven is All Goodbyes \u003c/em>by Tongo Eisen-Martin is not a book about the end of the world. But the author’s second poetry collection, \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800\" target=\"_blank\" rel=\"noopener\">released by City Lights\u003c/a>, has an feeling of being written from the brink of cataclysm.\u003c/p>\n\u003cp>In Eisen-Martin’s verse, black men get out of cars “against white supremacy,” Europe reaches America “carrying headaches and mirrors,” alarms are made of gold, and in perhaps the most succinct description of our national circumstance, “People are newspapers / and actors / And the congregation is all going to die in character.”\u003c/p>\n\u003cp>I read this book while in the bathtub, with my ears below water, like I was listening to a pristine record with headphones. Musical references pepper this collection, so it is no wonder I had music in mind. There is a sublime cadence in Eisen-Martin’s work that is polyphonic, gritty, and unexpectedly fragile, like jazz. These poems yell, shriek, whisper, mumble in a mosaic of disenfranchised voices pondering police brutality, guns, the power of community, the terror of inherited addiction, and the cold nature of a city that blankets the poor and colored in oppression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And of course, death, and the passing of the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13806403 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg\" alt=\"\" width=\"351\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg 351w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-240x308.jpg 240w\" sizes=\"(max-width: 351px) 100vw, 351px\">In a recent interview for the Poetry Foundation, Eisen-Martin \u003ca href=\"https://www.poetryfoundation.org/harriet/2017/07/our-generation-rules-are-aeant-to-be-broken\">said\u003c/a> that watching musicians gave him ideas: “For example (and to paraphrase), the saxophonist Sonny Rollins, speaking about soloing, said that what he does is start with a familiar phrase everyone recognizes, and then through the following notes walks away from it towards his subconscious.”\u003c/p>\n\u003cp>These poems certainly do that — walk away from themselves and toward a subconscious riff.\u003c/p>\n\u003cp>Probably the most unique aspect of Eisen-Martin’s style is the decentralization of power featured in his poems, from which he builds a spectacle. The “I” is often not writ large; instead, buildings, streets, and alleys have eminence:\u003c/p>\n\u003cblockquote>\u003cp>When a neighborhood is in pain, houses stutter at each other\u003cbr>\nIn a theater of human and plaster\u003c/p>\n\u003cp>No one ever goes free, but the walls become more thoughtful and\u003cbr>\nremember our names\u003c/p>\n\u003cp>Men think they are passing around cigarettes\u003cbr>\nBut really the cigarettes are passing around men\u003c/p>\n\u003cp style=\"text-align: right\">houses stutter at each other\u003cbr>\nabout the rich man’s world\u003c/p>\n\u003cp style=\"text-align: right\">and the poor man’s water\u003cbr>\nabout the rich man’s world\u003cbr>\nand the poor man’s repetition\u003c/p>\n\u003c/blockquote>\n\u003cp>There is something comforting and soothing about this syntax, the way Eisen-Martin shifts the axis and importance of personhood from people to inanimate things. The air talks to itself in these poems, streets want to be ceilings, the coffin stares at the nails. And though there is grief in this work, it is often faceless, universal, and embodied—as in the last lines of \u003cem>The Confidence Scheme\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“I will buy you a drink tomorrow,”\u003cbr>\nthe pain here told the pain there.\u003c/p>\u003c/blockquote>\n\u003cp>I don’t know about you, but it’s exactly the type of poetry I would want to be reading at the end of the world — the kind that holds a mirror to itself, then a mirror to that mirror.\u003c/p>\n\u003cp>Eisen-Martin some years ago \u003ca href=\"https://thepoetryquestion.com/2015/06/09/the-power-of-poetry-5-tongo-eisen-martin/\">described\u003c/a> poetry as being “every stitch of an expanding universe speaking for itself.” The act of poetry was “the playfulness of people who are outnumbered and outgunned,” in his eyes.\u003c/p>\n\u003cp>“The universe expands, possibly contracts, and always wants us to be free,” he wrote. “And always we are ready for liberation. We are the universe looking at itself. Talking to itself. Healing itself. Instructing itself even. Always. We are ready for liberation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Tongo Eisen-Martin celebrates the release of \u003c/em>Heaven is All Goodbyes \u003cem>at City Lights Bookstore in San Francisco on Thursday, Sept. 14, at 8pm. More information \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=events\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>The online retailer \u003ca href=\"http://www.amazon.com\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon \u003c/a>opened a bookstore in San Jose Thursday. Take a moment with that news. This is 20 years after the online retail giant helped lay waste to the brick and mortar book industry. The San Jose bookstore is not the first. It’s Amazon’s \u003ca href=\"https://www.amazon.com/b/?_encoding=UTF8&node=13270229011\" target=\"_blank\" rel=\"noopener noreferrer\">tenth nationwide\u003c/a>, its second in California and its first in the Bay Area.\u003c/p>\n\u003cp>In many respects, the Seattle-based behemoth is following on the footsteps of other tech giants like Apple and Microsoft. Vice president of Amazon’s books division, Jennifer Cast, says customers like to see products in person — books, and other things, too. “They need help,” Cast says. “They need advice, and so we have associates who are experts on Amazon devices.”\u003c/p>\n\u003cp>That said, the Amazon bookstore in San Jose’s Santana Row delivers an impressive experience for book lovers, with numerous, distinctively Amazonian touches. You get the Amazon.com price if you’re signed up with the company’s membership program, Amazon Prime. Many of the bookstore sections follow what’s trending online. One area of the store called “Page Turners” highlights books that a large number of Kindle readers finished in three days or less.\u003c/p>\n\u003cfigure id=\"attachment_13806494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg\" alt=\"Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cast explains the bookstore is an extension of the web site. “We’ve been selling online for 20 years, and so we have a lot of information on what customers love: what customers are reading, why they’re reading, how they’re reading,” she says.\u003c/p>\n\u003cp>\u003cstrong>Customers react\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amazon’s first high street store opened in 2015 in Seattle. While it’s too soon to say whether the strategy works financially, there were plenty of curious and enthusiastic customers milling about the San Jose store on the first day.\u003c/p>\n\u003cp>Jim and Cynthia Williams of Campbell are both avid readers. She’s a Kindle fan. He’s not. “I have to have something to touch and feel,”Jim Williams says. “The hard copy has always been what I like. That’s part of the enjoyment of a book for me.”\u003c/p>\n\u003cfigure id=\"attachment_13806495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg\" alt=\"Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before she retired, Cynthia Williams worked in finance in the tech industry and she sees Amazon’s move as making business sense. “Well, they’re acquiring Whole Foods, so they’re obviously getting more into brick and mortar,” she says. “So they’re bringing the businesses, the brick and mortar and the online together.”\u003c/p>\n\u003cp>\u003cstrong>What goes around comes around\u003c/strong>\u003c/p>\n\u003cp>It’s hard to truly quantify the devastation among independent bookstores that followed Amazon’s launch in 1994. Back in 1995, the \u003ca href=\"http://bookweb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Booksellers Association\u003c/a> (ABA) claimed roughly 7,000 member stores. Today, there are roughly 2,300.\u003c/p>\n\u003cp>Amazon wasn’t to blame alone. National chains like Borders and Barnes & Noble also helped to put many mom and pop stores across the country out of business. The independents that did survive did so by building communities with in-store events and the like, as well as specializing in genres such as children’s books and science fiction.\u003c/p>\n\u003cp>“A new generation is coming into the business as both owner-managers and frontline booksellers,” says Dan Cullen of the ABA, adding that bookstores are proving remarkably resilient despite the Age of the Internet.\u003c/p>\n\u003cfigure id=\"attachment_13806496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg\" alt=\"Suzi Hough manages Hicklebees, a San Jose children's bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. "If Amazon's here, it helps promote literacy, and that's important to us."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzi Hough manages Hicklebees, a San Jose children’s bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. “If Amazon’s here, it helps promote literacy, and that’s important to us.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We got through it,” says Suzi Hough, who manages \u003ca href=\"http://www.hicklebees.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hicklebees\u003c/a>, a San Jose children’s bookstore that first opened in 1979. “We’re still here. And we think the same thing will happen again,”\u003c/p>\n\u003cp>Hough says she’s able to stay in business because her store works to differentiate itself from Amazon, for example by offering an extensive calendar of author visits, book club gatherings, and events for educators. “We’re really two different animals,” Hough says.\u003c/p>\n\u003cp>Eric Johnson of \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Recycle Bookstore\u003c/a> in San Jose is similarly sanguine about Amazon’s foray into the South Bay. “My initial reaction is really a big shrug of the shoulders,” Johnson says. “It is obvious to me that Amazon opening up bookstores is not really intended as a serious attempt to compete as a traditional bookstore.” Amazon’s bookstore, he says, “is not so much a bookstore as it is a distribution center.”\u003c/p>\n\u003cp>In the meantime, Amazon has plans to continue expanding. In California, more stores are planned for Walnut Creek and Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The online retailer \u003ca href=\"http://www.amazon.com\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon \u003c/a>opened a bookstore in San Jose Thursday. Take a moment with that news. This is 20 years after the online retail giant helped lay waste to the brick and mortar book industry. The San Jose bookstore is not the first. It’s Amazon’s \u003ca href=\"https://www.amazon.com/b/?_encoding=UTF8&node=13270229011\" target=\"_blank\" rel=\"noopener noreferrer\">tenth nationwide\u003c/a>, its second in California and its first in the Bay Area.\u003c/p>\n\u003cp>In many respects, the Seattle-based behemoth is following on the footsteps of other tech giants like Apple and Microsoft. Vice president of Amazon’s books division, Jennifer Cast, says customers like to see products in person — books, and other things, too. “They need help,” Cast says. “They need advice, and so we have associates who are experts on Amazon devices.”\u003c/p>\n\u003cp>That said, the Amazon bookstore in San Jose’s Santana Row delivers an impressive experience for book lovers, with numerous, distinctively Amazonian touches. You get the Amazon.com price if you’re signed up with the company’s membership program, Amazon Prime. Many of the bookstore sections follow what’s trending online. One area of the store called “Page Turners” highlights books that a large number of Kindle readers finished in three days or less.\u003c/p>\n\u003cfigure id=\"attachment_13806494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg\" alt=\"Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26380_Book-Reviews-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instead of handwritten employee reviews, there are printed customer reviews pinned up under the books. Scan the review card and you can see the price. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cast explains the bookstore is an extension of the web site. “We’ve been selling online for 20 years, and so we have a lot of information on what customers love: what customers are reading, why they’re reading, how they’re reading,” she says.\u003c/p>\n\u003cp>\u003cstrong>Customers react\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amazon’s first high street store opened in 2015 in Seattle. While it’s too soon to say whether the strategy works financially, there were plenty of curious and enthusiastic customers milling about the San Jose store on the first day.\u003c/p>\n\u003cp>Jim and Cynthia Williams of Campbell are both avid readers. She’s a Kindle fan. He’s not. “I have to have something to touch and feel,”Jim Williams says. “The hard copy has always been what I like. That’s part of the enjoyment of a book for me.”\u003c/p>\n\u003cfigure id=\"attachment_13806495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg\" alt=\"Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26379_Amazon-Devices-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Not unlike an Apple store, Amazon bookstores have roving staff members at the ready to help you decide to buy devices like the Echo and Kindle or services like Fire TV. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before she retired, Cynthia Williams worked in finance in the tech industry and she sees Amazon’s move as making business sense. “Well, they’re acquiring Whole Foods, so they’re obviously getting more into brick and mortar,” she says. “So they’re bringing the businesses, the brick and mortar and the online together.”\u003c/p>\n\u003cp>\u003cstrong>What goes around comes around\u003c/strong>\u003c/p>\n\u003cp>It’s hard to truly quantify the devastation among independent bookstores that followed Amazon’s launch in 1994. Back in 1995, the \u003ca href=\"http://bookweb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Booksellers Association\u003c/a> (ABA) claimed roughly 7,000 member stores. Today, there are roughly 2,300.\u003c/p>\n\u003cp>Amazon wasn’t to blame alone. National chains like Borders and Barnes & Noble also helped to put many mom and pop stores across the country out of business. The independents that did survive did so by building communities with in-store events and the like, as well as specializing in genres such as children’s books and science fiction.\u003c/p>\n\u003cp>“A new generation is coming into the business as both owner-managers and frontline booksellers,” says Dan Cullen of the ABA, adding that bookstores are proving remarkably resilient despite the Age of the Internet.\u003c/p>\n\u003cfigure id=\"attachment_13806496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg\" alt=\"Suzi Hough manages Hicklebees, a San Jose children's bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. "If Amazon's here, it helps promote literacy, and that's important to us."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26381_Hicklebees-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzi Hough manages Hicklebees, a San Jose children’s bookstore. She takes in stride the arrival of a new bookstore a 15 minute drive away. “If Amazon’s here, it helps promote literacy, and that’s important to us.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We got through it,” says Suzi Hough, who manages \u003ca href=\"http://www.hicklebees.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hicklebees\u003c/a>, a San Jose children’s bookstore that first opened in 1979. “We’re still here. And we think the same thing will happen again,”\u003c/p>\n\u003cp>Hough says she’s able to stay in business because her store works to differentiate itself from Amazon, for example by offering an extensive calendar of author visits, book club gatherings, and events for educators. “We’re really two different animals,” Hough says.\u003c/p>\n\u003cp>Eric Johnson of \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Recycle Bookstore\u003c/a> in San Jose is similarly sanguine about Amazon’s foray into the South Bay. “My initial reaction is really a big shrug of the shoulders,” Johnson says. “It is obvious to me that Amazon opening up bookstores is not really intended as a serious attempt to compete as a traditional bookstore.” Amazon’s bookstore, he says, “is not so much a bookstore as it is a distribution center.”\u003c/p>\n\u003cp>In the meantime, Amazon has plans to continue expanding. In California, more stores are planned for Walnut Creek and Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Chabon, Ayelet Waldman Urge Jews to Reject Trump in Letter",
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"content": "\u003cp>In light of the neo-Nazi march at Charlottesville — and President Donald Trump’s tacit acceptance of the march in an address — bestselling authors Michael Chabon and Ayelet Waldman have posted a fiery plea calling for the global Jewish community to denounce the Trump administration.\u003c/p>\n\u003cp>Waldman and Chabon, who live in Berkeley, published the open letter to “our fellow Jews, in the United States, in Israel, and around the world” \u003ca href=\"https://medium.com/@vanzorn/to-our-fellow-jews-in-the-united-states-in-israel-and-around-the-world-ff421a1d325d\" target=\"_blank\" rel=\"noopener\">on Medium\u003c/a> Thursday. The piece has since been shared over 26,000 times via Facebook.\u003c/p>\n\u003cp>The letter begins with the married couple of 24 years listing the ways in which some members of the Jewish community may have held off on rejecting Trump since his inauguration.\u003c/p>\n\u003cp>They specifically target “Steven Mnuchin, Gary Cohn, and our other fellow Jews currently serving under this odious regime,” requesting for their resignation — and for Trump’s head legal counsel Michael D. Cohen to part ways with the President.\u003c/p>\n\u003cp>The two also reserved some choice words for Jared Kushner, Trump’s son-in-law and adviser:\u003c/p>\n\u003cblockquote>\u003cp>You have one minute to do whatever it takes to keep the history of your people from looking back on you as among its greatest traitors, and greatest fools; that minute is nearly past.\u003c/p>\u003c/blockquote>\n\u003cp>Notably, the letter also cautions casino magnate Sheldon Adelson and the Israeli government to “wise up” in light of Trump’s statements. Adelson contributed \u003ca href=\"http://thehill.com/homenews/news/329462-casino-magnate-gave-5-million-to-trumps-inauguration\" target=\"_blank\" rel=\"noopener\">$5 million to Trump’s inauguration committee\u003c/a> — the largest sum ever given to any president’s inauguration committee. And while the office of Israeli prime minister Benjamin Netanyahu tweeted out a statement on Monday following the events at Charlottesville, Netanyahu has come under fire for not issuing an official condemnation of Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The letter concludes: “Any Jew, anywhere, who does not act to oppose President Donald Trump and his administration acts in favor of anti-Semitism; any Jew who does not condemn the President, directly and by name, for his racism, white supremacism, intolerance and Jew hatred condones all of those things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chabon, the author of \u003cem>Telegraph Avenue\u003c/em> and last year’s \u003cem>Moonglow\u003c/em>, and Waldman, who may be best known for her \u003cem>Mommy-Track\u003c/em> series and her writing on \u003ca href=\"https://www.nytimes.com/2017/01/07/style/microdosing-lsd-ayelet-waldman-michael-chabon-marriage.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">motherhood\u003c/a> and \u003ca href=\"http://www.nytimes.com/2005/03/27/fashion/truly-madly-guiltily.html?mcubz=3%20and%20LSD%20microdosing\" target=\"_blank\" rel=\"noopener\">LSD microdosing\u003c/a>, aren’t ones to back down from tense political dialogue. Last May, the two authors were among 400 who petitioned against Trump’s presidency. This past May, they published a collection of essays on the Israeli occupation of the West Bank.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In light of the neo-Nazi march at Charlottesville — and President Donald Trump’s tacit acceptance of the march in an address — bestselling authors Michael Chabon and Ayelet Waldman have posted a fiery plea calling for the global Jewish community to denounce the Trump administration.\u003c/p>\n\u003cp>Waldman and Chabon, who live in Berkeley, published the open letter to “our fellow Jews, in the United States, in Israel, and around the world” \u003ca href=\"https://medium.com/@vanzorn/to-our-fellow-jews-in-the-united-states-in-israel-and-around-the-world-ff421a1d325d\" target=\"_blank\" rel=\"noopener\">on Medium\u003c/a> Thursday. The piece has since been shared over 26,000 times via Facebook.\u003c/p>\n\u003cp>The letter begins with the married couple of 24 years listing the ways in which some members of the Jewish community may have held off on rejecting Trump since his inauguration.\u003c/p>\n\u003cp>They specifically target “Steven Mnuchin, Gary Cohn, and our other fellow Jews currently serving under this odious regime,” requesting for their resignation — and for Trump’s head legal counsel Michael D. Cohen to part ways with the President.\u003c/p>\n\u003cp>The two also reserved some choice words for Jared Kushner, Trump’s son-in-law and adviser:\u003c/p>\n\u003cblockquote>\u003cp>You have one minute to do whatever it takes to keep the history of your people from looking back on you as among its greatest traitors, and greatest fools; that minute is nearly past.\u003c/p>\u003c/blockquote>\n\u003cp>Notably, the letter also cautions casino magnate Sheldon Adelson and the Israeli government to “wise up” in light of Trump’s statements. Adelson contributed \u003ca href=\"http://thehill.com/homenews/news/329462-casino-magnate-gave-5-million-to-trumps-inauguration\" target=\"_blank\" rel=\"noopener\">$5 million to Trump’s inauguration committee\u003c/a> — the largest sum ever given to any president’s inauguration committee. And while the office of Israeli prime minister Benjamin Netanyahu tweeted out a statement on Monday following the events at Charlottesville, Netanyahu has come under fire for not issuing an official condemnation of Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter concludes: “Any Jew, anywhere, who does not act to oppose President Donald Trump and his administration acts in favor of anti-Semitism; any Jew who does not condemn the President, directly and by name, for his racism, white supremacism, intolerance and Jew hatred condones all of those things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chabon, the author of \u003cem>Telegraph Avenue\u003c/em> and last year’s \u003cem>Moonglow\u003c/em>, and Waldman, who may be best known for her \u003cem>Mommy-Track\u003c/em> series and her writing on \u003ca href=\"https://www.nytimes.com/2017/01/07/style/microdosing-lsd-ayelet-waldman-michael-chabon-marriage.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">motherhood\u003c/a> and \u003ca href=\"http://www.nytimes.com/2005/03/27/fashion/truly-madly-guiltily.html?mcubz=3%20and%20LSD%20microdosing\" target=\"_blank\" rel=\"noopener\">LSD microdosing\u003c/a>, aren’t ones to back down from tense political dialogue. Last May, the two authors were among 400 who petitioned against Trump’s presidency. This past May, they published a collection of essays on the Israeli occupation of the West Bank.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cartoonist-mimi-pond-on-coming-of-age-in-an-oakland-greasy-spoon",
"title": "Cartoonist Mimi Pond on Coming Of Age in an Oakland Greasy Spoon",
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"headTitle": "Cartoonist Mimi Pond on Coming Of Age in an Oakland Greasy Spoon | KQED",
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"content": "\u003cp>Once regarded as San Francisco’s troubled stepchild, Oakland over the past few years has become the belle of the ball. Though much of the recent lauding of its “artistic renaissance” can be traced to gentrification, some have always preferred the more rugged side of the bridge. \u003c/p>\n\u003cp>The last time Oakland enjoyed a spotlight so bright may well have been the 1970s. Back then the Black Panthers helped pave the way for the city’s first black mayor, Lionel Wilson; the A’s won three consecutive World Series titles; Sun Ra recorded his Afrofuturist masterpiece \u003cem>Space is the Place\u003c/em>; and punk was cropping up in dingy nooks all over town. The detritus of ’60s idealism manifested in widespread “moral ambiguity” — a.k.a., it was sleazy. Copious amounts of free love garnished with mountains of cocaine were representative of two of the four basic food groups that fueled art and culture.\u003c/p>\n\u003cfigure id=\"attachment_13805784\" class=\"wp-caption alignright\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel.jpg\" alt=\"A scene from Pond's 'The Customer Is Always Wrong'\" width=\"532\" height=\"682\" class=\"size-full wp-image-13805784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-240x308.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-375x481.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-520x667.jpg 520w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pond’s ‘The Customer Is Always Wrong’ \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around this time, art school dropout Mimi Pond found herself waiting tables at the beloved Oakland breakfast spot \u003ca href=\"http://www.mamasroyalcafeoakland.com/\" target=\"_blank\" rel=\"noopener\">Mama’s Royal Cafe\u003c/a>. Still an aspiring cartoonist, she earned a living between freelance \u003cem>National Lampoon\u003c/em> illustration gigs by slinging hash alongside a veritable rogue’s gallery of punks, junkies, and bar-stool philosophers who expanded her world view and left an indelible impression. So strong of an impression, in fact, that it provided the foundation for not one, but \u003cem>two\u003c/em> thick graphic novels some 40 years later.\u003c/p>\n\u003cp>\u003cem>The Customer Is Always Wrong\u003c/em> picks up where Pond’s first graphic novel, \u003cem>Over Easy\u003c/em>, left off. Though she includes a disclaimer that this is a “fictionalized memoir,” some of the stories and characters are taken directly from real experiences. The snappy one-liners that set a tone of sassy camaraderie in the first book persist, but the characters begin to suffer consequences for their folly. “Folly,” in this instance, consists of shooting up in public restrooms, ripping off drug dealers, and embarking upon ill-advised late night missions into unwelcoming parts of town. Drugs in cars, sex in dressing rooms, cheap thrills in a kitchen pantry — all of these degenerate scenes are artfully rendered in single-color green watercolor. Pond’s fluid style resembles \u003cem>New Yorker\u003c/em> illustrations, and — if only given a cursory glance — would suggest a less seedy narrative.\u003c/p>\n\u003cp>I caught up with Pond to talk about \u003cem>The Customer Is Always Wrong\u003c/em> before her \u003ca href=\"https://www.facebook.com/events/834052720083658/\" target=\"_blank\" rel=\"noopener\">Oakland book launch\u003c/a> at the Starline Social Club in Oakland on Thursday night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>You must have had other colorful jobs since the late ’70s. What was it about waitressing at Mama’s that compelled you to write about it?\u003c/b>\u003c/p>\n\u003cp>Honestly, I was very fortunate after I left the restaurant and moved to New York. I was able to start my cartooning and illustration career there and I never looked back. Never again did I have to work any truly crap jobs. Except for the brief stint I had on staff of the show \u003cem>Designing Women\u003c/em>, I have always been lucky enough to work at home and shield myself from the vagaries of working for others.\u003c/p>\n\u003cp>The scene at that restaurant was so completely compelling that I knew from the first day I worked there that it was a story I would have to tell one day. It was chock-full of colorful characters. And in fact, since you mentioned the snappy patter, I will tell you: this was a hallmark of the place. It was part and parcel of what it was to work there, and it’s why I wanted to work there. Everyone had a talent for repartee, everyone seemed to have either a conscious or unconscious desire to not just talk, but to employ witty banter. It made everything more fun. So this wasn’t just me imagining people talking that way. They really did.\u003c/p>\n\u003cfigure id=\"attachment_13805873\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-800x1203.jpg\" alt=\"Mimi Pond\" width=\"800\" height=\"1203\" class=\"size-medium wp-image-13805873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-1920x2888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-1180x1775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-520x782.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Pond \u003ccite>(Lynda Burdick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Let’s talk more about the television writing you did in the late ’80s/early ’90s for programs like \u003cem>Pee Wee’s Playhouse\u003c/em> and \u003cem>Designing Women.\u003c/em> There was a recent Jezebel interview that recounts \u003ca href=\"http://www.vulture.com/2017/08/mimi-pond-says-the-simpsons-wanted-an-all-male-writing-room.html\" target=\"_blank\" rel=\"noopener\">your experience writing for \u003cem>The Simpsons\u003c/em>\u003c/a> and how a producer didn’t want women in the writers’ room. Was this the first time you’ve addressed that experience in a public interview? Do you have a sense of vindication being able to tell that story after so much time?\u003c/b>\u003c/p>\n\u003cp>This is NOT the first time I’ve addressed that issue. It was brought up when \u003cem>Over Easy\u003c/em> came out, but I think it made headlines this time because of that \u003ca href=\"https://techcrunch.com/2017/08/05/theres-an-anti-diversity-manifesto-circulating-around-google/\" target=\"_blank\" rel=\"noopener\">big Google diversity kerfuffle\u003c/a> had just happened and everyone had a way to spin it better this time. There is vindication because I feel like I am finally being heard. I’m proud of young women today for calling out sexism where they see it in public forums. Every woman I knew when I was younger would say the same things and were completely ignored because men had all the power. We were “imagining things.” We were “hysterical.” We were “emotional.” Who were we to express ourselves that way, how dare we rock the boat? We were lucky they even let us hang around. It was an uphill battle all the way.\u003c/p>\n\u003cp>\u003cb>Maude’s abortion is a memorable, though cursory, chapter in the book. The lack of accountability of her boyfriend and the casual attitude of her coworkers wouldn’t be socially acceptable today, but were par for the course during that era. In a similar vein, some of the language used in reference to people of color is objectionable. Were you afraid of pushback for your use of language? What led you to make those choices?\u003c/b>\u003c/p>\n\u003cp>Yes, it was par for the course, because it was safe and legal and the religious right had not yet begun their campaign to convince people that men had more to say about women’s autonomy than women did. It wasn’t yet the ridiculous moral issue it is now. What’s immoral is legislating morality and legislating the rights of human beings without penises.\u003c/p>\n\u003cp>Regarding language, in \u003cem>Over Easy\u003c/em>, there were some issues raised by some of the younger people at Drawn & Quarterly — I believe they objected to the word “cholo.” I had to convince them that “cholo” was not a pejorative term. They’re Canadian, so… and this time around they allowed me to have my way because they understand that this is all about context. There’s no whitewashing the past. You can’t go back in time and chide them about political correctness. I was trying to express all kinds of things about that era, how casual both the sexism and the racism were. Then again, a lot of things were more casual, like sex, and there wasn’t as much judgement about that either. All the kids were doing it!\u003c/p>\n\u003cfigure id=\"attachment_13805785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-800x1140.jpg\" alt=\"From 'The Customer Is Always Wrong'\" width=\"800\" height=\"1140\" class=\"size-medium wp-image-13805785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-800x1140.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-768x1094.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-960x1368.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-240x342.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-375x534.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-520x741.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276.jpg 1015w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Customer Is Always Wrong.’ \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you remember so many details from so long ago? Do you have enough material left for a third book? If not, do you have an ’80s movie-style epilogue for any of the characters (a la\u003cem> Animal House\u003c/em>)?\u003c/b>\u003c/p>\n\u003cp>The real Lazlo and I corresponded for years after I left the restaurant, and he would tell me all the latest gossip, but also it was such a galvanizing, vivid experience for me that I could never forget the way things were. I kept a lot of notes over the years as well. As far as what is real and what isn’t, I don’t like to say. I don’t want the story to fall apart for people over what really happened and what didn’t happen. I’m not sure if there will be a third book. A fictionalized epilogue could be funny, but I don’t want to romanticize. What’s not funny is the fallout from all the drugs. There were people who lost years and child custody to drug abuse. Some lost their lives as well. Bummer way to end an interview! Even so, all the people I knew from back then who have finally climbed out of that deep hole will still say, “Yeah…but wasn’t it fun?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>See Mimi Pond in conversation with Brontez Purnell (musician, dancer, and author of\u003cem> Since I Laid My Burden Down\u003c/em>) at the Starline Social Club in Oakland on Thursday, Aug. 17, at 7pm. For more information, \u003ca href=\"https://www.starlinesocialclub.com/StarlineSite/event/mimi-ponds-the-customer-is-always-wrong-book-release/\" target=\"_blank\" rel=\"noopener\">visit the club’s website\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "For her second graphic novel 'The Customer Is Always Wrong,' the cartoonist returns to her days as an art school dropout, working in a shady Oakland cafe.",
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"title": "Cartoonist Mimi Pond on Coming Of Age in an Oakland Greasy Spoon | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once regarded as San Francisco’s troubled stepchild, Oakland over the past few years has become the belle of the ball. Though much of the recent lauding of its “artistic renaissance” can be traced to gentrification, some have always preferred the more rugged side of the bridge. \u003c/p>\n\u003cp>The last time Oakland enjoyed a spotlight so bright may well have been the 1970s. Back then the Black Panthers helped pave the way for the city’s first black mayor, Lionel Wilson; the A’s won three consecutive World Series titles; Sun Ra recorded his Afrofuturist masterpiece \u003cem>Space is the Place\u003c/em>; and punk was cropping up in dingy nooks all over town. The detritus of ’60s idealism manifested in widespread “moral ambiguity” — a.k.a., it was sleazy. Copious amounts of free love garnished with mountains of cocaine were representative of two of the four basic food groups that fueled art and culture.\u003c/p>\n\u003cfigure id=\"attachment_13805784\" class=\"wp-caption alignright\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel.jpg\" alt=\"A scene from Pond's 'The Customer Is Always Wrong'\" width=\"532\" height=\"682\" class=\"size-full wp-image-13805784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-240x308.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-375x481.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMER223panel-520x667.jpg 520w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pond’s ‘The Customer Is Always Wrong’ \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around this time, art school dropout Mimi Pond found herself waiting tables at the beloved Oakland breakfast spot \u003ca href=\"http://www.mamasroyalcafeoakland.com/\" target=\"_blank\" rel=\"noopener\">Mama’s Royal Cafe\u003c/a>. Still an aspiring cartoonist, she earned a living between freelance \u003cem>National Lampoon\u003c/em> illustration gigs by slinging hash alongside a veritable rogue’s gallery of punks, junkies, and bar-stool philosophers who expanded her world view and left an indelible impression. So strong of an impression, in fact, that it provided the foundation for not one, but \u003cem>two\u003c/em> thick graphic novels some 40 years later.\u003c/p>\n\u003cp>\u003cem>The Customer Is Always Wrong\u003c/em> picks up where Pond’s first graphic novel, \u003cem>Over Easy\u003c/em>, left off. Though she includes a disclaimer that this is a “fictionalized memoir,” some of the stories and characters are taken directly from real experiences. The snappy one-liners that set a tone of sassy camaraderie in the first book persist, but the characters begin to suffer consequences for their folly. “Folly,” in this instance, consists of shooting up in public restrooms, ripping off drug dealers, and embarking upon ill-advised late night missions into unwelcoming parts of town. Drugs in cars, sex in dressing rooms, cheap thrills in a kitchen pantry — all of these degenerate scenes are artfully rendered in single-color green watercolor. Pond’s fluid style resembles \u003cem>New Yorker\u003c/em> illustrations, and — if only given a cursory glance — would suggest a less seedy narrative.\u003c/p>\n\u003cp>I caught up with Pond to talk about \u003cem>The Customer Is Always Wrong\u003c/em> before her \u003ca href=\"https://www.facebook.com/events/834052720083658/\" target=\"_blank\" rel=\"noopener\">Oakland book launch\u003c/a> at the Starline Social Club in Oakland on Thursday night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>You must have had other colorful jobs since the late ’70s. What was it about waitressing at Mama’s that compelled you to write about it?\u003c/b>\u003c/p>\n\u003cp>Honestly, I was very fortunate after I left the restaurant and moved to New York. I was able to start my cartooning and illustration career there and I never looked back. Never again did I have to work any truly crap jobs. Except for the brief stint I had on staff of the show \u003cem>Designing Women\u003c/em>, I have always been lucky enough to work at home and shield myself from the vagaries of working for others.\u003c/p>\n\u003cp>The scene at that restaurant was so completely compelling that I knew from the first day I worked there that it was a story I would have to tell one day. It was chock-full of colorful characters. And in fact, since you mentioned the snappy patter, I will tell you: this was a hallmark of the place. It was part and parcel of what it was to work there, and it’s why I wanted to work there. Everyone had a talent for repartee, everyone seemed to have either a conscious or unconscious desire to not just talk, but to employ witty banter. It made everything more fun. So this wasn’t just me imagining people talking that way. They really did.\u003c/p>\n\u003cfigure id=\"attachment_13805873\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-800x1203.jpg\" alt=\"Mimi Pond\" width=\"800\" height=\"1203\" class=\"size-medium wp-image-13805873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-1920x2888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-1180x1775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Mimi-cred-Lynda-Burdick-520x782.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Pond \u003ccite>(Lynda Burdick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Let’s talk more about the television writing you did in the late ’80s/early ’90s for programs like \u003cem>Pee Wee’s Playhouse\u003c/em> and \u003cem>Designing Women.\u003c/em> There was a recent Jezebel interview that recounts \u003ca href=\"http://www.vulture.com/2017/08/mimi-pond-says-the-simpsons-wanted-an-all-male-writing-room.html\" target=\"_blank\" rel=\"noopener\">your experience writing for \u003cem>The Simpsons\u003c/em>\u003c/a> and how a producer didn’t want women in the writers’ room. Was this the first time you’ve addressed that experience in a public interview? Do you have a sense of vindication being able to tell that story after so much time?\u003c/b>\u003c/p>\n\u003cp>This is NOT the first time I’ve addressed that issue. It was brought up when \u003cem>Over Easy\u003c/em> came out, but I think it made headlines this time because of that \u003ca href=\"https://techcrunch.com/2017/08/05/theres-an-anti-diversity-manifesto-circulating-around-google/\" target=\"_blank\" rel=\"noopener\">big Google diversity kerfuffle\u003c/a> had just happened and everyone had a way to spin it better this time. There is vindication because I feel like I am finally being heard. I’m proud of young women today for calling out sexism where they see it in public forums. Every woman I knew when I was younger would say the same things and were completely ignored because men had all the power. We were “imagining things.” We were “hysterical.” We were “emotional.” Who were we to express ourselves that way, how dare we rock the boat? We were lucky they even let us hang around. It was an uphill battle all the way.\u003c/p>\n\u003cp>\u003cb>Maude’s abortion is a memorable, though cursory, chapter in the book. The lack of accountability of her boyfriend and the casual attitude of her coworkers wouldn’t be socially acceptable today, but were par for the course during that era. In a similar vein, some of the language used in reference to people of color is objectionable. Were you afraid of pushback for your use of language? What led you to make those choices?\u003c/b>\u003c/p>\n\u003cp>Yes, it was par for the course, because it was safe and legal and the religious right had not yet begun their campaign to convince people that men had more to say about women’s autonomy than women did. It wasn’t yet the ridiculous moral issue it is now. What’s immoral is legislating morality and legislating the rights of human beings without penises.\u003c/p>\n\u003cp>Regarding language, in \u003cem>Over Easy\u003c/em>, there were some issues raised by some of the younger people at Drawn & Quarterly — I believe they objected to the word “cholo.” I had to convince them that “cholo” was not a pejorative term. They’re Canadian, so… and this time around they allowed me to have my way because they understand that this is all about context. There’s no whitewashing the past. You can’t go back in time and chide them about political correctness. I was trying to express all kinds of things about that era, how casual both the sexism and the racism were. Then again, a lot of things were more casual, like sex, and there wasn’t as much judgement about that either. All the kids were doing it!\u003c/p>\n\u003cfigure id=\"attachment_13805785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-800x1140.jpg\" alt=\"From 'The Customer Is Always Wrong'\" width=\"800\" height=\"1140\" class=\"size-medium wp-image-13805785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-800x1140.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-768x1094.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-960x1368.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-240x342.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-375x534.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276-520x741.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/CUSTOMERinterior276.jpg 1015w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Customer Is Always Wrong.’ \u003ccite>(Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you remember so many details from so long ago? Do you have enough material left for a third book? If not, do you have an ’80s movie-style epilogue for any of the characters (a la\u003cem> Animal House\u003c/em>)?\u003c/b>\u003c/p>\n\u003cp>The real Lazlo and I corresponded for years after I left the restaurant, and he would tell me all the latest gossip, but also it was such a galvanizing, vivid experience for me that I could never forget the way things were. I kept a lot of notes over the years as well. As far as what is real and what isn’t, I don’t like to say. I don’t want the story to fall apart for people over what really happened and what didn’t happen. I’m not sure if there will be a third book. A fictionalized epilogue could be funny, but I don’t want to romanticize. What’s not funny is the fallout from all the drugs. There were people who lost years and child custody to drug abuse. Some lost their lives as well. Bummer way to end an interview! Even so, all the people I knew from back then who have finally climbed out of that deep hole will still say, “Yeah…but wasn’t it fun?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>See Mimi Pond in conversation with Brontez Purnell (musician, dancer, and author of\u003cem> Since I Laid My Burden Down\u003c/em>) at the Starline Social Club in Oakland on Thursday, Aug. 17, at 7pm. For more information, \u003ca href=\"https://www.starlinesocialclub.com/StarlineSite/event/mimi-ponds-the-customer-is-always-wrong-book-release/\" target=\"_blank\" rel=\"noopener\">visit the club’s website\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back when Amazon first introduced the Kindle, and e-books were all the rage, a lot of people thought printed books and the stores that sell them were going the way of dinosaurs. But a decade later, print is outselling digital, and many independent bookstores are thriving. Even Amazon is opening brick-and-mortar stores (seven so far).\u003c/p>\n\u003cp>Its newest is in a high-end mall in New York City. “We call ourselves a physical extension of Amazon,” says Jennifer Cast, vice president of Amazon Books. “So when you walk into our front door, what you see is our first table full of books, and it’s called ‘Highly Rated (4.8 Stars & Above).’ ”\u003c/p>\n\u003cp>This isn’t a shop where a customer can get lost in the stacks — there \u003cem>are\u003c/em> no stacks. Instead, books are shelved with the covers facing out. Cast says the store is organized around features familiar to anyone who has ever bought a book on Amazon, features like “Most Wished For.” Those features are based on data collected on the website and on Kindles, and that information is at the heart of the store.\u003c/p>\n\u003cp>“We have so much wonderful information from customers about what they read, why they read and how they’re reading,” Cast says. “And to be able to surface that in a store to help customers discover books is what we’re all about.”\u003c/p>\n\u003cp>There’s one other very important way the store connects to the website: When customers check an item’s price at one of the store’s scanners, they’re given the list price and the Amazon Prime member price, which in one case was about $15 less. Don’t have an Amazon Prime account? You can sign up for one at the register.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amazon’s entry into the physical bookstore business could be viewed as a threat to small independents, but Jessica Stockton Bagnulo isn’t too worried. She co-owns the \u003ca href=\"http://www.greenlightbookstore.com/\">Greenlight Bookstore\u003c/a> in Brooklyn’s Prospect Lefferts Gardens neighborhood.\u003c/p>\n\u003cp>“In so many ways, we’re in a different business,” she says. “And it seems very much like those stores are trying to replicate the online business, and we are trying to do something completely different.”\u003c/p>\n\u003cp>This is the second store Stockton Bagnulo and her partner, Rebecca Fitting, have opened in Brooklyn. Their other store, in the Fort Greene neighborhood, has strong ties with the surrounding community. They hope to build a similar relationship with people in Prospect Lefferts Gardens because, according to Fitting, indie stores that are supported by their local community are the ones that succeed.\u003c/p>\n\u003cp>“People are starting to understand … that shopping in your community helps you feel more connected; it helps your tax base; it helps make your surroundings more interesting,” Fitting says. “And if you don’t support that, it goes away.”\u003c/p>\n\u003cp>One way the store is trying to build its relationship with the community is with events, including a recent reading and conversation with Mexican writer \u003ca href=\"http://www.npr.org/books/authors/484140295/yuri-herrera\">Yuri Herrera\u003c/a>. Author events help sell books and build awareness, and they also create an important role for the bookstore in the community.\u003c/p>\n\u003cp>“In reality, a bookstore is a really unique kind of space where people from different walks of life can cross paths,” Stockton Bagnulo says. “I mean, it’s a very sort of democratic kind of product, and it’s kind of a space where people can come in and start to have conversations. And that’s the kind of space we want to be.”\u003c/p>\n\u003cp>It does seem like a bookstore has to be more than just a bookstore to succeed. In addition to author events, many stores host festivals and book groups. They have cafes where customers can relax, and some even have full-scale kitchens.\u003c/p>\n\u003cp>At a Barnes & Noble in suburban New York, near Scarsdale, customers can order from a menu that includes ricotta pancakes, kale salad and a salmon entree. The bookstore chain is experimenting with restaurants, and manager Kathie Bannon says so far it has been well-received. “From what I’ve been able to see and hear from people, they are so happy and so pleasantly surprised that they can add this to their life; they can add this to their routine.”\u003c/p>\n\u003cp>The restaurant, which includes an outdoor patio and a bar, opens out into the bookstore. It’s designed around a wide open central space surrounded by shelves of books. Bannon calls it the piazza. “There’s little nooks and crannies, and people can come and they can get a glass of wine if they’d like and they … can get an assortment of things that they want to browse through.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Barnes & Noble says it is still testing the restaurant idea; it won’t comment on whether this is helping sell more books. And that, of course, is the whole point: Whether online or in a physical space, with a full menu or a makeshift seating area for events, bookstores do still revolve around selling books. \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=Be+More+Than+A+Bookstore%3A+A+Brick-And-Mortar+Shop%27s+Key+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back when Amazon first introduced the Kindle, and e-books were all the rage, a lot of people thought printed books and the stores that sell them were going the way of dinosaurs. But a decade later, print is outselling digital, and many independent bookstores are thriving. Even Amazon is opening brick-and-mortar stores (seven so far).\u003c/p>\n\u003cp>Its newest is in a high-end mall in New York City. “We call ourselves a physical extension of Amazon,” says Jennifer Cast, vice president of Amazon Books. “So when you walk into our front door, what you see is our first table full of books, and it’s called ‘Highly Rated (4.8 Stars & Above).’ ”\u003c/p>\n\u003cp>This isn’t a shop where a customer can get lost in the stacks — there \u003cem>are\u003c/em> no stacks. Instead, books are shelved with the covers facing out. Cast says the store is organized around features familiar to anyone who has ever bought a book on Amazon, features like “Most Wished For.” Those features are based on data collected on the website and on Kindles, and that information is at the heart of the store.\u003c/p>\n\u003cp>“We have so much wonderful information from customers about what they read, why they read and how they’re reading,” Cast says. “And to be able to surface that in a store to help customers discover books is what we’re all about.”\u003c/p>\n\u003cp>There’s one other very important way the store connects to the website: When customers check an item’s price at one of the store’s scanners, they’re given the list price and the Amazon Prime member price, which in one case was about $15 less. Don’t have an Amazon Prime account? You can sign up for one at the register.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amazon’s entry into the physical bookstore business could be viewed as a threat to small independents, but Jessica Stockton Bagnulo isn’t too worried. She co-owns the \u003ca href=\"http://www.greenlightbookstore.com/\">Greenlight Bookstore\u003c/a> in Brooklyn’s Prospect Lefferts Gardens neighborhood.\u003c/p>\n\u003cp>“In so many ways, we’re in a different business,” she says. “And it seems very much like those stores are trying to replicate the online business, and we are trying to do something completely different.”\u003c/p>\n\u003cp>This is the second store Stockton Bagnulo and her partner, Rebecca Fitting, have opened in Brooklyn. Their other store, in the Fort Greene neighborhood, has strong ties with the surrounding community. They hope to build a similar relationship with people in Prospect Lefferts Gardens because, according to Fitting, indie stores that are supported by their local community are the ones that succeed.\u003c/p>\n\u003cp>“People are starting to understand … that shopping in your community helps you feel more connected; it helps your tax base; it helps make your surroundings more interesting,” Fitting says. “And if you don’t support that, it goes away.”\u003c/p>\n\u003cp>One way the store is trying to build its relationship with the community is with events, including a recent reading and conversation with Mexican writer \u003ca href=\"http://www.npr.org/books/authors/484140295/yuri-herrera\">Yuri Herrera\u003c/a>. Author events help sell books and build awareness, and they also create an important role for the bookstore in the community.\u003c/p>\n\u003cp>“In reality, a bookstore is a really unique kind of space where people from different walks of life can cross paths,” Stockton Bagnulo says. “I mean, it’s a very sort of democratic kind of product, and it’s kind of a space where people can come in and start to have conversations. And that’s the kind of space we want to be.”\u003c/p>\n\u003cp>It does seem like a bookstore has to be more than just a bookstore to succeed. In addition to author events, many stores host festivals and book groups. They have cafes where customers can relax, and some even have full-scale kitchens.\u003c/p>\n\u003cp>At a Barnes & Noble in suburban New York, near Scarsdale, customers can order from a menu that includes ricotta pancakes, kale salad and a salmon entree. The bookstore chain is experimenting with restaurants, and manager Kathie Bannon says so far it has been well-received. “From what I’ve been able to see and hear from people, they are so happy and so pleasantly surprised that they can add this to their life; they can add this to their routine.”\u003c/p>\n\u003cp>The restaurant, which includes an outdoor patio and a bar, opens out into the bookstore. It’s designed around a wide open central space surrounded by shelves of books. Bannon calls it the piazza. “There’s little nooks and crannies, and people can come and they can get a glass of wine if they’d like and they … can get an assortment of things that they want to browse through.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Barnes & Noble says it is still testing the restaurant idea; it won’t comment on whether this is helping sell more books. And that, of course, is the whole point: Whether online or in a physical space, with a full menu or a makeshift seating area for events, bookstores do still revolve around selling books. \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=Be+More+Than+A+Bookstore%3A+A+Brick-And-Mortar+Shop%27s+Key+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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