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"content": "\u003cp>A \u003ca href=\"http://time.com/4887574/trump-raise-act-immigration/\" target=\"_blank\" rel=\"noopener\">recent online test by Time magazine\u003c/a> has been flying around the internet — it uses rules outlined in President Trump’s proposed \u003ca href=\"https://www.cotton.senate.gov/files/documents/170802_New_RAISE_Act_Bill_Text.pdf\">immigration reform\u003c/a> to determine if you, the test-taker, would be approved for a visa under Trump’s RAISE Act. The minimum score is 30 points, and the desirable qualities toward those points include youth, higher education, and deep pockets. Isn’t that all of us? Not so. (This writer scored a 28.)\u003c/p>\n\u003cp>Even the 2016 Nobel Laureate in literature, Svetlana Alexievich — honored “for her polyphonic writings, a monument to suffering and courage in our time” — is apparently not good enough for this country under Trump’s plan. Unless, of course, the Belarusian writer who spends most of her time collecting oral histories about what life was like pre- and post-Soviet Union has $1.35 million to invest. Then this administration would be willing to overlook her dabbling in the dark, low-yielding arts of the humanities.\u003c/p>\n\u003cp>Apparently, it doesn’t matter if you’ve dedicated your life to “trying to understand why suffering cannot be converted to freedom” if you also cannot convert that thought into currency.\u003c/p>\n\u003cp>But enough about real people. What about 2017’s fictional recent arrivals? How would they fare in this \u003ca href=\"http://time.com/4887574/trump-raise-act-immigration/\">test\u003c/a>? I looked at three debut novels published this year that feature fictional immigrant newcomers, and took the liberty to fill out the test for them to see how they’d do.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13804987 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/barzini-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/barzini-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/barzini-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/barzini.jpg 331w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/em>\u003c/p>\n\u003ch3>Things that Happened Before the Earthquake by Chiara Barzini\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Applicant: Eugenia’s family\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Origin: Rome, Italy\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Score: 15\u003cbr>\nStatus: Ineligible\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>An Italian patriarch forces his family to move to L.A. just as the Rodney King riots are subsiding in order to fulfill his dream of making an Italian-Hollywood horror film. However, in the tradition of the manic and hilarious prose of Gary Shteyngart, the glamour and glitz of America remains firmly out of reach. For Eugenia, the eldest daughter, this miss is harshly felt. There are no pools, no fancy cars, no evanescent sunlight. Instead, she is stationed in a bizarre neighborhood marooned by a long highway, where her only friends are a thrift store owner missing part of an ear and the young dubious producer helping her father, Ettero, with the film. Often praying to the Virgin Mary to ease her troubles, she pleads at some point for the Mother of God to provide a solution for her feeling out of place, pointing out, “It’s easier to be a Virgin who gives birth than to be an Italian who lives on Victory and Sepulveda. Amen.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Immigration Test Notes\u003c/strong>: As entertaining as they may seem, this Italian family failed to achieve eligibility to apply for a visa in part for the ambiguous job offer that brings them to the U.S. — Ettero is billed as a journalist, though he is a filmmaker. Not that the suspicious offer of the job disqualifies them, rather, it is the salary, which I guesstimate to be less than $77,900, and is therefore worth exactly zero points.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13804988 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ko-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-1180x1781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko.jpg 1839w\" sizes=\"(max-width: 160px) 100vw, 160px\">The Leavers\u003c/em> by Lisa Ko\u003cbr>\n\u003c/h3>\n\u003cp>\u003cem>Score: 8\u003cbr>\n\u003c/em>\u003cstrong>\u003cem>Applicant: Peilan\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Origin: China\u003c/em>\u003cem>\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Status: Ineligible\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This touching and sensitive novel, which won the PEN/Bellwether Prize, is the story of a boy whose mother is undocumented and one day does not return from work. A white family adopts the boy, Deming, but he is never able to put from his mind his mother’s disappearance. Lisa Ko is a subtle, intelligent writer, drawing up the complications of assimilation in simple terms. When Deming’s mother, Peilan, arrives to America, she becomes Polly. “So it was Polly, not Peilan, who was doing thirteen-hour shifts in a garment factory, the same work Peilan had done in China except for eight times more money, and it was Polly who paid too much rent for a sleeping bag on the floor.” For his part, Deming is renamed Daniel by his adoptive parents: “Daniel had lay dormant in Deming until adolescence, and now Deming was a hairball tumor jammed deep in Daniel’s gut.” A beautiful, daring debut.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Immigration Test Notes\u003c/strong>: Peilan, who comes into the U.S. as undocumented, does not speak good English, does not get very many points for schooling, and also, she did not recently win an Olympic medal. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13804989 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/batuman-160x244.jpg\" alt=\"\" width=\"160\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-240x366.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-375x572.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-520x793.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman.jpg 755w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003ch3>\u003cem>The Idiot by Elif Batuman\u003cbr>\n\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>Score 28\u003cbr>\n\u003c/strong>\u003cstrong>Applicant: Selin’s Parents\u003cbr>\n\u003c/strong>\u003cstrong>Origin: Turkey\u003cbr>\n\u003c/strong>\u003cstrong>Status: Ineligible\u003c/strong>\u003c/p>\n\u003cp>In the times when e-mail is a new shiny thing, Selin, the daughter of Turkish immigrants, tries to survive her first year at Harvard. This cunning, engrossing novel is filled with delightful conundrums that made me many times put the book down so that I could consider — for example, what is the structural equivalency between a tissue box and a book? Batuman writes, “Both consisted of slips of white paper in a cardboard case; yet — and this was ironic — there was very little functional equivalence, especially if the book wasn’t yours.” This is also a story of freshman love, and all freshman things that eventually also fade and are lost in the transition of growing up.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Immigration Test Notes\u003c/strong>: Selin’s parents are educated, and though they warrant a check in the box marking a foreign master’s degree in science, technology, engineering or mathematics (worth a whopping 8 points), in the end it was not enough. Probably because their lack of a Nobel prize. Sad!\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘The Leavers’ and ‘The Idiot’ are available wherever books are sold. Catch Chiara Barzini, author of ‘Things that Happened Before the Earthquake,’ at Green Apple Books on the Park (1231 9th Ave., San Francisco) on Thursday, Aug. 17, at 7:30pm.\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": "Merit-Based Immigration Reform: The Fictional Character Edition | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A \u003ca href=\"http://time.com/4887574/trump-raise-act-immigration/\" target=\"_blank\" rel=\"noopener\">recent online test by Time magazine\u003c/a> has been flying around the internet — it uses rules outlined in President Trump’s proposed \u003ca href=\"https://www.cotton.senate.gov/files/documents/170802_New_RAISE_Act_Bill_Text.pdf\">immigration reform\u003c/a> to determine if you, the test-taker, would be approved for a visa under Trump’s RAISE Act. The minimum score is 30 points, and the desirable qualities toward those points include youth, higher education, and deep pockets. Isn’t that all of us? Not so. (This writer scored a 28.)\u003c/p>\n\u003cp>Even the 2016 Nobel Laureate in literature, Svetlana Alexievich — honored “for her polyphonic writings, a monument to suffering and courage in our time” — is apparently not good enough for this country under Trump’s plan. Unless, of course, the Belarusian writer who spends most of her time collecting oral histories about what life was like pre- and post-Soviet Union has $1.35 million to invest. Then this administration would be willing to overlook her dabbling in the dark, low-yielding arts of the humanities.\u003c/p>\n\u003cp>Apparently, it doesn’t matter if you’ve dedicated your life to “trying to understand why suffering cannot be converted to freedom” if you also cannot convert that thought into currency.\u003c/p>\n\u003cp>But enough about real people. What about 2017’s fictional recent arrivals? How would they fare in this \u003ca href=\"http://time.com/4887574/trump-raise-act-immigration/\">test\u003c/a>? I looked at three debut novels published this year that feature fictional immigrant newcomers, and took the liberty to fill out the test for them to see how they’d do.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13804987 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/barzini-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/barzini-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/barzini-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/barzini.jpg 331w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/em>\u003c/p>\n\u003ch3>Things that Happened Before the Earthquake by Chiara Barzini\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Applicant: Eugenia’s family\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Origin: Rome, Italy\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Score: 15\u003cbr>\nStatus: Ineligible\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>An Italian patriarch forces his family to move to L.A. just as the Rodney King riots are subsiding in order to fulfill his dream of making an Italian-Hollywood horror film. However, in the tradition of the manic and hilarious prose of Gary Shteyngart, the glamour and glitz of America remains firmly out of reach. For Eugenia, the eldest daughter, this miss is harshly felt. There are no pools, no fancy cars, no evanescent sunlight. Instead, she is stationed in a bizarre neighborhood marooned by a long highway, where her only friends are a thrift store owner missing part of an ear and the young dubious producer helping her father, Ettero, with the film. Often praying to the Virgin Mary to ease her troubles, she pleads at some point for the Mother of God to provide a solution for her feeling out of place, pointing out, “It’s easier to be a Virgin who gives birth than to be an Italian who lives on Victory and Sepulveda. Amen.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Immigration Test Notes\u003c/strong>: As entertaining as they may seem, this Italian family failed to achieve eligibility to apply for a visa in part for the ambiguous job offer that brings them to the U.S. — Ettero is billed as a journalist, though he is a filmmaker. Not that the suspicious offer of the job disqualifies them, rather, it is the salary, which I guesstimate to be less than $77,900, and is therefore worth exactly zero points.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13804988 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ko-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-1180x1781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ko.jpg 1839w\" sizes=\"(max-width: 160px) 100vw, 160px\">The Leavers\u003c/em> by Lisa Ko\u003cbr>\n\u003c/h3>\n\u003cp>\u003cem>Score: 8\u003cbr>\n\u003c/em>\u003cstrong>\u003cem>Applicant: Peilan\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Origin: China\u003c/em>\u003cem>\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Status: Ineligible\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This touching and sensitive novel, which won the PEN/Bellwether Prize, is the story of a boy whose mother is undocumented and one day does not return from work. A white family adopts the boy, Deming, but he is never able to put from his mind his mother’s disappearance. Lisa Ko is a subtle, intelligent writer, drawing up the complications of assimilation in simple terms. When Deming’s mother, Peilan, arrives to America, she becomes Polly. “So it was Polly, not Peilan, who was doing thirteen-hour shifts in a garment factory, the same work Peilan had done in China except for eight times more money, and it was Polly who paid too much rent for a sleeping bag on the floor.” For his part, Deming is renamed Daniel by his adoptive parents: “Daniel had lay dormant in Deming until adolescence, and now Deming was a hairball tumor jammed deep in Daniel’s gut.” A beautiful, daring debut.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Immigration Test Notes\u003c/strong>: Peilan, who comes into the U.S. as undocumented, does not speak good English, does not get very many points for schooling, and also, she did not recently win an Olympic medal. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13804989 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/batuman-160x244.jpg\" alt=\"\" width=\"160\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-240x366.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-375x572.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman-520x793.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/batuman.jpg 755w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003ch3>\u003cem>The Idiot by Elif Batuman\u003cbr>\n\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>Score 28\u003cbr>\n\u003c/strong>\u003cstrong>Applicant: Selin’s Parents\u003cbr>\n\u003c/strong>\u003cstrong>Origin: Turkey\u003cbr>\n\u003c/strong>\u003cstrong>Status: Ineligible\u003c/strong>\u003c/p>\n\u003cp>In the times when e-mail is a new shiny thing, Selin, the daughter of Turkish immigrants, tries to survive her first year at Harvard. This cunning, engrossing novel is filled with delightful conundrums that made me many times put the book down so that I could consider — for example, what is the structural equivalency between a tissue box and a book? Batuman writes, “Both consisted of slips of white paper in a cardboard case; yet — and this was ironic — there was very little functional equivalence, especially if the book wasn’t yours.” This is also a story of freshman love, and all freshman things that eventually also fade and are lost in the transition of growing up.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Immigration Test Notes\u003c/strong>: Selin’s parents are educated, and though they warrant a check in the box marking a foreign master’s degree in science, technology, engineering or mathematics (worth a whopping 8 points), in the end it was not enough. Probably because their lack of a Nobel prize. Sad!\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘The Leavers’ and ‘The Idiot’ are available wherever books are sold. Catch Chiara Barzini, author of ‘Things that Happened Before the Earthquake,’ at Green Apple Books on the Park (1231 9th Ave., San Francisco) on Thursday, Aug. 17, at 7:30pm.\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>Netflix says it made its first acquisition, comic book publisher Millarworld, with plans to turn its characters into new films and shows for the video streaming service.\u003c/p>\n\u003cp>Millarworld’s graphic novels \u003cem>Kick-Ass\u003c/em>, \u003cem>Wanted\u003c/em> and \u003cem>Kingsman\u003c/em> have already been turned into movies by major studios.\u003c/p>\n\u003cp>Los Gatos-based Netflix didn’t disclose on Monday how much it paid for Millarworld.\u003c/p>\n\u003cp>Netflix already has made a hefty commitment to comic-book series with \u003cem>Daredevil\u003c/em>, \u003cem>Jessica Jones\u003c/em> and \u003cem>Luke Cage\u003c/em>, among others based on Marvel characters. The streaming service ventured outside the Marvel universe with the recently announced series based on \u003cem>The Umbrella Academy\u003c/em>, published by Dark Horse Comics.\u003c/p>\n\u003cp>Netflix has been spending heavily for original movies and shows in all genres, such as \u003cem>House of Cards\u003c/em> and \u003cem>Orange Is the New Black\u003c/em>, to attract new viewers and stand apart from rival services.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It reported in July that it had more than 100 million subscribers worldwide.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix says it made its first acquisition, comic book publisher Millarworld, with plans to turn its characters into new films and shows for the video streaming service.\u003c/p>\n\u003cp>Millarworld’s graphic novels \u003cem>Kick-Ass\u003c/em>, \u003cem>Wanted\u003c/em> and \u003cem>Kingsman\u003c/em> have already been turned into movies by major studios.\u003c/p>\n\u003cp>Los Gatos-based Netflix didn’t disclose on Monday how much it paid for Millarworld.\u003c/p>\n\u003cp>Netflix already has made a hefty commitment to comic-book series with \u003cem>Daredevil\u003c/em>, \u003cem>Jessica Jones\u003c/em> and \u003cem>Luke Cage\u003c/em>, among others based on Marvel characters. The streaming service ventured outside the Marvel universe with the recently announced series based on \u003cem>The Umbrella Academy\u003c/em>, published by Dark Horse Comics.\u003c/p>\n\u003cp>Netflix has been spending heavily for original movies and shows in all genres, such as \u003cem>House of Cards\u003c/em> and \u003cem>Orange Is the New Black\u003c/em>, to attract new viewers and stand apart from rival services.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>By now, Chinaka Hodge should need no introduction. As an MC and poet of two books (\u003cem>For Girls With Hips\u003c/em> and \u003cem>Dated Emcees\u003c/em>), she strings together words with intelligence, poignancy and wit; as a writer and activist, she brings deliberation and care to her work.\u003c/p>\n\u003cp>[contextly_sidebar id=”yXoZj9kOYLirJQRxOcteb8LRxskxjkcH”]\u003c/p>\n\u003cp>Raised in Oakland since birth, Hodge has lived on Myrtle Street in West Oakland all the way up to Sequoyah Hills — and nearly everywhere in between. Now 32 and splitting time between her hometown and Los Angeles, Hodge is one of Oakland’s perpetually inspiring ambassadors. Whether she’s \u003ca href=\"http://variety.com/2016/tv/news/minors-series-ryan-coogler-destin-cretton-charles-king-1201714996/\" target=\"_blank\" rel=\"noopener noreferrer\">writing a TV series about juvenile institutionalization\u003c/a> with director Ryan Coogler, \u003ca href=\"https://www.eastbayexpress.com/oakland/bobby-seales-history-of-resistance/Content?oid=5091255\" target=\"_blank\" rel=\"noopener noreferrer\">discussing the legacy of the Black Panthers\u003c/a> with founding member Bobby Seale, or \u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">delivering a powerful meditation on the current political landscape\u003c/a>, everything she does is worth one’s attention.\u003c/p>\n\u003cp>I talked to Hodge over the phone from Los Angeles, where she’s a staff writer on the TV show \u003cem>Rise\u003c/em>, set to air next Spring. But though you can take the poet out of The Town, you can’t take The Town out of the poet; “I love every nook and cranny of Oakland like it’s a family member,” she says. The proof’s below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/7tLy6sOJ7aI\u003c/p>\n\u003cp>\u003cstrong>These days it’s pretty rare for an artist working in Oakland to have been raised in Oakland since birth. What kind of perspective does that give you in your work?\u003c/strong>\u003c/p>\n\u003cp>I think it’s just one of the most diverse places in the world, and I feel like I got the best of the best growing up in the Bay. I got the best of ideas. I was raised by Black Panthers, and UC Berkeley professors, and a cadre of folks who were inventing what it meant to work in the non-profit sector, and forerunners in both black and brown education. I had a really great palette to pull from. I feel like that was a huge influence on me.\u003c/p>\n\u003cp>I grew up in all parts of Oakland. I grew up in West Oakland with my dad, and my mom lived in East Oakland in the flats and in the Fruitvale district, then we moved to the hills. I was in North Oakland as soon as I came back from college, and then I moved to Jack London right after that. I’m an all-city kind of girl. I love every nook and cranny of Oakland like it’s a family member. That’s something rare, and it can’t really be manufactured. Even if you’re a great artist from the Midwest or the East Coast that ends up in Oakland, there’s nothing like being from there and being able to document what you know, what you’ve seen, what you predict, what’s changed. We have a style all our own. It’s like, you’re going to write a certain way if you grew up listening to E-40 exclusively. You know what I mean?\u003c/p>\n\u003cfigure id=\"attachment_13789850\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789850\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg\" alt=\"Chinaka Hodge\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your book \u003cem>Dated Emcees\u003c/em> tells a lot of \u003ca href=\"https://ww2.kqed.org/arts/2016/05/08/chinaka-hodge-shines-a-harsh-true-light-on-life-in-hip-hop-with-dated-emcees/\" target=\"_blank\" rel=\"noopener noreferrer\">your story in relationships with rappers\u003c/a>, but it also speaks for so many other women on the other side of the stories heard on rap albums. What advice would you have for younger women attracted to, or hypnotized by rappers today?\u003c/strong>\u003c/p>\n\u003cp>Write your own music. Be your own storyteller. I spent a lot of time in my 20s dazzled by the talents of others, and not as interested in cultivating my own. I think that my 30s have really been about being unafraid to be great. That’s something I feel decadent, or foolish even, saying aloud to you right now, but my advice to women who are hypnotized — that’s a really good choice of words, “hypnotized by rappers” — I would say be your own delight, be your own best thing, like Toni Morrison.\u003c/p>\n\u003cp>That said, I was a \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Speaks\u003c/a> kid. I started performing at 14, and I wish I’d started later, to be honest. It would have served me to have spent a little less time in the limelight, as such a young person. I wanted to be a star when I was a kid, and I think that growing up on stage is hard. So I wish I’d started sharing my work a little later, maybe in my early 20s, but I will say I was blessed by being around so many amazing young poets from the time I was 14 until now.\u003c/p>\n\u003cfigure id=\"attachment_13789875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg\" alt=\"Chinaka Hodge\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Youth Speaks, which had a big impact on you. What are some other places or people in the Bay Area who made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>Oh, man. I’d have to say my parents, and my family. I’m the eldest of eight siblings. I’d say Sarah Tramble, who was my next-door neighbor and who passed away this year at 100 years old. Dave Eggers, and Michael Chabon, and Ayelet Waldman, who also helped contribute to the cost of my NYU education. I’d say 826 Valencia, as an organization, because of that. I’d say Youth Together, which did workshops at Berkeley High, and at Oakland Schools on agencies of freedom and power, when I was a high school student. I’d say Ile Omode, which is the private institution I went to that seeks to educate black children to be prepared leaders in the world. I went there. My parents actually started the school for us, and it’s in its 30th year now. I’d say Shelton’s Primary Education Center, and Gym Rompers, where I did gymnastics, and taught. I’d say Oakland Freedom Schools, and Allen Temple Baptist Church. I’d say \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-06-13/article/24383\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Ayers\u003c/a>, man, and the classrooms at Berkeley High School.\u003c/p>\n\u003cp>I feel like I was so lucky to have been born in the right time, and place, and to have been raised by so many people who believed that young people should have art as a tool, and who invested in me. I don’t know, I get emotional when I start talking about it. We talk about it as if one organization saves one kid’s life, and I think the Bay Area is a huge web of a lot of organizations working together to change the way we see youth, and the way that youth see the world. I think it’s easy to get bogged down with how crazy the world is, but I think we would do well to remember our resources. I had arts education, and I had it in the ’90s, coming out of crack-era ’80s Oakland. I had art when it mattered, and \u003cem>how\u003c/em> it mattered. Yeah, I could go on forever.\u003c/p>\n\u003cp>\u003cstrong>Lately, Oakland is rapidly losing its black population. What can be done? Where do you see Oakland going?\u003c/strong>\u003c/p>\n\u003cp>To me, Oakland is as much an idea as it is a fixed place. Oakland is Daveed Diggs on \u003cem>Blackish\u003c/em>, and on the \u003cem>Hamilton\u003c/em> stage. Oakland is Ambrose Akinmusire in Tokyo. Many of those who can’t afford to live there go out to proselytize about what Oakland was, or what Oakland is.\u003c/p>\n\u003cp>I am terrified of where Oakland is going. I’m really concerned not only that artists can’t be there, but people I grew up with, and know, and love, they can’t afford to raise their kids there. We’re being supplanted by an influx of literally thousands of people every year who have no interest in investing in the established culture. It’d be like moving to Paris, and being like, “Fuck the Eiffel Tower. Fuck baguettes.”\u003c/p>\n\u003cp>It baffles me every day, and I hope that the market moves in our favor, that developers are more conscientious about how art and culture are necessary in order to have a thriving city, and that art without context is just decoration. I think it’s incumbent upon all of us to make the Bay Area what we want it to be — an affordable, safe haven for art and politics, as it’s always been. We all make this very weird distinction that the technologists are the ones who are destroying the Bay Area, and I posit every single time that my mom has been a black technologist working in the Bay Area since the ’80s, and she also had respect for art, and culture. She’s also a transplant from the Midwest, but I think she moved here respectfully, and I think she moved here to try and improve the area, as opposed to being a succubus upon it.\u003c/p>\n\u003cp>Oakland will never die. I’m just dubious about what happens next.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" width=\"854px\" height=\"480px\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>While we’re talking about hope in the face of hopelessness, you had a very popular poem recently, “\u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">What Will You Tell Your Daughters About 2016?\u003c/a>” Some people wake up and compulsively check the news, and get out and march as much as they can, and ride this roller coaster of outrage and defeat. Other people are just trying to disconnect entirely. How are you dealing with it?\u003c/strong>\u003c/p>\n\u003cp>I’m trying to figure it out. I watched the whole election process, and I was pretty confident he was going to win, based on the way he was ruling the half hour immediately following debates. He’s really set a model where Kim Kardashian can run next term, and win. We elected royalty, basically. No platform, all popularity, all media spin, all media cycles. I \u003cem>am\u003c/em> hopeful in the face of hopelessness, because I believe that the universe operates in balance, and will balance itself out, just as water does, just as life does, and I believe that… I have a perhaps naïve belief that good will eventually prosper over evil.\u003c/p>\n\u003cp>My major advice for myself is to remain painfully aware, and not get caught up, while the White House does its prestidigitation act. I refuse to be distracted by one hand, while the other perpetrates war. I talked to Miss Tramble, the neighbor I was talking about before, right after the election. She was 100 at the time. I asked her was she worried, and she was like, “You know, I’ve seen many of these men come and go, and we all outlast them, so don’t worry no mo’, not one second longer.” That’s kind of what I’ve adopted. Stay vigilant, remain artistic, remain a truth-teller, put the skills that I say I’ve been honing for this moment to work, but not to be scared, not to be afraid anymore. That’s kinda where I land.\u003c/p>\n\u003cp>\u003cstrong>A lot of your work is informed by a love of music, particularly hip-hop. What would you say are your top five hip-hop albums? Of all time, or right now, whatever, don’t overthink it.\u003c/strong>\u003c/p>\n\u003cp>I’d say \u003ca href=\"https://www.youtube.com/watch?v=eSX7LmESZQ4\" target=\"_blank\" rel=\"noopener noreferrer\">Noname, \u003cem>Telefone\u003c/em>\u003c/a>. I’d say Kendrick Lamar, \u003cem>To Pimp a Butterfly\u003c/em> — this last album is not my favorite of his, I understand how it’s useful, but I love \u003cem>To Pimp a Butterfly\u003c/em>, and a bunch of my friends are on it. I would say clipping. — I like \u003ca href=\"https://clppng.bandcamp.com/album/midcity\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Midcity\u003c/em>\u003c/a> a lot, though their last album’s great. That’s the homey Daveed Diggs’ rap group. What am I actually listening to? Outkast, \u003cem>Stankonia\u003c/em>. That’d be up there. One more. Man, whose do I just love the most? I’ll say, just because I hope the Queen returns, \u003cem>The Miseducation of Lauryn Hill\u003c/em>. Still the greatest ever.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That we are able to eat, work, breathe, and revolt without fear for our bodies, or our minds’ injury. That we learn to use our privilege to extend the privilege to those without it. And that we get to knock “I Got 5 On It” at the end of every party.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Learn more about Chinaka Hodge \u003ca href=\"http://chinakahodge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>By now, Chinaka Hodge should need no introduction. As an MC and poet of two books (\u003cem>For Girls With Hips\u003c/em> and \u003cem>Dated Emcees\u003c/em>), she strings together words with intelligence, poignancy and wit; as a writer and activist, she brings deliberation and care to her work.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Raised in Oakland since birth, Hodge has lived on Myrtle Street in West Oakland all the way up to Sequoyah Hills — and nearly everywhere in between. Now 32 and splitting time between her hometown and Los Angeles, Hodge is one of Oakland’s perpetually inspiring ambassadors. Whether she’s \u003ca href=\"http://variety.com/2016/tv/news/minors-series-ryan-coogler-destin-cretton-charles-king-1201714996/\" target=\"_blank\" rel=\"noopener noreferrer\">writing a TV series about juvenile institutionalization\u003c/a> with director Ryan Coogler, \u003ca href=\"https://www.eastbayexpress.com/oakland/bobby-seales-history-of-resistance/Content?oid=5091255\" target=\"_blank\" rel=\"noopener noreferrer\">discussing the legacy of the Black Panthers\u003c/a> with founding member Bobby Seale, or \u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">delivering a powerful meditation on the current political landscape\u003c/a>, everything she does is worth one’s attention.\u003c/p>\n\u003cp>I talked to Hodge over the phone from Los Angeles, where she’s a staff writer on the TV show \u003cem>Rise\u003c/em>, set to air next Spring. But though you can take the poet out of The Town, you can’t take The Town out of the poet; “I love every nook and cranny of Oakland like it’s a family member,” she says. The proof’s below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/7tLy6sOJ7aI'\n title='//www.youtube.com/embed/7tLy6sOJ7aI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>These days it’s pretty rare for an artist working in Oakland to have been raised in Oakland since birth. What kind of perspective does that give you in your work?\u003c/strong>\u003c/p>\n\u003cp>I think it’s just one of the most diverse places in the world, and I feel like I got the best of the best growing up in the Bay. I got the best of ideas. I was raised by Black Panthers, and UC Berkeley professors, and a cadre of folks who were inventing what it meant to work in the non-profit sector, and forerunners in both black and brown education. I had a really great palette to pull from. I feel like that was a huge influence on me.\u003c/p>\n\u003cp>I grew up in all parts of Oakland. I grew up in West Oakland with my dad, and my mom lived in East Oakland in the flats and in the Fruitvale district, then we moved to the hills. I was in North Oakland as soon as I came back from college, and then I moved to Jack London right after that. I’m an all-city kind of girl. I love every nook and cranny of Oakland like it’s a family member. That’s something rare, and it can’t really be manufactured. Even if you’re a great artist from the Midwest or the East Coast that ends up in Oakland, there’s nothing like being from there and being able to document what you know, what you’ve seen, what you predict, what’s changed. We have a style all our own. It’s like, you’re going to write a certain way if you grew up listening to E-40 exclusively. You know what I mean?\u003c/p>\n\u003cfigure id=\"attachment_13789850\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789850\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg\" alt=\"Chinaka Hodge\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your book \u003cem>Dated Emcees\u003c/em> tells a lot of \u003ca href=\"https://ww2.kqed.org/arts/2016/05/08/chinaka-hodge-shines-a-harsh-true-light-on-life-in-hip-hop-with-dated-emcees/\" target=\"_blank\" rel=\"noopener noreferrer\">your story in relationships with rappers\u003c/a>, but it also speaks for so many other women on the other side of the stories heard on rap albums. What advice would you have for younger women attracted to, or hypnotized by rappers today?\u003c/strong>\u003c/p>\n\u003cp>Write your own music. Be your own storyteller. I spent a lot of time in my 20s dazzled by the talents of others, and not as interested in cultivating my own. I think that my 30s have really been about being unafraid to be great. That’s something I feel decadent, or foolish even, saying aloud to you right now, but my advice to women who are hypnotized — that’s a really good choice of words, “hypnotized by rappers” — I would say be your own delight, be your own best thing, like Toni Morrison.\u003c/p>\n\u003cp>That said, I was a \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Speaks\u003c/a> kid. I started performing at 14, and I wish I’d started later, to be honest. It would have served me to have spent a little less time in the limelight, as such a young person. I wanted to be a star when I was a kid, and I think that growing up on stage is hard. So I wish I’d started sharing my work a little later, maybe in my early 20s, but I will say I was blessed by being around so many amazing young poets from the time I was 14 until now.\u003c/p>\n\u003cfigure id=\"attachment_13789875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg\" alt=\"Chinaka Hodge\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chinaka-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned Youth Speaks, which had a big impact on you. What are some other places or people in the Bay Area who made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>Oh, man. I’d have to say my parents, and my family. I’m the eldest of eight siblings. I’d say Sarah Tramble, who was my next-door neighbor and who passed away this year at 100 years old. Dave Eggers, and Michael Chabon, and Ayelet Waldman, who also helped contribute to the cost of my NYU education. I’d say 826 Valencia, as an organization, because of that. I’d say Youth Together, which did workshops at Berkeley High, and at Oakland Schools on agencies of freedom and power, when I was a high school student. I’d say Ile Omode, which is the private institution I went to that seeks to educate black children to be prepared leaders in the world. I went there. My parents actually started the school for us, and it’s in its 30th year now. I’d say Shelton’s Primary Education Center, and Gym Rompers, where I did gymnastics, and taught. I’d say Oakland Freedom Schools, and Allen Temple Baptist Church. I’d say \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-06-13/article/24383\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Ayers\u003c/a>, man, and the classrooms at Berkeley High School.\u003c/p>\n\u003cp>I feel like I was so lucky to have been born in the right time, and place, and to have been raised by so many people who believed that young people should have art as a tool, and who invested in me. I don’t know, I get emotional when I start talking about it. We talk about it as if one organization saves one kid’s life, and I think the Bay Area is a huge web of a lot of organizations working together to change the way we see youth, and the way that youth see the world. I think it’s easy to get bogged down with how crazy the world is, but I think we would do well to remember our resources. I had arts education, and I had it in the ’90s, coming out of crack-era ’80s Oakland. I had art when it mattered, and \u003cem>how\u003c/em> it mattered. Yeah, I could go on forever.\u003c/p>\n\u003cp>\u003cstrong>Lately, Oakland is rapidly losing its black population. What can be done? Where do you see Oakland going?\u003c/strong>\u003c/p>\n\u003cp>To me, Oakland is as much an idea as it is a fixed place. Oakland is Daveed Diggs on \u003cem>Blackish\u003c/em>, and on the \u003cem>Hamilton\u003c/em> stage. Oakland is Ambrose Akinmusire in Tokyo. Many of those who can’t afford to live there go out to proselytize about what Oakland was, or what Oakland is.\u003c/p>\n\u003cp>I am terrified of where Oakland is going. I’m really concerned not only that artists can’t be there, but people I grew up with, and know, and love, they can’t afford to raise their kids there. We’re being supplanted by an influx of literally thousands of people every year who have no interest in investing in the established culture. It’d be like moving to Paris, and being like, “Fuck the Eiffel Tower. Fuck baguettes.”\u003c/p>\n\u003cp>It baffles me every day, and I hope that the market moves in our favor, that developers are more conscientious about how art and culture are necessary in order to have a thriving city, and that art without context is just decoration. I think it’s incumbent upon all of us to make the Bay Area what we want it to be — an affordable, safe haven for art and politics, as it’s always been. We all make this very weird distinction that the technologists are the ones who are destroying the Bay Area, and I posit every single time that my mom has been a black technologist working in the Bay Area since the ’80s, and she also had respect for art, and culture. She’s also a transplant from the Midwest, but I think she moved here respectfully, and I think she moved here to try and improve the area, as opposed to being a succubus upon it.\u003c/p>\n\u003cp>Oakland will never die. I’m just dubious about what happens next.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" width=\"854px\" height=\"480px\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>While we’re talking about hope in the face of hopelessness, you had a very popular poem recently, “\u003ca href=\"https://www.ted.com/talks/chinaka_hodge_what_will_you_tell_your_daughters_about_2016\" target=\"_blank\" rel=\"noopener noreferrer\">What Will You Tell Your Daughters About 2016?\u003c/a>” Some people wake up and compulsively check the news, and get out and march as much as they can, and ride this roller coaster of outrage and defeat. Other people are just trying to disconnect entirely. How are you dealing with it?\u003c/strong>\u003c/p>\n\u003cp>I’m trying to figure it out. I watched the whole election process, and I was pretty confident he was going to win, based on the way he was ruling the half hour immediately following debates. He’s really set a model where Kim Kardashian can run next term, and win. We elected royalty, basically. No platform, all popularity, all media spin, all media cycles. I \u003cem>am\u003c/em> hopeful in the face of hopelessness, because I believe that the universe operates in balance, and will balance itself out, just as water does, just as life does, and I believe that… I have a perhaps naïve belief that good will eventually prosper over evil.\u003c/p>\n\u003cp>My major advice for myself is to remain painfully aware, and not get caught up, while the White House does its prestidigitation act. I refuse to be distracted by one hand, while the other perpetrates war. I talked to Miss Tramble, the neighbor I was talking about before, right after the election. She was 100 at the time. I asked her was she worried, and she was like, “You know, I’ve seen many of these men come and go, and we all outlast them, so don’t worry no mo’, not one second longer.” That’s kind of what I’ve adopted. Stay vigilant, remain artistic, remain a truth-teller, put the skills that I say I’ve been honing for this moment to work, but not to be scared, not to be afraid anymore. That’s kinda where I land.\u003c/p>\n\u003cp>\u003cstrong>A lot of your work is informed by a love of music, particularly hip-hop. What would you say are your top five hip-hop albums? Of all time, or right now, whatever, don’t overthink it.\u003c/strong>\u003c/p>\n\u003cp>I’d say \u003ca href=\"https://www.youtube.com/watch?v=eSX7LmESZQ4\" target=\"_blank\" rel=\"noopener noreferrer\">Noname, \u003cem>Telefone\u003c/em>\u003c/a>. I’d say Kendrick Lamar, \u003cem>To Pimp a Butterfly\u003c/em> — this last album is not my favorite of his, I understand how it’s useful, but I love \u003cem>To Pimp a Butterfly\u003c/em>, and a bunch of my friends are on it. I would say clipping. — I like \u003ca href=\"https://clppng.bandcamp.com/album/midcity\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Midcity\u003c/em>\u003c/a> a lot, though their last album’s great. That’s the homey Daveed Diggs’ rap group. What am I actually listening to? Outkast, \u003cem>Stankonia\u003c/em>. That’d be up there. One more. Man, whose do I just love the most? I’ll say, just because I hope the Queen returns, \u003cem>The Miseducation of Lauryn Hill\u003c/em>. Still the greatest ever.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That we are able to eat, work, breathe, and revolt without fear for our bodies, or our minds’ injury. That we learn to use our privilege to extend the privilege to those without it. And that we get to knock “I Got 5 On It” at the end of every party.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Learn more about Chinaka Hodge \u003ca href=\"http://chinakahodge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amid a summer of financial troubles, Mills College has found an unexpected benefactor.\u003c/p>\n\u003cp>The Oakland college announced a $2 million donation to its Book Art program on Tuesday — one of the largest within the field. The gift to the school’s Book Art program will establish the Lovelace Family Chair in Book Art, the first endowed faculty position in the program.\u003c/p>\n\u003cp>It comes after the program’s impending closure was announced in an email late 2015. Pushback from students, faculty and community members alike, \u003ca href=\"https://savemillsbookart.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">documented on a Tumblr blog dedicated to the preservation of the program\u003c/a>, “helped to inspire the establishment of this chair,” according to a press release issued by the college. Its two joint donors wish to remain anonymous.\u003c/p>\n\u003cp>Mills is an early pioneer in the formal study of book art, offering courses in the field since the 1930s. But the program’s possible termination comes in light of Mills’ recent budgetary concerns, including a $9 million operating deficit on a total budget of $57 million and declining admission rates. Twelve faculty and staff members, five of whom were tenured, were dismissed in July after the school officially declared “financial emergency.”\u003c/p>\n\u003cp>Book art professor Kathleen Walkup will be the inaugural Lovelace chairperson. She currently serves as the director of the college’s Book Art program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I hope that this will help send a message to the administration and the trustees to the college that while they’re trying to reconfigure the direction of the college, this deep history and connection with the arts really comes through with this kind of donation,” said Walkup. “This is where Mills has its strength, its reputation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*It should be noted that jazz icon and Mills faculty member Roscoe Mitchell, whose tenure as the Darius Milhaud Chair in Composition was reported at risk of termination back \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\">in June by KQED\u003c/a>, will continue to hold his appointment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid a summer of financial troubles, Mills College has found an unexpected benefactor.\u003c/p>\n\u003cp>The Oakland college announced a $2 million donation to its Book Art program on Tuesday — one of the largest within the field. The gift to the school’s Book Art program will establish the Lovelace Family Chair in Book Art, the first endowed faculty position in the program.\u003c/p>\n\u003cp>It comes after the program’s impending closure was announced in an email late 2015. Pushback from students, faculty and community members alike, \u003ca href=\"https://savemillsbookart.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">documented on a Tumblr blog dedicated to the preservation of the program\u003c/a>, “helped to inspire the establishment of this chair,” according to a press release issued by the college. Its two joint donors wish to remain anonymous.\u003c/p>\n\u003cp>Mills is an early pioneer in the formal study of book art, offering courses in the field since the 1930s. But the program’s possible termination comes in light of Mills’ recent budgetary concerns, including a $9 million operating deficit on a total budget of $57 million and declining admission rates. Twelve faculty and staff members, five of whom were tenured, were dismissed in July after the school officially declared “financial emergency.”\u003c/p>\n\u003cp>Book art professor Kathleen Walkup will be the inaugural Lovelace chairperson. She currently serves as the director of the college’s Book Art program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I hope that this will help send a message to the administration and the trustees to the college that while they’re trying to reconfigure the direction of the college, this deep history and connection with the arts really comes through with this kind of donation,” said Walkup. “This is where Mills has its strength, its reputation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*It should be noted that jazz icon and Mills faculty member Roscoe Mitchell, whose tenure as the Darius Milhaud Chair in Composition was reported at risk of termination back \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\">in June by KQED\u003c/a>, will continue to hold his appointment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reading the Cards: Michelle Tea’s Tarot Advice for San Francisco",
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"content": "\u003cp>When writer Michelle Tea first came to San Francisco, she had yet to win awards or develop a diehard following. Instead, she supported herself on Haight Street by giving Tarot readings — as she describes it, an “ancient story system, a pack of cards that tell a multitude of tales depending on the ways in which they’re placed alongside one another.” In other words, a writer’s dream.\u003c/p>\n\u003cfigure id=\"attachment_13782572\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/ModernTarot.jpg\" alt=\"'Modern Tarot,' by Michelle Tea.\" width=\"298\" height=\"447\" class=\"size-full wp-image-13782572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/ModernTarot.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/ModernTarot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/ModernTarot-240x360.jpg 240w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Tarot,’ by Michelle Tea. \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tea’s new book, \u003cem>Modern Tarot\u003c/em> (Harper Collins; $22.99), is a prismatically down-to-earth guide, and Tea is a sagacious tour guide. Hip and discerning, Tea shares personal anecdotes, shares some of her personal rituals to take each card’s meaning into her life, and, perhaps my favorite, decodes the symbolism of each card. (Tea describing the snow on which stands the Hermit, a sage old woman supporting herself on a staff: “If water is the emotions and air is the intellect, then snow is the emotions made tangible, by the cold air of logic.”)\u003c/p>\n\u003cp>\u003cem>Modern Tarot\u003c/em> offers the most straightforward interpretation I’ve found about how Tarot cards work, and how the mythic journeys each card portrays can be used to harness a personal moment. So naturally, I’ve asked Michelle Tea to give the city of San Francisco a reading.\u003c/p>\n\u003cp>Below, Tea trains her eye on the City — and finds, among other things, that the tech bubble is not a bubble that will burst just yet; that the city needs to work on its partying; that it must get in touch with the emotional impact of its existence; and, she says, “If San Francisco can’t get itself together to honor the feminine, the feminine will just storm the castle.”\u003c/p>\n\u003cp>You’ve been warned, San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"400\" height=\"21\" 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: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13782573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-800x800.jpg\" alt=\"Michelle Tea.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13782573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Tea. \u003ccite>(Jen Rosenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco: The Future is Female\u003c/h2>\n\u003cp>\n\u003cb>A Tarot reading by Michelle Tea\u003c/b>\u003c/p>\n\u003cp>A reading I like to do, for myself and for others, is a general \u003ca href=\"http://www.learntarot.com/ccross.htm\" target=\"_blank\" rel=\"noopener\">Celtic Cross\u003c/a>. The Celtic Cross spread is a popular one for a reason — it’s simple, it’s thorough, it provides a good overview of what’s happened, what’s going on, and what’s on the rise. I shuffle the deck and ask in a broad sense what the outcoming and incoming energies are right now, and this afternoon, I asked on behalf of the city of San Francisco.\u003c/p>\n\u003ch3>\u003cem>Card 1 ~ The Present: Three of Pentacles\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Hmmmm, I was afraid of this. Right now, San Francisco is all about \u003cem>work. \u003c/em>The card – I’m using the Rider-Waite deck, with art by the wonderful Pamela Coleman Smith – depicts an architect getting the thumbs up from a couple of moneybags. Hooray, they’re going to pay him to design their castle! The Bay Area has gotten the thumbs up from moneybags everywhere from the continued development of all things tech. An old story, but what’s interesting is, this card is a three – we’re still at the start of this current work cycle. We know this bubble isn’t a bubble at all. It’s got stability, staying power, and it’s only going to grow from here. Good news for many, I’m sure, but all work and no play makes Jack a dull town.\u003c/p>\n\u003ch3>\u003cem>Card 2 ~ What Crosses the Situation: Queen of Cups\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Verrrrry interesting. This card represents what ‘crosses’ the present, what influences it, either helping it along or slowing it down. The Queen of Cups is a heavy-duty feminine energy card. It represents the realm of emotions. A Queen, it is a mature card, it thinks before it acts and considers the way a behavior could wound or heal. It is a poet and a dreamer.\u003c/p>\n\u003cp>This to me looks a lot like the battle between good and evil enacted in San Francisco for decades now — the masculine-fueled work drive opposing and being opposed by a feminine-fueled emotion drive. My read on this is that industry in San Francisco will not be able to fully, truly grow until it begins to mature out of its little-kid, I-want-it-all phase and responds to the emotional impact of its existence. By integrating not just poetry but poets, not just dreams but dreamers into the scope of its vision, San Francisco’s work life will begin to achieve some balance. Until this happens, the pressure that these more artistic realms place on the corporate will not let up.\u003c/p>\n\u003cp>Also, though it is true that in the Tarot, masculine and feminine energies are embodied by all genders, so for this particular reading I would say that San Francisco’s industry needs to take a look at how it treats women — and female-identified people need to continue putting pressure on growing powers to make sure they are included in the bigger picture of city life.\u003c/p>\n\u003ch3>\u003cem>Card 3 ~ Conscious Thoughts and Goals: The Star\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>San Francisco has always dreamed big. The Star is about taking your wildest inspirations and somehow bringing them down to terra firma and making them \u003cem>real\u003c/em>. I’ve long felt that San Francisco is a place where people come to see if their theory can be put into practice, whether on an intensely personal level, a community level or within larger cultural movements.\u003c/p>\n\u003cp>The city sees itself as deeply innovating, whether what is being disrupted are algorithms or the gender binary. There is special energy here that can make things happen, and it favors movements with high ideals, inclusiveness and accessibility. The Star is connected to Aquarius, which is the sign of the future. The future starts in San Francisco (or at least the city’s ego believes this). I see this card as evidence that collectively, San Francisco knows it needs to dream bigger and work harder to make idealistic situations exist for more of the city.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13747570\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/tarotreading2-1020x426.jpg\" alt=\"\" width=\"640\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-1180x493.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-960x401.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-520x217.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2.jpg 1483w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003cem>Card 4 ~ Unconscious Thoughts and Motivations: Two of Cups\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>In San Francisco’s heart, it’s always been the Summer of Love. It’s not a coincidence that this famous moment occurred here, or that the country’s queer community gathered and thrived here. Deep down, it is love that rules this place, that makes it work. It’s the foundation that everything is currently built upon, the big hearts of the city’s ancestors and their forgotten labors of love that made the city great.\u003c/p>\n\u003cp>The image on the card is two people exchanging cups, and it’s this human connection, emotional communication, that is still the heart of the city — very deep and hard to extinguish. There is a channel between this underground love and the conscious idealism of The Star. The city thinks of itself as a loving place and needs to draw upon that history in order to manifest more progressive projects.\u003c/p>\n\u003ch3>\u003cem>Card 5 ~ The Past: King of Pentacles\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Okay, it is not a coincidence that San Francisco’s recent past is the richest dude in the deck. The King of Pentacles is materialistic, he’s great at business, he earns his money and spends it luxuriously. The past always brings us to the future, so it is the work and influence of this man (these men) that has made San Francisco the epicenter of industry it currently is. But it’s done so at the expense of the city’s spiritual and emotional aspects, as seen in the Queen of Cups. One tarot reader explained to me once that she sees that crossing card as the bridge that brings us from the past to the future, and if that is the case, the serene, emotional queen is taking our hand, pulling us away from big daddy moneybags and leading us to…\u003c/p>\n\u003ch3>\u003cem>Card 6 ~ The Future: The Empress\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>The Future is Female, ya’ll. With all my fingers crossed, I hopefully report that the energies native to the feminine — healing, nurturing, love, beauty, abundance, giving, serenity, creativity — are ready to lovingly ambush San Francisco. Out with the yang, in with the yin: a feminine renaissance, with intuition, healing arts, art in general and a need for equality as the city’s zeitgeist. Precedence given to the experience of female-identified and otherwise feminine people. A movement to ease the burden on mothers at all economic levels, and a sense that San Francisco \u003cem>is \u003c/em>our mother, and all of us her children, and let’s start taking better care of her and of each other.\u003c/p>\n\u003ch3>\u003cem>Card 7 ~ The Self: The Wheel of Fortune\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Yes, San Francisco won the karmic lotto, if high-paying jobs and skyrocketing rents are how one defines fortune. The city has established itself as a world-class location with all the cash and prizes that go along with that. It is, in so many ways, blessed. But the “what goes up must come down” rule applies to this card — we may currently be that Sphinx, riding high, but the jackal and the snake will get their turn, too. Better for the city to keep its eye on the center to better able ride out the inevitable downs that come with these magnificent ups. But no matter what ever happens, the city always rises. It \u003cem>is \u003c/em>The Wheel of Fortune.\u003c/p>\n\u003ch3>\u003cem>Card 8 ~ Environment: Ace of Swords\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>This card represents the environment the querent finds themselves in, but as the querent in this reading \u003cem>is \u003c/em>an environment – err, uh, hmmmm. I guess this card stands for you, all of you, the citizens of San Francisco, influencing her vibes and character on the daily. And generally speaking, the people of San Francisco are \u003cem>new. \u003c/em>They think thoughts that haven’t been thunk before, they try things that haven’t been tried, they live lives that haven’t been lived. And they love it. Thought, literature, communication, media, these are all ruled by the Ace of Swords and they rule the people of San Francisco. Debates, healthy and otherwise. These are a people who will go to the mat for what they believe. On some level, everyone knows that they are at the vanguard of our culture, and the city loves this about her children.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13747573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/tarotreading3-1020x437.jpg\" alt=\"\" width=\"640\" height=\"274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-1020x437.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-800x343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-768x329.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-375x161.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-520x223.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3.jpg 1511w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003cem>Card 9 ~ Hopes and Fears: Knight of Pentacles\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>This card is the anxiety card of the spread, and we’ve got the dull, plodding — if capable – Knight of Pentacles. While the fantasy of big King Pentacle in the city’s past is pretty attractive to pretty much everyone (even I wouldn’t mind eating grapes off his lap), this Knight of Pentacles is the average Jo’s reality: a working stiff whose job eats her life and who doesn’t have much time for anything cool or fun or creative. Is this what the city is afraid of becoming? I see this as all the inspired people who moved to town with dreams only to find themselves with big rent they need to work hella hard to pay, leaving them too exhausted to pursue their real life at the end of the day. San Francisco, don’t let this be you! It suggests to me that the city is aware that it’s becoming a bore, and it keeps them up at night.\u003c/p>\n\u003ch3>\u003cem>Card 10 ~ Outcome: Queen of Wands\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>The card that ties it all together, and here we have the magnificent Queen of Wands, emphasizing the already-strong message that it is time for feminine energies to take the wheel. This Queen builds upon the watery power of the Queen of Cups and the nurturing abundance of The Empress and sets it ablaze. If San Francisco can’t get itself together to honor the feminine, the feminine will just storm the castle. Queen of Wands is crafty and powerful, full of energy and ideas, has tons of endurance and stamina, creativity and chutzpah.\u003c/p>\n\u003cp>Artists, lovers, politicians, activists: this Queen makes shit happen. You’re either on her train or you’re eating dust. All aboard, San Francisco! It’s time to leave the past behind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Thanks to Michelle Tea for this week’s Tarot reading\u003c/strong>. ‘Modern Tarot: Connecting with your Higher Self Through the Wisdom of the Cards’ features updated, feminist, and queer-friendly reading of Tarot, personal anecdotes, and spells. Yes, spells.\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When writer Michelle Tea first came to San Francisco, she had yet to win awards or develop a diehard following. Instead, she supported herself on Haight Street by giving Tarot readings — as she describes it, an “ancient story system, a pack of cards that tell a multitude of tales depending on the ways in which they’re placed alongside one another.” In other words, a writer’s dream.\u003c/p>\n\u003cfigure id=\"attachment_13782572\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/ModernTarot.jpg\" alt=\"'Modern Tarot,' by Michelle Tea.\" width=\"298\" height=\"447\" class=\"size-full wp-image-13782572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/ModernTarot.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/ModernTarot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/ModernTarot-240x360.jpg 240w\" sizes=\"(max-width: 298px) 100vw, 298px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Tarot,’ by Michelle Tea. \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tea’s new book, \u003cem>Modern Tarot\u003c/em> (Harper Collins; $22.99), is a prismatically down-to-earth guide, and Tea is a sagacious tour guide. Hip and discerning, Tea shares personal anecdotes, shares some of her personal rituals to take each card’s meaning into her life, and, perhaps my favorite, decodes the symbolism of each card. (Tea describing the snow on which stands the Hermit, a sage old woman supporting herself on a staff: “If water is the emotions and air is the intellect, then snow is the emotions made tangible, by the cold air of logic.”)\u003c/p>\n\u003cp>\u003cem>Modern Tarot\u003c/em> offers the most straightforward interpretation I’ve found about how Tarot cards work, and how the mythic journeys each card portrays can be used to harness a personal moment. So naturally, I’ve asked Michelle Tea to give the city of San Francisco a reading.\u003c/p>\n\u003cp>Below, Tea trains her eye on the City — and finds, among other things, that the tech bubble is not a bubble that will burst just yet; that the city needs to work on its partying; that it must get in touch with the emotional impact of its existence; and, she says, “If San Francisco can’t get itself together to honor the feminine, the feminine will just storm the castle.”\u003c/p>\n\u003cp>You’ve been warned, San Francisco.\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\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"400\" height=\"21\" 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: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13782573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-800x800.jpg\" alt=\"Michelle Tea.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13782573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MichelleTea.JenRosenstein-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Tea. \u003ccite>(Jen Rosenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco: The Future is Female\u003c/h2>\n\u003cp>\n\u003cb>A Tarot reading by Michelle Tea\u003c/b>\u003c/p>\n\u003cp>A reading I like to do, for myself and for others, is a general \u003ca href=\"http://www.learntarot.com/ccross.htm\" target=\"_blank\" rel=\"noopener\">Celtic Cross\u003c/a>. The Celtic Cross spread is a popular one for a reason — it’s simple, it’s thorough, it provides a good overview of what’s happened, what’s going on, and what’s on the rise. I shuffle the deck and ask in a broad sense what the outcoming and incoming energies are right now, and this afternoon, I asked on behalf of the city of San Francisco.\u003c/p>\n\u003ch3>\u003cem>Card 1 ~ The Present: Three of Pentacles\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Hmmmm, I was afraid of this. Right now, San Francisco is all about \u003cem>work. \u003c/em>The card – I’m using the Rider-Waite deck, with art by the wonderful Pamela Coleman Smith – depicts an architect getting the thumbs up from a couple of moneybags. Hooray, they’re going to pay him to design their castle! The Bay Area has gotten the thumbs up from moneybags everywhere from the continued development of all things tech. An old story, but what’s interesting is, this card is a three – we’re still at the start of this current work cycle. We know this bubble isn’t a bubble at all. It’s got stability, staying power, and it’s only going to grow from here. Good news for many, I’m sure, but all work and no play makes Jack a dull town.\u003c/p>\n\u003ch3>\u003cem>Card 2 ~ What Crosses the Situation: Queen of Cups\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Verrrrry interesting. This card represents what ‘crosses’ the present, what influences it, either helping it along or slowing it down. The Queen of Cups is a heavy-duty feminine energy card. It represents the realm of emotions. A Queen, it is a mature card, it thinks before it acts and considers the way a behavior could wound or heal. It is a poet and a dreamer.\u003c/p>\n\u003cp>This to me looks a lot like the battle between good and evil enacted in San Francisco for decades now — the masculine-fueled work drive opposing and being opposed by a feminine-fueled emotion drive. My read on this is that industry in San Francisco will not be able to fully, truly grow until it begins to mature out of its little-kid, I-want-it-all phase and responds to the emotional impact of its existence. By integrating not just poetry but poets, not just dreams but dreamers into the scope of its vision, San Francisco’s work life will begin to achieve some balance. Until this happens, the pressure that these more artistic realms place on the corporate will not let up.\u003c/p>\n\u003cp>Also, though it is true that in the Tarot, masculine and feminine energies are embodied by all genders, so for this particular reading I would say that San Francisco’s industry needs to take a look at how it treats women — and female-identified people need to continue putting pressure on growing powers to make sure they are included in the bigger picture of city life.\u003c/p>\n\u003ch3>\u003cem>Card 3 ~ Conscious Thoughts and Goals: The Star\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>San Francisco has always dreamed big. The Star is about taking your wildest inspirations and somehow bringing them down to terra firma and making them \u003cem>real\u003c/em>. I’ve long felt that San Francisco is a place where people come to see if their theory can be put into practice, whether on an intensely personal level, a community level or within larger cultural movements.\u003c/p>\n\u003cp>The city sees itself as deeply innovating, whether what is being disrupted are algorithms or the gender binary. There is special energy here that can make things happen, and it favors movements with high ideals, inclusiveness and accessibility. The Star is connected to Aquarius, which is the sign of the future. The future starts in San Francisco (or at least the city’s ego believes this). I see this card as evidence that collectively, San Francisco knows it needs to dream bigger and work harder to make idealistic situations exist for more of the city.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13747570\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/tarotreading2-1020x426.jpg\" alt=\"\" width=\"640\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-1180x493.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-960x401.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2-520x217.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading2.jpg 1483w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003cem>Card 4 ~ Unconscious Thoughts and Motivations: Two of Cups\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>In San Francisco’s heart, it’s always been the Summer of Love. It’s not a coincidence that this famous moment occurred here, or that the country’s queer community gathered and thrived here. Deep down, it is love that rules this place, that makes it work. It’s the foundation that everything is currently built upon, the big hearts of the city’s ancestors and their forgotten labors of love that made the city great.\u003c/p>\n\u003cp>The image on the card is two people exchanging cups, and it’s this human connection, emotional communication, that is still the heart of the city — very deep and hard to extinguish. There is a channel between this underground love and the conscious idealism of The Star. The city thinks of itself as a loving place and needs to draw upon that history in order to manifest more progressive projects.\u003c/p>\n\u003ch3>\u003cem>Card 5 ~ The Past: King of Pentacles\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Okay, it is not a coincidence that San Francisco’s recent past is the richest dude in the deck. The King of Pentacles is materialistic, he’s great at business, he earns his money and spends it luxuriously. The past always brings us to the future, so it is the work and influence of this man (these men) that has made San Francisco the epicenter of industry it currently is. But it’s done so at the expense of the city’s spiritual and emotional aspects, as seen in the Queen of Cups. One tarot reader explained to me once that she sees that crossing card as the bridge that brings us from the past to the future, and if that is the case, the serene, emotional queen is taking our hand, pulling us away from big daddy moneybags and leading us to…\u003c/p>\n\u003ch3>\u003cem>Card 6 ~ The Future: The Empress\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>The Future is Female, ya’ll. With all my fingers crossed, I hopefully report that the energies native to the feminine — healing, nurturing, love, beauty, abundance, giving, serenity, creativity — are ready to lovingly ambush San Francisco. Out with the yang, in with the yin: a feminine renaissance, with intuition, healing arts, art in general and a need for equality as the city’s zeitgeist. Precedence given to the experience of female-identified and otherwise feminine people. A movement to ease the burden on mothers at all economic levels, and a sense that San Francisco \u003cem>is \u003c/em>our mother, and all of us her children, and let’s start taking better care of her and of each other.\u003c/p>\n\u003ch3>\u003cem>Card 7 ~ The Self: The Wheel of Fortune\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>Yes, San Francisco won the karmic lotto, if high-paying jobs and skyrocketing rents are how one defines fortune. The city has established itself as a world-class location with all the cash and prizes that go along with that. It is, in so many ways, blessed. But the “what goes up must come down” rule applies to this card — we may currently be that Sphinx, riding high, but the jackal and the snake will get their turn, too. Better for the city to keep its eye on the center to better able ride out the inevitable downs that come with these magnificent ups. But no matter what ever happens, the city always rises. It \u003cem>is \u003c/em>The Wheel of Fortune.\u003c/p>\n\u003ch3>\u003cem>Card 8 ~ Environment: Ace of Swords\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>This card represents the environment the querent finds themselves in, but as the querent in this reading \u003cem>is \u003c/em>an environment – err, uh, hmmmm. I guess this card stands for you, all of you, the citizens of San Francisco, influencing her vibes and character on the daily. And generally speaking, the people of San Francisco are \u003cem>new. \u003c/em>They think thoughts that haven’t been thunk before, they try things that haven’t been tried, they live lives that haven’t been lived. And they love it. Thought, literature, communication, media, these are all ruled by the Ace of Swords and they rule the people of San Francisco. Debates, healthy and otherwise. These are a people who will go to the mat for what they believe. On some level, everyone knows that they are at the vanguard of our culture, and the city loves this about her children.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13747573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/tarotreading3-1020x437.jpg\" alt=\"\" width=\"640\" height=\"274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-1020x437.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-800x343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-768x329.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-375x161.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3-520x223.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/tarotreading3.jpg 1511w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003cem>Card 9 ~ Hopes and Fears: Knight of Pentacles\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>This card is the anxiety card of the spread, and we’ve got the dull, plodding — if capable – Knight of Pentacles. While the fantasy of big King Pentacle in the city’s past is pretty attractive to pretty much everyone (even I wouldn’t mind eating grapes off his lap), this Knight of Pentacles is the average Jo’s reality: a working stiff whose job eats her life and who doesn’t have much time for anything cool or fun or creative. Is this what the city is afraid of becoming? I see this as all the inspired people who moved to town with dreams only to find themselves with big rent they need to work hella hard to pay, leaving them too exhausted to pursue their real life at the end of the day. San Francisco, don’t let this be you! It suggests to me that the city is aware that it’s becoming a bore, and it keeps them up at night.\u003c/p>\n\u003ch3>\u003cem>Card 10 ~ Outcome: Queen of Wands\u003c/em>\u003cbr>\n\u003c/h3>\n\u003cp>The card that ties it all together, and here we have the magnificent Queen of Wands, emphasizing the already-strong message that it is time for feminine energies to take the wheel. This Queen builds upon the watery power of the Queen of Cups and the nurturing abundance of The Empress and sets it ablaze. If San Francisco can’t get itself together to honor the feminine, the feminine will just storm the castle. Queen of Wands is crafty and powerful, full of energy and ideas, has tons of endurance and stamina, creativity and chutzpah.\u003c/p>\n\u003cp>Artists, lovers, politicians, activists: this Queen makes shit happen. You’re either on her train or you’re eating dust. All aboard, San Francisco! It’s time to leave the past behind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Thanks to Michelle Tea for this week’s Tarot reading\u003c/strong>. ‘Modern Tarot: Connecting with your Higher Self Through the Wisdom of the Cards’ features updated, feminist, and queer-friendly reading of Tarot, personal anecdotes, and spells. Yes, spells.\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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"slug": "women-to-watch-shanthi-sekaran",
"title": "Women to Watch: Shanthi Sekaran",
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"headTitle": "Women to Watch: Shanthi Sekaran | KQED",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Born and raised in Sacramento to parents who immigrated from India as medical professionals in the 1960s, Shanthi Sekaran finds that her background continually informs her work. Her first novel, \u003ca href=\"http://www.sfgate.com/books/article/The-Prayer-Room-by-Shanthi-Sekaran-3169305.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Prayer Room\u003c/em>\u003c/a>, (MacAdam/Cage; 2009) is the story of Viji, a young Indian woman who marries an American man, moves to Sacramento, gives birth to triplets, and navigates culture clashes as an immigrant in 1974 America.\u003c/p>\n\u003cp>https://youtu.be/BOt6Mzm0Is0\u003c/p>\n\u003cp>Sekaran’s second novel, \u003cem>\u003ca href=\"http://www.penguinrandomhouse.com/books/529983/lucky-boy-by-shanthi-sekaran/9781101982242/\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky Boy\u003c/a>\u003c/em> (Penguin Random House; 2017), opens with Soli, an undocumented immigrant from Oaxaca, Mexico, who finds work as a housekeeper in Berkeley. After giving birth to a son, Ignacio, Soli’s life goes terribly awry when she’s placed in immigrant detention and sent out of California. Her baby is put in the care of two thirty-something Indian-American professionals, Kavya and Rishi. From there, the novel delves into complicated and harrowing stories of motherhood, and explores how the bonds of love develop and forever alter families, biological and otherwise.\u003c/p>\n\u003cp>Sekaran, who attended UC Berkeley as an undergrad and lived abroad for a few years before returning to California, is an adjunct creative writing instructor at St. Mary’s College and the California College of the Arts. She lives in Berkeley with her husband and two sons, ages 4 and 9.\u003c/p>\n\u003cfigure id=\"attachment_13778534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13778534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg\" alt=\"Shanthi Sekaran.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Ian Tuttle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview you said: “I want people to see that there isn’t actually much of a difference between a documented immigrant and an undocumented immigrant.” Can you talk about how this informs the themes and plot of \u003cem>Lucky Boy\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like any writer of fiction, I had to approach \u003cem>Lucky Boy\u003c/em> partially through plot, but really, deeply through character. My goal was to create a vibrant and full character [in Soli]. That kind of inherently connects to this idea that an undocumented immigrant on the inside is not much different from any young woman anywhere—who is trying to make something for herself, who finds herself in various types of trouble, who finds herself in a struggle. Being undocumented didn’t make her inherently different, didn’t affect her moral framework, it didn’t affect her humanity, the human struggles and triumphs that she goes through. Those can be found anywhere in this world, regardless of status. Her undocumented status informed the trajectory of her story and shaped what was going to happen to her. But the undocumented status was not \u003cem>her\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13741647\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My husband’s parents are immigrants from Hong Kong, both now U.S citizens. I’ve been thinking about the different forms that immigration takes in the United States — who is seen as a legitimate immigrant and who is demonized. What’s your experience with that been like?\u003c/strong>\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.nytimes.com/2016/11/26/opinion/sunday/the-privileged-immigrant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">written a lot about that\u003c/a>. My parents struggled. They dealt with being taken advantage of in the workplace, and with various sorts of ignorance and racism. But they had the privilege of being here with legal documentation and a way to live and save and put down their roots. That’s something that people struggle with now, even though they come over with their own skill sets and similar hopes.\u003c/p>\n\u003cp>\u003cstrong>Motherhood is an important part of \u003cem>Lucky Boy\u003c/em>’s plot. How has motherhood impacted your writing process and the themes in your work? \u003c/strong>\u003c/p>\n\u003cp>Motherhood raises the stakes for everything in your life. It raises the stakes for the emotional connection you can make to other people and to characters. I think it sharpens your ability to empathize because you’ve produced something from your body that you’re so emotionally connected to. And that goes for adoptive parents as well — they forge these extremely strong emotional connections to someone outside of their own body.\u003c/p>\n\u003cp>In terms of how motherhood has helped me as a writer, I think back to my first novel. In \u003cem>The Prayer Room\u003c/em> I gave my protagonist triplets; this was before I had children. I kind of just gave her triplets as a plot point. I had no clue. I had no idea what I was doing to the poor woman. Or how big of a story that actually is of itself. Having three children at once. That would be the novel. I think [motherhood] has given me a better understanding of the mechanics and the shape of being human.\u003c/p>\n\u003cfigure id=\"attachment_13741646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there certain places in the Bay Area that trigger your creativity? \u003c/strong>\u003c/p>\n\u003cp>Walking is really important. I walk a lot to Indian Rock, which is in my neighborhood. I’m in one of those neighborhoods in Berkeley with tons of secret stairways and little pathways, and I like wandering around the hills where I live. It’s not the place, it’s the action of walking that helps me. And frankly, I have a lot of my connective, good ideas in the shower. I don’t know why. But I was realizing that the other day. Whenever I come up with a key to the books that I’m writing it’s been in the shower. Something about water.\u003c/p>\n\u003cp>My philosophy is to support independent bookstores, and, when you find one that you like, to support the hell out of it. So I spend a lot of my time at Pegasus Books on Solano Avenue. I like walking over there and seeing what’s around. I love that they get to know their customers. They start to understand what certain neighborhoods and cities are into. It’s important to have people on the ground who know what people are reading.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area? \u003c/strong>\u003c/p>\n\u003cp>My ideal future would involve a lot of funding for women artists. And opportunities for young women and girls to be exposed to the arts at an early age through the public school system, in a way that doesn’t involve tons of fundraising. Just to have it worked into the framework of public education again.\u003c/p>\n\u003cp>In terms of craft and the aesthetic, I want to see a world where women don’t have to be representatives of anything. They don’t have to be the “woman artist” or the “South Asian artist.” They could just be themselves. I’d like to see a world where we have anomalies and contradictions between female artists without a demand that they deliver a certain message or represent a certain group.\u003c/p>\n\u003cp>I’d like to see the art scene follow the trend it’s on now; it’s growing more and more complex. People are more daring with what they are willing to say about themselves and their experiences. I like seeing that. I also think that we are in a political atmosphere now where just telling someone’s story and humanizing them can be a revolutionary act. I appreciate the women who are digging deep, taking risks, and not following the demands of the mainstream and the status quo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more about Shanthi Sekaran at \u003ca href=\"https://www.shanthisekaran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her site\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Berkeley author Shanthi Sekaran's searing novels explore themes of immigration, motherhood, and adoption, informed by her own family background.",
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"title": "Women to Watch: Shanthi Sekaran | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Born and raised in Sacramento to parents who immigrated from India as medical professionals in the 1960s, Shanthi Sekaran finds that her background continually informs her work. Her first novel, \u003ca href=\"http://www.sfgate.com/books/article/The-Prayer-Room-by-Shanthi-Sekaran-3169305.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Prayer Room\u003c/em>\u003c/a>, (MacAdam/Cage; 2009) is the story of Viji, a young Indian woman who marries an American man, moves to Sacramento, gives birth to triplets, and navigates culture clashes as an immigrant in 1974 America.\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/BOt6Mzm0Is0'\n title='//www.youtube.com/embed/BOt6Mzm0Is0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sekaran’s second novel, \u003cem>\u003ca href=\"http://www.penguinrandomhouse.com/books/529983/lucky-boy-by-shanthi-sekaran/9781101982242/\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky Boy\u003c/a>\u003c/em> (Penguin Random House; 2017), opens with Soli, an undocumented immigrant from Oaxaca, Mexico, who finds work as a housekeeper in Berkeley. After giving birth to a son, Ignacio, Soli’s life goes terribly awry when she’s placed in immigrant detention and sent out of California. Her baby is put in the care of two thirty-something Indian-American professionals, Kavya and Rishi. From there, the novel delves into complicated and harrowing stories of motherhood, and explores how the bonds of love develop and forever alter families, biological and otherwise.\u003c/p>\n\u003cp>Sekaran, who attended UC Berkeley as an undergrad and lived abroad for a few years before returning to California, is an adjunct creative writing instructor at St. Mary’s College and the California College of the Arts. She lives in Berkeley with her husband and two sons, ages 4 and 9.\u003c/p>\n\u003cfigure id=\"attachment_13778534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13778534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg\" alt=\"Shanthi Sekaran.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/TuttleShanthi3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Ian Tuttle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview you said: “I want people to see that there isn’t actually much of a difference between a documented immigrant and an undocumented immigrant.” Can you talk about how this informs the themes and plot of \u003cem>Lucky Boy\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like any writer of fiction, I had to approach \u003cem>Lucky Boy\u003c/em> partially through plot, but really, deeply through character. My goal was to create a vibrant and full character [in Soli]. That kind of inherently connects to this idea that an undocumented immigrant on the inside is not much different from any young woman anywhere—who is trying to make something for herself, who finds herself in various types of trouble, who finds herself in a struggle. Being undocumented didn’t make her inherently different, didn’t affect her moral framework, it didn’t affect her humanity, the human struggles and triumphs that she goes through. Those can be found anywhere in this world, regardless of status. Her undocumented status informed the trajectory of her story and shaped what was going to happen to her. But the undocumented status was not \u003cem>her\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13741647\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-800x1422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-1020x1813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-960x1707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-240x427.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-375x667.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1-520x924.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My husband’s parents are immigrants from Hong Kong, both now U.S citizens. I’ve been thinking about the different forms that immigration takes in the United States — who is seen as a legitimate immigrant and who is demonized. What’s your experience with that been like?\u003c/strong>\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.nytimes.com/2016/11/26/opinion/sunday/the-privileged-immigrant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">written a lot about that\u003c/a>. My parents struggled. They dealt with being taken advantage of in the workplace, and with various sorts of ignorance and racism. But they had the privilege of being here with legal documentation and a way to live and save and put down their roots. That’s something that people struggle with now, even though they come over with their own skill sets and similar hopes.\u003c/p>\n\u003cp>\u003cstrong>Motherhood is an important part of \u003cem>Lucky Boy\u003c/em>’s plot. How has motherhood impacted your writing process and the themes in your work? \u003c/strong>\u003c/p>\n\u003cp>Motherhood raises the stakes for everything in your life. It raises the stakes for the emotional connection you can make to other people and to characters. I think it sharpens your ability to empathize because you’ve produced something from your body that you’re so emotionally connected to. And that goes for adoptive parents as well — they forge these extremely strong emotional connections to someone outside of their own body.\u003c/p>\n\u003cp>In terms of how motherhood has helped me as a writer, I think back to my first novel. In \u003cem>The Prayer Room\u003c/em> I gave my protagonist triplets; this was before I had children. I kind of just gave her triplets as a plot point. I had no clue. I had no idea what I was doing to the poor woman. Or how big of a story that actually is of itself. Having three children at once. That would be the novel. I think [motherhood] has given me a better understanding of the mechanics and the shape of being human.\u003c/p>\n\u003cfigure id=\"attachment_13741646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg\" alt=\"Shanthi Sekaran\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-shanti-edited-22-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shanthi Sekaran. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there certain places in the Bay Area that trigger your creativity? \u003c/strong>\u003c/p>\n\u003cp>Walking is really important. I walk a lot to Indian Rock, which is in my neighborhood. I’m in one of those neighborhoods in Berkeley with tons of secret stairways and little pathways, and I like wandering around the hills where I live. It’s not the place, it’s the action of walking that helps me. And frankly, I have a lot of my connective, good ideas in the shower. I don’t know why. But I was realizing that the other day. Whenever I come up with a key to the books that I’m writing it’s been in the shower. Something about water.\u003c/p>\n\u003cp>My philosophy is to support independent bookstores, and, when you find one that you like, to support the hell out of it. So I spend a lot of my time at Pegasus Books on Solano Avenue. I like walking over there and seeing what’s around. I love that they get to know their customers. They start to understand what certain neighborhoods and cities are into. It’s important to have people on the ground who know what people are reading.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area? \u003c/strong>\u003c/p>\n\u003cp>My ideal future would involve a lot of funding for women artists. And opportunities for young women and girls to be exposed to the arts at an early age through the public school system, in a way that doesn’t involve tons of fundraising. Just to have it worked into the framework of public education again.\u003c/p>\n\u003cp>In terms of craft and the aesthetic, I want to see a world where women don’t have to be representatives of anything. They don’t have to be the “woman artist” or the “South Asian artist.” They could just be themselves. I’d like to see a world where we have anomalies and contradictions between female artists without a demand that they deliver a certain message or represent a certain group.\u003c/p>\n\u003cp>I’d like to see the art scene follow the trend it’s on now; it’s growing more and more complex. People are more daring with what they are willing to say about themselves and their experiences. I like seeing that. I also think that we are in a political atmosphere now where just telling someone’s story and humanizing them can be a revolutionary act. I appreciate the women who are digging deep, taking risks, and not following the demands of the mainstream and the status quo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more about Shanthi Sekaran at \u003ca href=\"https://www.shanthisekaran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her site\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>\u003c/b>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.janicewrites.com\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Lobo Sapigao\u003c/a> grew up in Northside San Jose, the child of first-generation Filipino immigrants. Her mom worked the night shift, her dad, the day shift, and so Sapigao never saw them together except on weekends. After her dad died when she was just six years old, her family moved in with her cousin — and his family of 12 people.\u003c/p>\n\u003cp>“I lived in the same room with my mom and my brother for eight years,” Sapigao says. “I was the youngest, really quiet and observant. I didn’t really talk much, which is different from the way I am now!” Now, Sapigao loves to talk, and write, and teach others to do the same.\u003c/p>\n\u003cp>She’s published two books of poetry —\u003cb>\u003ci> \u003c/i>\u003c/b>\u003ci>microchips for millions\u003c/i> and \u003ci>Like a Solid to a Shadow\u003c/i>\u003cb>\u003ci> —\u003c/i>\u003c/b> as well as two chapbooks: \u003ci>you don’t know what you don’t know\u003c/i> and \u003ci>toxic city\u003c/i>. She is the Associate Editor of \u003ci>TAYO Literary Magazine.\u003c/i> She co-founded an open mic in Los Angeles called the \u003ca href=\"http://www.facebook.com/thesundayjump\">\u003cb>Sunday Jump\u003c/b>\u003c/a>. She also teaches part-time at Skyline College in San Bruno and San Jose City College, working with many students who haven’t had positive experiences with English literature.\u003c/p>\n\u003cfigure id=\"attachment_13741267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg\" alt=\"Janice Sapigao.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Sapigao. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did I \u003ca href=\"https://www.youtube.com/watch?v=uU5Pw9S4950\" target=\"_blank\" rel=\"noopener noreferrer\">hear right\u003c/a> watching one of your readings on YouTube: Sapigao means “nuts of the bird?”\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I lived in L.A. (for grad school), I was doing community work in the historic Filipino neighborhood there and I met an elder who taught me \u003cem>Ilokano\u003c/em> (a native language in the Philippines), and he told me that. I haven’t checked with any other source, but I like it.\u003c/p>\n\u003cp>\u003cb>Your parents were first-generation immigrants. How did your mother react when you told her “I want to be a poet!”\u003c/b>\u003c/p>\n\u003cp>I never had a moment when I told her I want to be a poet. What she tells my family is that I’m a journalist. She knows that I’ve always written, and I’ve read a lot of books. Her context around writing is different. In the Philippines, especially under martial law, writing was the way you could save your life and risk your life at the same time. A journalist is the closest thing to describing what it is that I do. I don’t know how else to say it, because my Americanness is seeping into everything, and maybe the words in English are not enough to say what she knows and I understand. That’s what my poetry looks like: the pieces of a puzzle trying to come together.\u003c/p>\n\u003cp>https://youtu.be/XfMONYmAGuA\u003c/p>\n\u003cp>\u003cb>How does teaching pull on different muscles from the work you do as an individual artist?\u003c/b>\u003c/p>\n\u003cp>Teaching forces me — in a good way — to rethink the possibilities of writing, and the possibilities of a story. A lot of students who come in to my classes will say “I’ve never read a book in its entirety.” Or “I’ve never written an essay that I liked.” They think saying that may get me to cut them some slack. I think that’s where the work begins. How can I really change the narrative of what students have been taught belongs in an English class?\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uU5Pw9S4950]\u003c/p>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>I look really young, and I am young, but I feel, being a Filipina, and being an artist, people treat me really shitty. There’s a lack of support from librarians, editors, people in my community who may be thinking that they’re helping me. In grad school, nobody said “Here’s how you’ll really be treated.” Especially when you’re a writer who identifies with several communities of struggle. Every time I try to stand up for myself or question, I get that same negative reaction. Community organizing has taught me that you can’t move the community if the community doesn’t want to move.\u003c/p>\n\u003cp>\u003cb>What organizations are supportive and “doing it right”?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Debug\u003c/a>. I just started writing a book review column for them. They’ve been super supportive. They do the same with other folks. It’s so welcoming. That’s a necessary resource in San Jose.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think of three things: money; more time to create; and residencies which combines both of those things. That are also local and easy to get into! There’s \u003ca href=\"http://www.djerassi.org\" target=\"_blank\" rel=\"noopener noreferrer\">Djerassi\u003c/a> and \u003ca href=\"http://montalvoarts.org/programs/residency/\" target=\"_blank\" rel=\"noopener noreferrer\">Montalvo\u003c/a>, but those are spaces for folks who’ve been able to build up their resumes, not for emerging artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Curious about who else made the list? Check out the \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch \u003c/i>\u003c/a>\u003ci>series page, including photo galleries, interviews, and videos.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Do you know a Bay Area artist who is doing amazing things? \u003c/i>\u003ca href=\"https://www.instagram.com/kqed_arts/\">\u003ci>We\u003c/i>\u003c/a>\u003ci> want to hear from you! Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003c/b>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.janicewrites.com\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Lobo Sapigao\u003c/a> grew up in Northside San Jose, the child of first-generation Filipino immigrants. Her mom worked the night shift, her dad, the day shift, and so Sapigao never saw them together except on weekends. After her dad died when she was just six years old, her family moved in with her cousin — and his family of 12 people.\u003c/p>\n\u003cp>“I lived in the same room with my mom and my brother for eight years,” Sapigao says. “I was the youngest, really quiet and observant. I didn’t really talk much, which is different from the way I am now!” Now, Sapigao loves to talk, and write, and teach others to do the same.\u003c/p>\n\u003cp>She’s published two books of poetry —\u003cb>\u003ci> \u003c/i>\u003c/b>\u003ci>microchips for millions\u003c/i> and \u003ci>Like a Solid to a Shadow\u003c/i>\u003cb>\u003ci> —\u003c/i>\u003c/b> as well as two chapbooks: \u003ci>you don’t know what you don’t know\u003c/i> and \u003ci>toxic city\u003c/i>. She is the Associate Editor of \u003ci>TAYO Literary Magazine.\u003c/i> She co-founded an open mic in Los Angeles called the \u003ca href=\"http://www.facebook.com/thesundayjump\">\u003cb>Sunday Jump\u003c/b>\u003c/a>. She also teaches part-time at Skyline College in San Bruno and San Jose City College, working with many students who haven’t had positive experiences with English literature.\u003c/p>\n\u003cfigure id=\"attachment_13741267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13741267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg\" alt=\"Janice Sapigao.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-janice-edited-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Sapigao. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did I \u003ca href=\"https://www.youtube.com/watch?v=uU5Pw9S4950\" target=\"_blank\" rel=\"noopener noreferrer\">hear right\u003c/a> watching one of your readings on YouTube: Sapigao means “nuts of the bird?”\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I lived in L.A. (for grad school), I was doing community work in the historic Filipino neighborhood there and I met an elder who taught me \u003cem>Ilokano\u003c/em> (a native language in the Philippines), and he told me that. I haven’t checked with any other source, but I like it.\u003c/p>\n\u003cp>\u003cb>Your parents were first-generation immigrants. How did your mother react when you told her “I want to be a poet!”\u003c/b>\u003c/p>\n\u003cp>I never had a moment when I told her I want to be a poet. What she tells my family is that I’m a journalist. She knows that I’ve always written, and I’ve read a lot of books. Her context around writing is different. In the Philippines, especially under martial law, writing was the way you could save your life and risk your life at the same time. A journalist is the closest thing to describing what it is that I do. I don’t know how else to say it, because my Americanness is seeping into everything, and maybe the words in English are not enough to say what she knows and I understand. That’s what my poetry looks like: the pieces of a puzzle trying to come together.\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/XfMONYmAGuA'\n title='//www.youtube.com/embed/XfMONYmAGuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>How does teaching pull on different muscles from the work you do as an individual artist?\u003c/b>\u003c/p>\n\u003cp>Teaching forces me — in a good way — to rethink the possibilities of writing, and the possibilities of a story. A lot of students who come in to my classes will say “I’ve never read a book in its entirety.” Or “I’ve never written an essay that I liked.” They think saying that may get me to cut them some slack. I think that’s where the work begins. How can I really change the narrative of what students have been taught belongs in an English class?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uU5Pw9S4950'\n title='//www.youtube.com/embed/uU5Pw9S4950'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What do you find most challenging about being an artist in the South Bay?\u003c/b>\u003c/p>\n\u003cp>I look really young, and I am young, but I feel, being a Filipina, and being an artist, people treat me really shitty. There’s a lack of support from librarians, editors, people in my community who may be thinking that they’re helping me. In grad school, nobody said “Here’s how you’ll really be treated.” Especially when you’re a writer who identifies with several communities of struggle. Every time I try to stand up for myself or question, I get that same negative reaction. Community organizing has taught me that you can’t move the community if the community doesn’t want to move.\u003c/p>\n\u003cp>\u003cb>What organizations are supportive and “doing it right”?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Debug\u003c/a>. I just started writing a book review column for them. They’ve been super supportive. They do the same with other folks. It’s so welcoming. That’s a necessary resource in San Jose.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think of three things: money; more time to create; and residencies which combines both of those things. That are also local and easy to get into! There’s \u003ca href=\"http://www.djerassi.org\" target=\"_blank\" rel=\"noopener noreferrer\">Djerassi\u003c/a> and \u003ca href=\"http://montalvoarts.org/programs/residency/\" target=\"_blank\" rel=\"noopener noreferrer\">Montalvo\u003c/a>, but those are spaces for folks who’ve been able to build up their resumes, not for emerging artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Curious about who else made the list? Check out the \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch \u003c/i>\u003c/a>\u003ci>series page, including photo galleries, interviews, and videos.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Do you know a Bay Area artist who is doing amazing things? \u003c/i>\u003ca href=\"https://www.instagram.com/kqed_arts/\">\u003ci>We\u003c/i>\u003c/a>\u003ci> want to hear from you! Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For an entire generation of writers, Michiko Kakutani acted at times as intrepid champion, hated villain or helping hand. But from her perch as chief book critic at \u003cem>The New York Times\u003c/em>, the Pulitzer Prize winner rarely left one thing in doubt: her vast influence over the literary world she assessed.\u003c/p>\n\u003cp>On Thursday, after 38 years, Kakutani announced she is stepping down.\u003c/p>\n\u003cp>“It is with profound gratitude for her tremendous service to readers of The Times and readers of books everywhere that we take a moment to recognize her remarkable contributions over the past four decades,” editors Pamela Paul and Parul Sehgal \u003ca href=\"http://www.nytco.com/michiko-kakutani-steps-down-as-chief-book-critic-parul-sehgal-named-book-critic/\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>“She has been one of our signature writers,” \u003cem>Times\u003c/em> Executive Editor Dean Baquet \u003ca href=\"https://twitter.com/xanalter/status/890619590660595713\" target=\"_blank\" rel=\"noopener\">said in a note\u003c/a> to the paper’s staff. “It is hard to imagine the story of the modern New York Times without a hefty chapter bearing her name.”\u003c/p>\n\u003cp>https://twitter.com/xanalter/status/890619590660595713\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Name a marquee author of the past several decades, and it’s just about certain that leading light was subjected to Kakutani’s scrutiny, along with hundreds of others. And a big name was far from a guarantor of a favorable review.\u003c/p>\n\u003cp>She was there to celebrate Nobel laureate Toni Morrison’s \u003cem>Beloved\u003c/em> as \u003ca href=\"http://www.nytimes.com/1987/09/02/books/books-of-the-times-788887.html\" target=\"_blank\" rel=\"noopener\">“dazzling”\u003c/a> — and to deride Morrison’s later work, \u003cem>Love\u003c/em>, as \u003ca href=\"http://www.nytimes.com/2003/10/31/books/books-of-the-times-family-secrets-feuding-women.html\" target=\"_blank\" rel=\"noopener\">“haphazard.”\u003c/a> She was as prepared to label Don Delillo’s \u003cem>Cosmopolis\u003c/em> \u003ca href=\"http://www.nytimes.com/2003/03/24/books/books-of-the-times-headed-toward-a-crash-of-sorts-in-a-stretch-limo.html\" target=\"_blank\" rel=\"noopener\">“a major dud”\u003c/a> as she was to laud his \u003cem>Underworld\u003c/em> as \u003ca href=\"http://www.nytimes.com/1997/09/16/books/books-of-the-times-of-america-as-a-splendid-junk-heap.html\" target=\"_blank\" rel=\"noopener\">“a dazzling, phosphorescent work of art.”\u003c/a>\u003c/p>\n\u003cp>It is perhaps this inclination toward mercilessness that earned Kakutani a fair share of critics in her own right — including \u003ca href=\"http://www.thecrimson.com/article.aspx?ref=523349\" target=\"_blank\" rel=\"noopener\">Jonathan Franzen\u003c/a> and Nicholson Baker, who said reading her reviews of his books was “like having my liver taken out without anaesthesia.”\u003c/p>\n\u003cp>“Bless her heart, she has reviewed seven of my books and I think she may have liked two and a half of them,” Baker \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1536561\" target=\"_blank\" rel=\"noopener\">told NPR in 2003\u003c/a>. “You know, so she always gives me a bad review, and she just doesn’t like my kind of writing.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/michiko-kakutani-retires/535113/\" target=\"_blank\" rel=\"noopener\">The Atlantic notes\u003c/a> that along with this bitterness often came respect:\u003c/p>\n\u003cblockquote>\n\u003cp>“And yet Kakutani, operating within a book culture that can sometimes bend toward hagiography and enthusiasm and smarm, has also distinguished herself by embracing ‘criticism’ in every sense of the word. She has been sharp, but she was never cruel. She has been on the side of the reader, always. If a book was a ‘lumpy hodgepodge,’ she has said that it was a lumpy hodgepodge—even if the creator of the mess happened to have been Margaret Atwood.\u003c/p>\n\u003cp>“And this in turn meant that, when Michiko Kakutani liked a book, the liking itself was a very, very big deal. Her criticism helped to make the careers of David Foster Wallace, and Zadie Smith, and George Saunders, and Mary Karr. And it helped to make her byline itself into a literary destination of its own. When Kakutani won the Pulitzer Prize in 1998, the judging committee cited not only her ‘fearless and authoritative’ journalism, but also the fact that her work had become ‘destination programming’ for people in the book world, such as it is, and beyond.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“It was like having the good fairy touch you on the shoulder with her wand,” Karr said of \u003ca href=\"http://www.nytimes.com/1995/05/26/books/books-of-the-times-they-re-liars-and-that-s-just-the-least-of-their-problems.html\" target=\"_blank\" rel=\"noopener\">the glowing review\u003c/a> she got from Kakutani. The review “was mostly about what a genius I was,” Karr laughed, “so yeah, she’s my best friend.”\u003c/p>\n\u003cp>Kakutani said Thursday she may be leaving criticism, but she will not be leaving writing. “Moving on to focus on longer pieces about politics & culture,” \u003ca href=\"https://twitter.com/michikokakutani/status/890632785572114432\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>, “though i will always love & write about books.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a commemoration of her career in criticism, the \u003cem>Times\u003c/em> compiled a \u003ca href=\"https://www.nytimes.com/2017/07/27/books/38-years-on-books-the-essential-michiko-kakutani-reader.html\" target=\"_blank\" rel=\"noopener\">highlight reel of her works here\u003c/a>. \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=Michiko+Kakutani%2C+Chief+%27Times%27+Book+Critic%2C+Steps+Down+After+Nearly+4+Decades&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "For 38 years the Pulitzer Prize winner was one of the most influential voices in the world of books. During her tenure, she lauded — or lambasted — just about all of this generation's great writers.",
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"title": "Michiko Kakutani, Chief 'Times' Book Critic, Steps Down After Nearly 4 Decades | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For an entire generation of writers, Michiko Kakutani acted at times as intrepid champion, hated villain or helping hand. But from her perch as chief book critic at \u003cem>The New York Times\u003c/em>, the Pulitzer Prize winner rarely left one thing in doubt: her vast influence over the literary world she assessed.\u003c/p>\n\u003cp>On Thursday, after 38 years, Kakutani announced she is stepping down.\u003c/p>\n\u003cp>“It is with profound gratitude for her tremendous service to readers of The Times and readers of books everywhere that we take a moment to recognize her remarkable contributions over the past four decades,” editors Pamela Paul and Parul Sehgal \u003ca href=\"http://www.nytco.com/michiko-kakutani-steps-down-as-chief-book-critic-parul-sehgal-named-book-critic/\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>“She has been one of our signature writers,” \u003cem>Times\u003c/em> Executive Editor Dean Baquet \u003ca href=\"https://twitter.com/xanalter/status/890619590660595713\" target=\"_blank\" rel=\"noopener\">said in a note\u003c/a> to the paper’s staff. “It is hard to imagine the story of the modern New York Times without a hefty chapter bearing her name.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Name a marquee author of the past several decades, and it’s just about certain that leading light was subjected to Kakutani’s scrutiny, along with hundreds of others. And a big name was far from a guarantor of a favorable review.\u003c/p>\n\u003cp>She was there to celebrate Nobel laureate Toni Morrison’s \u003cem>Beloved\u003c/em> as \u003ca href=\"http://www.nytimes.com/1987/09/02/books/books-of-the-times-788887.html\" target=\"_blank\" rel=\"noopener\">“dazzling”\u003c/a> — and to deride Morrison’s later work, \u003cem>Love\u003c/em>, as \u003ca href=\"http://www.nytimes.com/2003/10/31/books/books-of-the-times-family-secrets-feuding-women.html\" target=\"_blank\" rel=\"noopener\">“haphazard.”\u003c/a> She was as prepared to label Don Delillo’s \u003cem>Cosmopolis\u003c/em> \u003ca href=\"http://www.nytimes.com/2003/03/24/books/books-of-the-times-headed-toward-a-crash-of-sorts-in-a-stretch-limo.html\" target=\"_blank\" rel=\"noopener\">“a major dud”\u003c/a> as she was to laud his \u003cem>Underworld\u003c/em> as \u003ca href=\"http://www.nytimes.com/1997/09/16/books/books-of-the-times-of-america-as-a-splendid-junk-heap.html\" target=\"_blank\" rel=\"noopener\">“a dazzling, phosphorescent work of art.”\u003c/a>\u003c/p>\n\u003cp>It is perhaps this inclination toward mercilessness that earned Kakutani a fair share of critics in her own right — including \u003ca href=\"http://www.thecrimson.com/article.aspx?ref=523349\" target=\"_blank\" rel=\"noopener\">Jonathan Franzen\u003c/a> and Nicholson Baker, who said reading her reviews of his books was “like having my liver taken out without anaesthesia.”\u003c/p>\n\u003cp>“Bless her heart, she has reviewed seven of my books and I think she may have liked two and a half of them,” Baker \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1536561\" target=\"_blank\" rel=\"noopener\">told NPR in 2003\u003c/a>. “You know, so she always gives me a bad review, and she just doesn’t like my kind of writing.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/michiko-kakutani-retires/535113/\" target=\"_blank\" rel=\"noopener\">The Atlantic notes\u003c/a> that along with this bitterness often came respect:\u003c/p>\n\u003cblockquote>\n\u003cp>“And yet Kakutani, operating within a book culture that can sometimes bend toward hagiography and enthusiasm and smarm, has also distinguished herself by embracing ‘criticism’ in every sense of the word. She has been sharp, but she was never cruel. She has been on the side of the reader, always. If a book was a ‘lumpy hodgepodge,’ she has said that it was a lumpy hodgepodge—even if the creator of the mess happened to have been Margaret Atwood.\u003c/p>\n\u003cp>“And this in turn meant that, when Michiko Kakutani liked a book, the liking itself was a very, very big deal. Her criticism helped to make the careers of David Foster Wallace, and Zadie Smith, and George Saunders, and Mary Karr. And it helped to make her byline itself into a literary destination of its own. When Kakutani won the Pulitzer Prize in 1998, the judging committee cited not only her ‘fearless and authoritative’ journalism, but also the fact that her work had become ‘destination programming’ for people in the book world, such as it is, and beyond.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“It was like having the good fairy touch you on the shoulder with her wand,” Karr said of \u003ca href=\"http://www.nytimes.com/1995/05/26/books/books-of-the-times-they-re-liars-and-that-s-just-the-least-of-their-problems.html\" target=\"_blank\" rel=\"noopener\">the glowing review\u003c/a> she got from Kakutani. The review “was mostly about what a genius I was,” Karr laughed, “so yeah, she’s my best friend.”\u003c/p>\n\u003cp>Kakutani said Thursday she may be leaving criticism, but she will not be leaving writing. “Moving on to focus on longer pieces about politics & culture,” \u003ca href=\"https://twitter.com/michikokakutani/status/890632785572114432\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>, “though i will always love & write about books.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a commemoration of her career in criticism, the \u003cem>Times\u003c/em> compiled a \u003ca href=\"https://www.nytimes.com/2017/07/27/books/38-years-on-books-the-essential-michiko-kakutani-reader.html\" target=\"_blank\" rel=\"noopener\">highlight reel of her works here\u003c/a>. \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=Michiko+Kakutani%2C+Chief+%27Times%27+Book+Critic%2C+Steps+Down+After+Nearly+4+Decades&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-enduring-legacy-of-jane-austens-truth-universally-acknowledged",
"title": "The Enduring Legacy of Jane Austen's 'Truth Universally Acknowledged'",
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"headTitle": "The Enduring Legacy of Jane Austen’s ‘Truth Universally Acknowledged’ | KQED",
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"content": "\u003cp>\u003cem>Geoff Nunberg (\u003c/em>\u003ca href=\"https://twitter.com/GeoffNunberg\">@GeoffNunberg\u003c/a>) \u003cem>is a linguist who teaches at the School of Information at the University of California at Berkeley.\u003c/em>\u003c/p>\n\u003cp>Shortly after Amazon introduced the Kindle, they put up a page with a ranked list of the most frequently highlighted passages across all the books. It’s not there anymore, but when I first looked at the list in 2013, the opening sentence of \u003cem>Pride and Prejudice\u003c/em> was in third place. That was all the more impressive because eight of the other top 10 finishers were passages from the \u003cem>Hunger Games\u003c/em> series, which was the hit of the season that year, as Austen’s novel had been exactly 200 years earlier.\u003c/p>\n\u003cp>“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”\u003c/p>\n\u003cp>We can argue about whether that’s the most famous first line in English literature or whether the honor belongs to the opening sentence of \u003cem>Moby Dick\u003c/em> or \u003cem>A Tale of Two Cities\u003c/em> or \u003cem>1984\u003c/em>. But there’s no other opening sentence that lends itself so well to sampling, mash-ups and adaptation.\u003c/p>\n\u003cp>If you’re looking to add a literary touch to your article on \u003ca href=\"http://www.pensions-expert.com/index.php/DC-Auto-enrolment/Default-DC-structures-require-closer-scrutiny\">pension schemes\u003c/a> or \u003ca href=\"http://humblebeehome.blogspot.com/2014/02/it-is-truth-universally-acknowledged.html\">emergency contraceptives\u003c/a>, you’re not going to get very far with “Call me Ishmael.” But “It is a truth universally acknowledged” is always available as an elegant replacement for “As everybody knows” when you want to introduce some banal truism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The phrase is ubiquitous in the age of Jane-o-mania. Rummage around on the Internet and you’ll learn that it is a truth universally acknowledged that a “pop star in possession of a good fortune must be \u003ca href=\"https://blogs.wsj.com/speakeasy/2013/08/13/fans-show-pride-in-jane-austen-and-prejudice-against-kelly-clarkson/\">in want of baubles\u003c/a>,” that business class \u003ca href=\"https://www.thelocal.no/20170404/10-reasons-to-get-on-board-with-qatar-airways-qsuite-qatar-tlccu\">is more comfortable\u003c/a> than economy, that “\u003ca href=\"https://www.yahoo.com/style/grandpa-got-stood-internet-isnt-155500930.html\">online dating sucks\u003c/a>” and, needless to say, that Jane Austen “\u003ca href=\"http://ew.com/article/2013/01/28/pride-and-prejudice-anniversary-colin-firth/?http://p=872946\">has left quite a mark\u003c/a> on pop culture.”\u003c/p>\n\u003cp>Here’s the puzzling thing. Those adaptations of Austen’s sentence are almost never ironic or facetious. They only underscore the prevailing wisdom, rather than throwing it into question.\u003c/p>\n\u003cp>Yet my guess is that a large portion of the people who adapt that sentence know perfectly well that the original version is anything but straightforward. It may be the single most celebrated example of literary irony in all of English literature. Pick up a paperback of \u003cem>Pride and Prejudice\u003c/em> at a garage sale and it’s even money you’ll find the first sentence underlined with “IRONY” written in the margin.\u003c/p>\n\u003cp>The sentence may look like a truism, but the first part actually undermines the second. In her book \u003cem>Why Jane Austen\u003c/em>, Rachel Brownstein points out that if the novel had begun simply with “A single man possessed of a good fortune must be in want of a wife,” we’d snuggle in for a stock romantic story. We might expect the next sentence to describe an aristocratic Colin Firth lookalike galloping full-tilt toward the Bennets’ house at Longbourn.\u003c/p>\n\u003cp>But prefacing that clause with “It is a truth universally acknowledged” implies that’s only what most people say they believe — after all, if everybody really does accept it, why bother to mention the fact? In fact, as Austen says in the following sentence, nobody really cares what the wealthy man himself thinks he needs. There’s only one truth that matters to Mrs. Bennet and the other families in the neighborhood — that a daughter who has no fortune must be found a well-to-do husband to look after her, which Mrs. Bennet has made “the business of her life.”\u003c/p>\n\u003cp>But we suspect that Austen has her reservations about that single-minded pursuit of an advantageous marriage, even if she doesn’t say so outright. And we’re flattered to think that she counts on astute readers like us to pick up on that, while others will miss it. It makes us feel complicit with her. As the modernist writer Katherine Mansfield wrote in 1920, “every true admirer of [Austen’s] novels cherishes the happy thought that he alone — reading between the lines — has become the secret friend of their author.” (That pronoun “he” gives us a start now, but bear in mind that back then the most prominent Austen devotees were the male literati of the Bloomsbury set.)\u003c/p>\n\u003cp>Austen’s sentence is a masterpiece of indirection, and it’s no wonder that people keep trying to repurpose it in the hope that they can pluck it from its original context and its irony will somehow cling to its roots. But that can’t happen without the covert wink, the tip-off to the sharp reader that the truth isn’t as pat as the rest of the sentence makes it seem. Otherwise, the phrase is an empty gesture. It merely signifies irony, the way an empire waistline or a neck cloth signifies Regency gentility.\u003c/p>\n\u003cp>OK, it’s just a sentence. But it points to what always happens when Austen is repackaged for export. There have been some wonderful stage, \u003ca href=\"https://www.youtube.com/watch?v=sk4hAHHB7L8\">film\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice_(1980_TV_series)\">TV adaptations\u003c/a> of \u003cem>Pride and Prejudice\u003c/em> over the years. But as charming as they are, they can only depict the second half of that opening sentence, the Colin Firth \u003ca href=\"https://www.youtube.com/watch?v=hasKmDr1yrA\">bits\u003c/a>. We get a beguiling story of romance and courtship. But we don’t see it at Austen’s skeptical remove. We miss the arched eyebrow, the sly and confiding voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the paradox of Austen’s novels. Like the opening sentence of \u003cem>Pride and Prejudice\u003c/em>, they cry out for adaptation. They seem infinitely resilient: You can relocate them to \u003ca href=\"http://www.npr.org/2015/07/17/423740582/in-clothes-and-language-clueless-offered-counterpoint-to-grunge-crowd\">Beverly Hills\u003c/a> or \u003ca href=\"https://en.wikipedia.org/wiki/Aisha_(film)\">Delhi\u003c/a>; rewrite them as \u003ca href=\"http://www.npr.org/2011/11/29/142848012/pride-and-prejudice-meets-clue-at-pemberley\">murder mysteries\u003c/a> or \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/10/thank-the-bbc-for-jane-austen-erotica/412039/\">erotica\u003c/a>; populate them with \u003ca href=\"https://books.google.com/books?id=rrYemmZ_P5gC&printsec=frontcover#v=onepage&q&f=false\">vampires\u003c/a> or \u003ca href=\"http://www.npr.org/2016/02/04/465305804/these-zombies-make-an-austen-update-even-the-undead-cant-revive\">zombies\u003c/a> — they’ll always retain some trace of their original appeal. Yet there are few other novels so unwilling to give up their souls. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Enduring+Legacy+Of+Jane+Austen%27s+%27Truth+Universally+Acknowledged%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Geoff Nunberg (\u003c/em>\u003ca href=\"https://twitter.com/GeoffNunberg\">@GeoffNunberg\u003c/a>) \u003cem>is a linguist who teaches at the School of Information at the University of California at Berkeley.\u003c/em>\u003c/p>\n\u003cp>Shortly after Amazon introduced the Kindle, they put up a page with a ranked list of the most frequently highlighted passages across all the books. It’s not there anymore, but when I first looked at the list in 2013, the opening sentence of \u003cem>Pride and Prejudice\u003c/em> was in third place. That was all the more impressive because eight of the other top 10 finishers were passages from the \u003cem>Hunger Games\u003c/em> series, which was the hit of the season that year, as Austen’s novel had been exactly 200 years earlier.\u003c/p>\n\u003cp>“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”\u003c/p>\n\u003cp>We can argue about whether that’s the most famous first line in English literature or whether the honor belongs to the opening sentence of \u003cem>Moby Dick\u003c/em> or \u003cem>A Tale of Two Cities\u003c/em> or \u003cem>1984\u003c/em>. But there’s no other opening sentence that lends itself so well to sampling, mash-ups and adaptation.\u003c/p>\n\u003cp>If you’re looking to add a literary touch to your article on \u003ca href=\"http://www.pensions-expert.com/index.php/DC-Auto-enrolment/Default-DC-structures-require-closer-scrutiny\">pension schemes\u003c/a> or \u003ca href=\"http://humblebeehome.blogspot.com/2014/02/it-is-truth-universally-acknowledged.html\">emergency contraceptives\u003c/a>, you’re not going to get very far with “Call me Ishmael.” But “It is a truth universally acknowledged” is always available as an elegant replacement for “As everybody knows” when you want to introduce some banal truism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The phrase is ubiquitous in the age of Jane-o-mania. Rummage around on the Internet and you’ll learn that it is a truth universally acknowledged that a “pop star in possession of a good fortune must be \u003ca href=\"https://blogs.wsj.com/speakeasy/2013/08/13/fans-show-pride-in-jane-austen-and-prejudice-against-kelly-clarkson/\">in want of baubles\u003c/a>,” that business class \u003ca href=\"https://www.thelocal.no/20170404/10-reasons-to-get-on-board-with-qatar-airways-qsuite-qatar-tlccu\">is more comfortable\u003c/a> than economy, that “\u003ca href=\"https://www.yahoo.com/style/grandpa-got-stood-internet-isnt-155500930.html\">online dating sucks\u003c/a>” and, needless to say, that Jane Austen “\u003ca href=\"http://ew.com/article/2013/01/28/pride-and-prejudice-anniversary-colin-firth/?http://p=872946\">has left quite a mark\u003c/a> on pop culture.”\u003c/p>\n\u003cp>Here’s the puzzling thing. Those adaptations of Austen’s sentence are almost never ironic or facetious. They only underscore the prevailing wisdom, rather than throwing it into question.\u003c/p>\n\u003cp>Yet my guess is that a large portion of the people who adapt that sentence know perfectly well that the original version is anything but straightforward. It may be the single most celebrated example of literary irony in all of English literature. Pick up a paperback of \u003cem>Pride and Prejudice\u003c/em> at a garage sale and it’s even money you’ll find the first sentence underlined with “IRONY” written in the margin.\u003c/p>\n\u003cp>The sentence may look like a truism, but the first part actually undermines the second. In her book \u003cem>Why Jane Austen\u003c/em>, Rachel Brownstein points out that if the novel had begun simply with “A single man possessed of a good fortune must be in want of a wife,” we’d snuggle in for a stock romantic story. We might expect the next sentence to describe an aristocratic Colin Firth lookalike galloping full-tilt toward the Bennets’ house at Longbourn.\u003c/p>\n\u003cp>But prefacing that clause with “It is a truth universally acknowledged” implies that’s only what most people say they believe — after all, if everybody really does accept it, why bother to mention the fact? In fact, as Austen says in the following sentence, nobody really cares what the wealthy man himself thinks he needs. There’s only one truth that matters to Mrs. Bennet and the other families in the neighborhood — that a daughter who has no fortune must be found a well-to-do husband to look after her, which Mrs. Bennet has made “the business of her life.”\u003c/p>\n\u003cp>But we suspect that Austen has her reservations about that single-minded pursuit of an advantageous marriage, even if she doesn’t say so outright. And we’re flattered to think that she counts on astute readers like us to pick up on that, while others will miss it. It makes us feel complicit with her. As the modernist writer Katherine Mansfield wrote in 1920, “every true admirer of [Austen’s] novels cherishes the happy thought that he alone — reading between the lines — has become the secret friend of their author.” (That pronoun “he” gives us a start now, but bear in mind that back then the most prominent Austen devotees were the male literati of the Bloomsbury set.)\u003c/p>\n\u003cp>Austen’s sentence is a masterpiece of indirection, and it’s no wonder that people keep trying to repurpose it in the hope that they can pluck it from its original context and its irony will somehow cling to its roots. But that can’t happen without the covert wink, the tip-off to the sharp reader that the truth isn’t as pat as the rest of the sentence makes it seem. Otherwise, the phrase is an empty gesture. It merely signifies irony, the way an empire waistline or a neck cloth signifies Regency gentility.\u003c/p>\n\u003cp>OK, it’s just a sentence. But it points to what always happens when Austen is repackaged for export. There have been some wonderful stage, \u003ca href=\"https://www.youtube.com/watch?v=sk4hAHHB7L8\">film\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice_(1980_TV_series)\">TV adaptations\u003c/a> of \u003cem>Pride and Prejudice\u003c/em> over the years. But as charming as they are, they can only depict the second half of that opening sentence, the Colin Firth \u003ca href=\"https://www.youtube.com/watch?v=hasKmDr1yrA\">bits\u003c/a>. We get a beguiling story of romance and courtship. But we don’t see it at Austen’s skeptical remove. We miss the arched eyebrow, the sly and confiding voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the paradox of Austen’s novels. Like the opening sentence of \u003cem>Pride and Prejudice\u003c/em>, they cry out for adaptation. They seem infinitely resilient: You can relocate them to \u003ca href=\"http://www.npr.org/2015/07/17/423740582/in-clothes-and-language-clueless-offered-counterpoint-to-grunge-crowd\">Beverly Hills\u003c/a> or \u003ca href=\"https://en.wikipedia.org/wiki/Aisha_(film)\">Delhi\u003c/a>; rewrite them as \u003ca href=\"http://www.npr.org/2011/11/29/142848012/pride-and-prejudice-meets-clue-at-pemberley\">murder mysteries\u003c/a> or \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/10/thank-the-bbc-for-jane-austen-erotica/412039/\">erotica\u003c/a>; populate them with \u003ca href=\"https://books.google.com/books?id=rrYemmZ_P5gC&printsec=frontcover#v=onepage&q&f=false\">vampires\u003c/a> or \u003ca href=\"http://www.npr.org/2016/02/04/465305804/these-zombies-make-an-austen-update-even-the-undead-cant-revive\">zombies\u003c/a> — they’ll always retain some trace of their original appeal. Yet there are few other novels so unwilling to give up their souls. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Enduring+Legacy+Of+Jane+Austen%27s+%27Truth+Universally+Acknowledged%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Women to Watch: Laleh Khadivi | KQED",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Even after 25 years in the Bay Area, it’s \u003ca href=\"http://laleh-khadivi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laleh Khadivi\u003c/a>’s experience of growing up all over the world that shapes her work. Born in Esfahan, Iran, she moved with her parents to the United States when she was five. Over the years her family lived in Los Angeles, Atlanta, London and other locations abroad, before her parents eventually settled in Orange County, south of Los Angeles.\u003c/p>\n\u003cp>That’s the setting for Khadivi’s latest novel, \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/07/02/the-coming-of-age-of-an-american-islamist-radical-recruit/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Country\u003c/a>\u003c/em>, which tells the story of Rez, a Muslim-American teen who goes from stoner Laguna Beach high-school student to radicalized youth. The book is part of Khadivi’s Kurdish trilogy, following 2009’s \u003cem>\u003ca href=\"https://www.bloomsbury.com/in/the-age-of-orphans-9781408813881/\" target=\"_blank\" rel=\"noopener noreferrer\">The Age of Orphans\u003c/a>\u003c/em> and 2012’s \u003cem>\u003ca href=\"https://www.bloomsbury.com/in/the-walking-9781408814956/\" target=\"_blank\" rel=\"noopener noreferrer\">The Walking\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Not content to work within just one medium, Khadivi is also a lauded filmmaker. \u003cem>900 Women\u003c/em>, her documentary of life at the Louisiana Correctional Institute for Women, premiered at the Human Rights Watch Film Festival and on A&E in 2001. Themes of borders, identity and migration run through much of her work.\u003c/p>\n\u003cfigure id=\"attachment_13689720\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13689720\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/laleh-mesh.jpg\" alt=\"Laleh Khadivi\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Laleh Khadivi \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How have your experiences as an immigrant and an Iranian-American informed your work?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The experience of moving gave me an insight into what it is to be transient on this planet. And the ways in which leaving a community, and entering a community, can give you a sense of the ways in which human beings make community. They are different and the same.\u003c/p>\n\u003cp>\u003cstrong>Your latest novel is about the radicalization of a youth in Orange County. How does your work fit into the current “state of the union” and issues like the travel ban? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13540847\" class=\"wp-caption alignright\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13540847\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/cover.jpg\" alt=\"'A Good Country,' by Laleh Khadivi.\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-240x364.jpg 240w\" sizes=\"(max-width: 329px) 100vw, 329px\">\u003cfigcaption class=\"wp-caption-text\">‘A Good Country,’ by Laleh Khadivi.\u003c/figcaption>\u003c/figure>\n\u003cp>I think about the idea of borders a lot. What they are for and how they work. \u003cem>A Good Country\u003c/em> is about a young man who decides to leave the United States. He’s supposed to be going to college and fulfilling the American dream. Instead he gets on a plane and goes to Turkey so he can go to Syria. He’s not entering the U.S. to create violence.\u003c/p>\n\u003cp>In that way, the ban looks ridiculous. It’s unproven and untested. The United States has been defined by having porous borders for its entire history, by the people allowed in. And by the ways in which it offers opportunities that do and do not pan out. But it provides a fluid entry and exit — more than some places. To close those doors you are making another definition for the U.S., one that’s more exclusive. We are just seeing the very beginning of that right now.\u003c/p>\n\u003cp>https://youtu.be/W4pln8Ecw08\u003c/p>\n\u003cp>\u003cstrong>Do you have any advice for women to stay on the writing path? How do you stay inspired and motivated to work? \u003c/strong>\u003c/p>\n\u003cp>I’m motivated by the need to tell these stories. This trilogy began more than ten years ago, to track the lives of three generations of men, and to try to understand how the world shapes a person versus how a person thinks they shape the world. These philosophical questions push me. I’m also — to be perfectly honest — driven by a boring, daily need, both financial and professional, to work.\u003c/p>\n\u003cp>I don’t think being a writer is some sort of mystical calling. I write books for the expression of the story, the communication of myself, and also to make money. That pushes a story out of me at a much faster rate than my own artistic desire. I don’t have the kind of life where I can sit around and dabble. I come to a project, I commit to it, it makes my life very difficult for a period of a year and a half, and I finish it.\u003c/p>\n\u003cp>For women especially, if you want to be an artist, it’s important to take yourself seriously and think of yourself as a businessperson. Respect that. Don’t be embarrassed about it. Recognize that there is a business element, a hustle, to it. You have to chase it.\u003c/p>\n\u003cfigure id=\"attachment_13689721\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13689721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/laleh-mesh-2.jpg\" alt=\"Laleh Khadivi\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Laleh Khadivi \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What local places trigger your creativity? \u003c/strong>\u003c/p>\n\u003cp>I spent a lot of time — before I had children — hiking all over the Bay: Marin, the Oakland Hills, Tilden Park. I spent probably the entirety of writing the second book hiking around Bernal because I was living in the city at the time. The Bay Area has some of the most beautiful walking paths in the world. You are always close to a forest or a view. Within a half hour, you can be in the trees or in a field. That is such artistic, emotional, and spiritual solace to me.\u003c/p>\n\u003cp>I’m also a fan and devotee of City Lights. I spend a lot of time getting inspired by the musicians that play at Yoshi’s in Jack London Square. And finally, it’s not necessarily an inspiration, but this weird marine layer weather pattern, the opposite of joyous summer. It’s freezing outside, and it’s July. Instead of being outside and swimming in pools and throwing frisbees, I’m inside complaining about the fog, but I then read books and write more.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area? \u003c/strong>\u003c/p>\n\u003cp>1. Fully subsidized child care.\u003cbr>\n2. Platforms for public appearances or presentations of women’s artwork that are high-caliber, integrated with the work of men, and presented in a way that does not fetishize femininity.\u003cbr>\n3. Access to a national and international microphone — some system, organization or community, that gets women’s work out of the neighborhood, out of the Bay Area, and into conversations in New York, Paris or Shanghai.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a> series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Themes of borders, identity and migration run through author and filmmaker Laleh Khadivi's work — including 'A Good Country,' the compelling final book in her Kurdish trilogy.",
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"headline": "Women to Watch: Laleh Khadivi",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Even after 25 years in the Bay Area, it’s \u003ca href=\"http://laleh-khadivi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laleh Khadivi\u003c/a>’s experience of growing up all over the world that shapes her work. Born in Esfahan, Iran, she moved with her parents to the United States when she was five. Over the years her family lived in Los Angeles, Atlanta, London and other locations abroad, before her parents eventually settled in Orange County, south of Los Angeles.\u003c/p>\n\u003cp>That’s the setting for Khadivi’s latest novel, \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/07/02/the-coming-of-age-of-an-american-islamist-radical-recruit/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Country\u003c/a>\u003c/em>, which tells the story of Rez, a Muslim-American teen who goes from stoner Laguna Beach high-school student to radicalized youth. The book is part of Khadivi’s Kurdish trilogy, following 2009’s \u003cem>\u003ca href=\"https://www.bloomsbury.com/in/the-age-of-orphans-9781408813881/\" target=\"_blank\" rel=\"noopener noreferrer\">The Age of Orphans\u003c/a>\u003c/em> and 2012’s \u003cem>\u003ca href=\"https://www.bloomsbury.com/in/the-walking-9781408814956/\" target=\"_blank\" rel=\"noopener noreferrer\">The Walking\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Not content to work within just one medium, Khadivi is also a lauded filmmaker. \u003cem>900 Women\u003c/em>, her documentary of life at the Louisiana Correctional Institute for Women, premiered at the Human Rights Watch Film Festival and on A&E in 2001. Themes of borders, identity and migration run through much of her work.\u003c/p>\n\u003cfigure id=\"attachment_13689720\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13689720\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/laleh-mesh.jpg\" alt=\"Laleh Khadivi\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Laleh Khadivi \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How have your experiences as an immigrant and an Iranian-American informed your work?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The experience of moving gave me an insight into what it is to be transient on this planet. And the ways in which leaving a community, and entering a community, can give you a sense of the ways in which human beings make community. They are different and the same.\u003c/p>\n\u003cp>\u003cstrong>Your latest novel is about the radicalization of a youth in Orange County. How does your work fit into the current “state of the union” and issues like the travel ban? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13540847\" class=\"wp-caption alignright\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13540847\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/cover.jpg\" alt=\"'A Good Country,' by Laleh Khadivi.\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-240x364.jpg 240w\" sizes=\"(max-width: 329px) 100vw, 329px\">\u003cfigcaption class=\"wp-caption-text\">‘A Good Country,’ by Laleh Khadivi.\u003c/figcaption>\u003c/figure>\n\u003cp>I think about the idea of borders a lot. What they are for and how they work. \u003cem>A Good Country\u003c/em> is about a young man who decides to leave the United States. He’s supposed to be going to college and fulfilling the American dream. Instead he gets on a plane and goes to Turkey so he can go to Syria. He’s not entering the U.S. to create violence.\u003c/p>\n\u003cp>In that way, the ban looks ridiculous. It’s unproven and untested. The United States has been defined by having porous borders for its entire history, by the people allowed in. And by the ways in which it offers opportunities that do and do not pan out. But it provides a fluid entry and exit — more than some places. To close those doors you are making another definition for the U.S., one that’s more exclusive. We are just seeing the very beginning of that right now.\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/W4pln8Ecw08'\n title='//www.youtube.com/embed/W4pln8Ecw08'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do you have any advice for women to stay on the writing path? How do you stay inspired and motivated to work? \u003c/strong>\u003c/p>\n\u003cp>I’m motivated by the need to tell these stories. This trilogy began more than ten years ago, to track the lives of three generations of men, and to try to understand how the world shapes a person versus how a person thinks they shape the world. These philosophical questions push me. I’m also — to be perfectly honest — driven by a boring, daily need, both financial and professional, to work.\u003c/p>\n\u003cp>I don’t think being a writer is some sort of mystical calling. I write books for the expression of the story, the communication of myself, and also to make money. That pushes a story out of me at a much faster rate than my own artistic desire. I don’t have the kind of life where I can sit around and dabble. I come to a project, I commit to it, it makes my life very difficult for a period of a year and a half, and I finish it.\u003c/p>\n\u003cp>For women especially, if you want to be an artist, it’s important to take yourself seriously and think of yourself as a businessperson. Respect that. Don’t be embarrassed about it. Recognize that there is a business element, a hustle, to it. You have to chase it.\u003c/p>\n\u003cfigure id=\"attachment_13689721\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13689721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/laleh-mesh-2.jpg\" alt=\"Laleh Khadivi\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/laleh-mesh-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Laleh Khadivi \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What local places trigger your creativity? \u003c/strong>\u003c/p>\n\u003cp>I spent a lot of time — before I had children — hiking all over the Bay: Marin, the Oakland Hills, Tilden Park. I spent probably the entirety of writing the second book hiking around Bernal because I was living in the city at the time. The Bay Area has some of the most beautiful walking paths in the world. You are always close to a forest or a view. Within a half hour, you can be in the trees or in a field. That is such artistic, emotional, and spiritual solace to me.\u003c/p>\n\u003cp>I’m also a fan and devotee of City Lights. I spend a lot of time getting inspired by the musicians that play at Yoshi’s in Jack London Square. And finally, it’s not necessarily an inspiration, but this weird marine layer weather pattern, the opposite of joyous summer. It’s freezing outside, and it’s July. Instead of being outside and swimming in pools and throwing frisbees, I’m inside complaining about the fog, but I then read books and write more.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area? \u003c/strong>\u003c/p>\n\u003cp>1. Fully subsidized child care.\u003cbr>\n2. Platforms for public appearances or presentations of women’s artwork that are high-caliber, integrated with the work of men, and presented in a way that does not fetishize femininity.\u003cbr>\n3. Access to a national and international microphone — some system, organization or community, that gets women’s work out of the neighborhood, out of the Bay Area, and into conversations in New York, Paris or Shanghai.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a> series page, including photo galleries, interviews, and videos.\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>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hooked-on-twin-peaks-have-some-dark-dark-to-go-with-it",
"title": "Hooked on 'Twin Peaks'? Have Some 'Dark Dark' to Go With It",
"publishDate": 1500217222,
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"headTitle": "Hooked on ‘Twin Peaks’? Have Some ‘Dark Dark’ to Go With It | KQED",
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"content": "\u003cp>I love \u003cem>Twin Peaks\u003c/em> like I love a great thunderstorm. For those not in the know, \u003cem>Twin Peaks\u003c/em> is the \u003ca href=\"http://www.rollingstone.com/tv/lists/20-tv-shows-most-influenced-by-twin-peaks-w481390\" target=\"_blank\" rel=\"noopener\">best television series\u003c/a> ever made, following the strange affairs of an at-first-glance-wholesome town turned upside-down by the murder of a homecoming queen, the investigation of which dregs up tenebrous secrets of both the human and supernatural kind. What’s not to love?\u003c/p>\n\u003cp>http://gph.is/XIdK3w\u003c/p>\n\u003cp>Made in the ’90s, and directed by David Lynch, \u003cem>Twin Peaks\u003c/em> has returned for a new season. I’ve heard the gripes over the fact that Lynch has turned an eye toward colder aspects of modernity rather than the small-town quaintness we came to love—to which I say, \u003cem>phooey\u003c/em>, the eerie and mystical is like mold and it can exist anywhere. We’re at a point in the season where the newly-arrived have tuned into something more digestible, while the Lynchean evangelists continue to watch, saying, \u003cem>hold on, just one more episode, this is about to get really good\u003c/em>. But perhaps even the most evangelist-ist of us are beginning to lose heart.\u003c/p>\n\u003cp>While we wait for David Lynch to either torch the series and watch it go up in flames like the gleeful monster he is, or bring back the beloved Agent Dale Cooper (\u003cem>do the right thing, David\u003c/em>), I’ve got the book just for you—it is Samantha Hunt’s first story collection, \u003cem>The Dark Dark\u003c/em>.\u003c/p>\n\u003cp>In these stories, life is inspected under the glaring lights of suburbia, Home Depot, and Walmart: women court madness and danger, and are at the edge of becoming something other—and, like in our best Lynchean dreams, these are stories with talons dipped into the eerie and the supernatural.\u003c/p>\n\u003cfigure id=\"attachment_13647550\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13647550 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg\" alt=\"\" width=\"640\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1180x1713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-960x1393.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samantha Hunt. Author of the novels ‘The Invention of Everything Else,’ ‘Mr. Splitfoot,’ and ‘The Seas.’\u003c/figcaption>\u003c/figure>\n\u003cp>In one story, for example, a town is thrown into disarray by the simultaneous pregnancy of 13 mysterious teens; in another, a woman trying to convince herself that death is uncomplicated watches her dog come back to life. The writing in \u003cem>The Dark Dark \u003c/em>is swoon-worthy, and craft-wise, there is not one hair out of place. In fact, if you were standing before me I might push this book immediately into your hands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s more, I might open the book to page 47, to the third story titled \u003cem>Beast \u003c/em>, and instruct you to read.\u003c/p>\n\u003cblockquote>\u003cp>I read the newspaper in bed at night, propping it open on my belly. My boobs fall off to either side as if they are already asleep, as if they care little for the news of the world after the day is done. Still, I read the paper as a refreshment, like a breath mint or a catalog filled with clothes I would never buy.\u003c/p>\u003c/blockquote>\n\u003cp>She personally had me at “\u003cem>My boobs fall off to either side as if they are already asleep.”\u003c/em> The woman in this story is an endearing worrier. She cannot sleep thinking about whether she has lyme disease, what the noises are in the dark, whether her husband is cheating, whether she herself might cheat—then she turns into a deer at night:\u003c/p>\n\u003cblockquote>\u003cp>[This] week I haven’t been able to fall asleep quickly. I know it’s coming, so I fret and listen while my husband’s breath deepens and slows. […] I wait, and just when I think too much time has passed, that maybe it won’t happen tonight, it happens so quickly I can’t scream. My hands and feet harden into small hooves, the fingers and toes swallowed up by bone, and then the most frightening part is over with, the part where I lose my opposable thumbs. Next the fur, brown speckled with some white. This sprouting feels like a stretch or like I’m itching each individual follicle from the inside as a wiry hair pokes through a pore. My arms and legs grow narrow, driving all their muscles up the flank. My neck thickens and grows. I feel my tail. I like my tail. Finally my face pulls into a tight, hard nose. My jaw extends, my tongue grows long and thick, my lips shrink before turning black and hard as leather. And then it’s done. And then I am a deer.\u003c/p>\u003c/blockquote>\n\u003cp>Samantha Hunt has written a perfect story collection, and she’s opened and closed the book with stories that actually hold a mirror to each other. I cannot say more without spoiling your fun. All I can say is to read this master of turning peddling dramas of the self into supernatural visitations. As any Lynchian evangelist can tell you, the landscape of pedestrian worries never quite looks so beautiful or meaningful as when it is unsettled by something like eels roiling beneath.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Samantha Hunt reads from ‘The Dark Dark’ on Wednesday, July 26, at 7:30pm at Green Apple Books (1231 Ninth Ave., San Francisco). \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-samantha-hunt\" target=\"_blank\" rel=\"noopener\">Details 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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"excerpt": "Samantha Hunt's newest story collection is distinctly Lynchian, a book in which small-town quaintness is thrown into disarray by the unexpected and eerie.",
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"title": "Hooked on 'Twin Peaks'? Have Some 'Dark Dark' to Go With It | KQED",
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"headline": "Hooked on 'Twin Peaks'? Have Some 'Dark Dark' to Go With It",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I love \u003cem>Twin Peaks\u003c/em> like I love a great thunderstorm. For those not in the know, \u003cem>Twin Peaks\u003c/em> is the \u003ca href=\"http://www.rollingstone.com/tv/lists/20-tv-shows-most-influenced-by-twin-peaks-w481390\" target=\"_blank\" rel=\"noopener\">best television series\u003c/a> ever made, following the strange affairs of an at-first-glance-wholesome town turned upside-down by the murder of a homecoming queen, the investigation of which dregs up tenebrous secrets of both the human and supernatural kind. What’s not to love?\u003c/p>\n\u003cp>http://gph.is/XIdK3w\u003c/p>\n\u003cp>Made in the ’90s, and directed by David Lynch, \u003cem>Twin Peaks\u003c/em> has returned for a new season. I’ve heard the gripes over the fact that Lynch has turned an eye toward colder aspects of modernity rather than the small-town quaintness we came to love—to which I say, \u003cem>phooey\u003c/em>, the eerie and mystical is like mold and it can exist anywhere. We’re at a point in the season where the newly-arrived have tuned into something more digestible, while the Lynchean evangelists continue to watch, saying, \u003cem>hold on, just one more episode, this is about to get really good\u003c/em>. But perhaps even the most evangelist-ist of us are beginning to lose heart.\u003c/p>\n\u003cp>While we wait for David Lynch to either torch the series and watch it go up in flames like the gleeful monster he is, or bring back the beloved Agent Dale Cooper (\u003cem>do the right thing, David\u003c/em>), I’ve got the book just for you—it is Samantha Hunt’s first story collection, \u003cem>The Dark Dark\u003c/em>.\u003c/p>\n\u003cp>In these stories, life is inspected under the glaring lights of suburbia, Home Depot, and Walmart: women court madness and danger, and are at the edge of becoming something other—and, like in our best Lynchean dreams, these are stories with talons dipped into the eerie and the supernatural.\u003c/p>\n\u003cfigure id=\"attachment_13647550\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13647550 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg\" alt=\"\" width=\"640\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1180x1713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-960x1393.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samantha Hunt. Author of the novels ‘The Invention of Everything Else,’ ‘Mr. Splitfoot,’ and ‘The Seas.’\u003c/figcaption>\u003c/figure>\n\u003cp>In one story, for example, a town is thrown into disarray by the simultaneous pregnancy of 13 mysterious teens; in another, a woman trying to convince herself that death is uncomplicated watches her dog come back to life. The writing in \u003cem>The Dark Dark \u003c/em>is swoon-worthy, and craft-wise, there is not one hair out of place. In fact, if you were standing before me I might push this book immediately into your hands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s more, I might open the book to page 47, to the third story titled \u003cem>Beast \u003c/em>, and instruct you to read.\u003c/p>\n\u003cblockquote>\u003cp>I read the newspaper in bed at night, propping it open on my belly. My boobs fall off to either side as if they are already asleep, as if they care little for the news of the world after the day is done. Still, I read the paper as a refreshment, like a breath mint or a catalog filled with clothes I would never buy.\u003c/p>\u003c/blockquote>\n\u003cp>She personally had me at “\u003cem>My boobs fall off to either side as if they are already asleep.”\u003c/em> The woman in this story is an endearing worrier. She cannot sleep thinking about whether she has lyme disease, what the noises are in the dark, whether her husband is cheating, whether she herself might cheat—then she turns into a deer at night:\u003c/p>\n\u003cblockquote>\u003cp>[This] week I haven’t been able to fall asleep quickly. I know it’s coming, so I fret and listen while my husband’s breath deepens and slows. […] I wait, and just when I think too much time has passed, that maybe it won’t happen tonight, it happens so quickly I can’t scream. My hands and feet harden into small hooves, the fingers and toes swallowed up by bone, and then the most frightening part is over with, the part where I lose my opposable thumbs. Next the fur, brown speckled with some white. This sprouting feels like a stretch or like I’m itching each individual follicle from the inside as a wiry hair pokes through a pore. My arms and legs grow narrow, driving all their muscles up the flank. My neck thickens and grows. I feel my tail. I like my tail. Finally my face pulls into a tight, hard nose. My jaw extends, my tongue grows long and thick, my lips shrink before turning black and hard as leather. And then it’s done. And then I am a deer.\u003c/p>\u003c/blockquote>\n\u003cp>Samantha Hunt has written a perfect story collection, and she’s opened and closed the book with stories that actually hold a mirror to each other. I cannot say more without spoiling your fun. All I can say is to read this master of turning peddling dramas of the self into supernatural visitations. As any Lynchian evangelist can tell you, the landscape of pedestrian worries never quite looks so beautiful or meaningful as when it is unsettled by something like eels roiling beneath.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Samantha Hunt reads from ‘The Dark Dark’ on Wednesday, July 26, at 7:30pm at Green Apple Books (1231 Ninth Ave., San Francisco). \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-samantha-hunt\" target=\"_blank\" rel=\"noopener\">Details 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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"title": "Octavia Butler: Writing Herself Into the Story",
"headTitle": "Octavia Butler: Writing Herself Into the Story | KQED",
"content": "\u003cp>Octavia Butler used to say she remembers exactly when she decided to become a science fiction writer. She was 9 years old and saw a 1954 B-movie called \u003cem>Devil Girl from Mars, \u003c/em>and two things struck her. First: “Geez, I can write a better story than that!” And second: “Somebody got \u003cem>paid \u003c/em>for writing that story!” If they could, she decided, then she could, too.\u003c/p>\n\u003cp>Eventually she did exactly that. Octavia Estelle Butler became one of the world’s premier science fiction writers, the first black female science fiction writer to reach national prominence, and the only writer in her genre to receive a prestigious MacArthur Fellowship. (“You have a Genius Grant,” Charlie Rose said in a 2000 interview. “They don’t call it that,” she corrected him firmly; “somebody probably made that up.”) When she died in 2006, she was lauded as a pioneer, an icon and one of America’s best writers.\u003c/p>\n\u003cp>\u003cstrong>Tracing a writer’s evolution\u003c/strong>\u003c/p>\n\u003cp>“Octavia Butler: Telling My Stories” is an exhibit currently at the \u003ca href=\"http://www.huntington.org/WebAssets/Templates/content.aspx?id=56\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Library\u003c/a>, in the Pasadena suburb of San Marino, Calif. Curator Natalie Russell went through some “8,000 manuscripts, letters and photographs, and an additional 80 boxes of ephemera” to create an exhibition that shows, in chronological order, how Butler’s career was born and evolved, and what influenced her.\u003c/p>\n\u003cfigure id=\"attachment_13630402\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg\" alt=\"Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers.\" width=\"800\" height=\"1899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-160x380.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-768x1823.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1020x2422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1180x2802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-960x2279.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-240x570.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-375x890.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-520x1235.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f.jpg 1769w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large glass cases hold early notebooks and drawings, report cards from her days at Pasadena City College and notes to herself about character development. Early copies of her first editions are here. So is the one-page letter from the MacArthur Foundation notifying Butler she’d been chosen as a fellow in 1995.\u003c/p>\n\u003cp>The walls are hung with blowups of Butler’s childhood drawings and the affirmations she repeated to herself: “I am a best-selling writer, I write best-selling books,” one says. “Every day in every way I am researching and writing my award-winning books and short stories.”\u003c/p>\n\u003cp>That encouragement was probably essential: Butler faced a lot of challenges. She grew up black and poor in Pasadena, Calif., when legal segregation was dead, but de facto segregation was very much alive. She was also shy, unusually tall for her age, and not particularly social. “I’m an only child,” Butler told \u003cem>Sci Fi Buzz\u003c/em>. “I had no idea how to get along with other children. And also, I was a strange kid who learned to stay by herself and make things up.”\u003c/p>\n\u003cp>She often made them up while sitting on the porch at her grandmother’s chicken farm, in the High Desert town of Victorville, Calif., where she dreamed about animals. The drawings of horses that illustrated one of her early stories are on the walls at the Huntington. After \u003cem>Devil Girl\u003c/em>, though, Butler switched to science fiction, determined to make that her career.\u003c/p>\n\u003cp>\u003cstrong>Creating her own path\u003c/strong>\u003c/p>\n\u003cp>That was astonishing, because the world was not full of well-paid science fiction writers, and with very few exceptions, all of those were male and white. No one like Butler existed in the genre. And that didn’t seem to hold Butler back one bit. “I don’t recall every having wanted desperately to be a black woman fiction writer,” she told Rose. “I wanted to be a \u003cem>writer\u003c/em>.”\u003c/p>\n\u003cp>She went to Pasadena public schools, then got an associate’s degree from Pasadena City College. And she kept writing. She had short stories published here and there while she held what she called “lots of horrible little jobs” —warehouse worker, dishwasher, potato chip inspector. (“The one good thing about all those jobs was they left her mind free to think about her characters,” Russell says.) Butler’s first book, \u003cem>Patternmaster\u003c/em>, was published in 1976 and caught people’s attention. It became part of \u003cem>The Patternist\u003c/em> series; the stories revolved around a group of elite beings with telepathic superpowers.\u003c/p>\n\u003cfigure id=\"attachment_13630404\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg\" alt=\"Cover for the first edition of 'Kindred,' published by Doubleday in 1979\" width=\"800\" height=\"1144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1020x1459.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1920x2746.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1180x1688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-960x1373.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-520x744.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for the first edition of ‘Kindred,’ published by Doubleday in 1979 \u003ccite>(Huntington Library, (c) Estate of Octavia E. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Kindred\u003c/em>, one of the books most famously associated with Butler, was published in 1979. It’s the story of Dana, a contemporary black writer hurtled backward in time to antebellum Maryland. A spirited feminist, Dana must learn to conform herself to the times so she can survive; she needs to find her slave-holding ancestor to ensure her own existence more than 150 years in the future.\u003c/p>\n\u003cp>Butler researched the book arduously. “She needed to go to Maryland, to see what the geography was like, find out what a working slave plantation was like,” Russell says. “How far away were the towns? If you were trying to run away, where would you go?”\u003c/p>\n\u003cp>Those lifelike details made \u003cem>Kindred\u003c/em> a classic. It’s taught in high schools and colleges annually, and it’s a book club favorite. Butler often said she was inspired to write it when she heard young black people minimize the severity of slavery, and strongly assert what they would or would not have tolerated if they were enslaved. She wanted them to not only know the \u003cem>facts \u003c/em>of slavery, but how slavery \u003cem>felt\u003c/em>. She wanted to make those militant young people see that even surviving such an institution made their ancestors heroic.\u003c/p>\n\u003cp>\u003cstrong>Making room for others\u003c/strong>\u003c/p>\n\u003cp>Butler wrote more than a dozen books in all. In addition to the MacArthur Fellowship, she was awarded science fiction’s equivalent of the National Book Award — two each of the coveted Nebula and Hugo awards. She became one of science fiction’s best-known female writers, considered a colleague of Ursula Le Guin and Madeleine L’Engle. And while Butler was the most prominent black female writer in the genre, she was determined that she not remain the only one.\u003c/p>\n\u003cfigure id=\"attachment_13630405\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg\" alt=\"A detail from notes Butler made for the Oankali, characters from the 'Xenogenesis' trilogy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888.jpg 1987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from notes Butler made for the Oankali, characters from the ‘Xenogenesis’ trilogy. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Science fiction writer \u003ca href=\"http://www.tananarivedue.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tananarive Due\u003c/a> recalls meeting Butler in 1997 as a new writer. “You could fit all the black science fiction and fantasy writers on one stage, and that’s not the case anymore — the field has exploded so much!”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/Kundalini-Equation-Steven-Barnes-ebook/dp/B00ET8EMN0/ref=la_B000AQ3WS6_1_9?s=books&ie=UTF8&qid=1498858295&sr=1-9\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Barnes\u003c/a>, Due’s husband, is a science fiction writer, too, and was a friend of Butler’s for two decades. “She opened a door and walked all the way through it,” he says, “and therefore created a path for others.”\u003c/p>\n\u003cp>Butler enjoyed having the company. A photo early in the exhibit shows her at Clarion, the science fiction/fantasy writers’ workshop, in 1970. It’s a group picture with her mentor, Harlan Ellison, at the center surrounded by mostly young, mostly male, almost all-white faces\u003cem>. Almost\u003c/em>. There at the edge is a very serious Octavia Butler, almost fading into the background. Two decades later, she is with a group of black women at a writer’s conference sponsored by \u003cem>Essence\u003c/em> magazine. She’s smiling broadly and glowing, clearly enjoying the reverence paid her by other young writers.\u003c/p>\n\u003cp>Octavia Butler’s death in February 2006 took everyone by surprise. She’d been living in Seattle, where she’d moved in 1999, and died after a fall that some think was possibly the result of a stroke. (She’d been having health problems for several years.) She was 58. Obituaries in important papers across the country emphasized her pioneering role in creating a space for people of color in science fiction.\u003c/p>\n\u003cp>In several interviews Butler said she wrote because she had two choices: write, or die. “If I hadn’t written, I probably would have done something stupid that would have led to my death,” she said cheerfully. We’re fortunate that she chose to write.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Octavia+Butler%3A+Writing+Herself+Into+The+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Octavia Butler used to say she remembers exactly when she decided to become a science fiction writer. She was 9 years old and saw a 1954 B-movie called \u003cem>Devil Girl from Mars, \u003c/em>and two things struck her. First: “Geez, I can write a better story than that!” And second: “Somebody got \u003cem>paid \u003c/em>for writing that story!” If they could, she decided, then she could, too.\u003c/p>\n\u003cp>Eventually she did exactly that. Octavia Estelle Butler became one of the world’s premier science fiction writers, the first black female science fiction writer to reach national prominence, and the only writer in her genre to receive a prestigious MacArthur Fellowship. (“You have a Genius Grant,” Charlie Rose said in a 2000 interview. “They don’t call it that,” she corrected him firmly; “somebody probably made that up.”) When she died in 2006, she was lauded as a pioneer, an icon and one of America’s best writers.\u003c/p>\n\u003cp>\u003cstrong>Tracing a writer’s evolution\u003c/strong>\u003c/p>\n\u003cp>“Octavia Butler: Telling My Stories” is an exhibit currently at the \u003ca href=\"http://www.huntington.org/WebAssets/Templates/content.aspx?id=56\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Library\u003c/a>, in the Pasadena suburb of San Marino, Calif. Curator Natalie Russell went through some “8,000 manuscripts, letters and photographs, and an additional 80 boxes of ephemera” to create an exhibition that shows, in chronological order, how Butler’s career was born and evolved, and what influenced her.\u003c/p>\n\u003cfigure id=\"attachment_13630402\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg\" alt=\"Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers.\" width=\"800\" height=\"1899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-160x380.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-768x1823.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1020x2422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1180x2802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-960x2279.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-240x570.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-375x890.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-520x1235.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f.jpg 1769w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large glass cases hold early notebooks and drawings, report cards from her days at Pasadena City College and notes to herself about character development. Early copies of her first editions are here. So is the one-page letter from the MacArthur Foundation notifying Butler she’d been chosen as a fellow in 1995.\u003c/p>\n\u003cp>The walls are hung with blowups of Butler’s childhood drawings and the affirmations she repeated to herself: “I am a best-selling writer, I write best-selling books,” one says. “Every day in every way I am researching and writing my award-winning books and short stories.”\u003c/p>\n\u003cp>That encouragement was probably essential: Butler faced a lot of challenges. She grew up black and poor in Pasadena, Calif., when legal segregation was dead, but de facto segregation was very much alive. She was also shy, unusually tall for her age, and not particularly social. “I’m an only child,” Butler told \u003cem>Sci Fi Buzz\u003c/em>. “I had no idea how to get along with other children. And also, I was a strange kid who learned to stay by herself and make things up.”\u003c/p>\n\u003cp>She often made them up while sitting on the porch at her grandmother’s chicken farm, in the High Desert town of Victorville, Calif., where she dreamed about animals. The drawings of horses that illustrated one of her early stories are on the walls at the Huntington. After \u003cem>Devil Girl\u003c/em>, though, Butler switched to science fiction, determined to make that her career.\u003c/p>\n\u003cp>\u003cstrong>Creating her own path\u003c/strong>\u003c/p>\n\u003cp>That was astonishing, because the world was not full of well-paid science fiction writers, and with very few exceptions, all of those were male and white. No one like Butler existed in the genre. And that didn’t seem to hold Butler back one bit. “I don’t recall every having wanted desperately to be a black woman fiction writer,” she told Rose. “I wanted to be a \u003cem>writer\u003c/em>.”\u003c/p>\n\u003cp>She went to Pasadena public schools, then got an associate’s degree from Pasadena City College. And she kept writing. She had short stories published here and there while she held what she called “lots of horrible little jobs” —warehouse worker, dishwasher, potato chip inspector. (“The one good thing about all those jobs was they left her mind free to think about her characters,” Russell says.) Butler’s first book, \u003cem>Patternmaster\u003c/em>, was published in 1976 and caught people’s attention. It became part of \u003cem>The Patternist\u003c/em> series; the stories revolved around a group of elite beings with telepathic superpowers.\u003c/p>\n\u003cfigure id=\"attachment_13630404\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg\" alt=\"Cover for the first edition of 'Kindred,' published by Doubleday in 1979\" width=\"800\" height=\"1144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1020x1459.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1920x2746.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1180x1688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-960x1373.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-520x744.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for the first edition of ‘Kindred,’ published by Doubleday in 1979 \u003ccite>(Huntington Library, (c) Estate of Octavia E. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Kindred\u003c/em>, one of the books most famously associated with Butler, was published in 1979. It’s the story of Dana, a contemporary black writer hurtled backward in time to antebellum Maryland. A spirited feminist, Dana must learn to conform herself to the times so she can survive; she needs to find her slave-holding ancestor to ensure her own existence more than 150 years in the future.\u003c/p>\n\u003cp>Butler researched the book arduously. “She needed to go to Maryland, to see what the geography was like, find out what a working slave plantation was like,” Russell says. “How far away were the towns? If you were trying to run away, where would you go?”\u003c/p>\n\u003cp>Those lifelike details made \u003cem>Kindred\u003c/em> a classic. It’s taught in high schools and colleges annually, and it’s a book club favorite. Butler often said she was inspired to write it when she heard young black people minimize the severity of slavery, and strongly assert what they would or would not have tolerated if they were enslaved. She wanted them to not only know the \u003cem>facts \u003c/em>of slavery, but how slavery \u003cem>felt\u003c/em>. She wanted to make those militant young people see that even surviving such an institution made their ancestors heroic.\u003c/p>\n\u003cp>\u003cstrong>Making room for others\u003c/strong>\u003c/p>\n\u003cp>Butler wrote more than a dozen books in all. In addition to the MacArthur Fellowship, she was awarded science fiction’s equivalent of the National Book Award — two each of the coveted Nebula and Hugo awards. She became one of science fiction’s best-known female writers, considered a colleague of Ursula Le Guin and Madeleine L’Engle. And while Butler was the most prominent black female writer in the genre, she was determined that she not remain the only one.\u003c/p>\n\u003cfigure id=\"attachment_13630405\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg\" alt=\"A detail from notes Butler made for the Oankali, characters from the 'Xenogenesis' trilogy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888.jpg 1987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from notes Butler made for the Oankali, characters from the ‘Xenogenesis’ trilogy. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Science fiction writer \u003ca href=\"http://www.tananarivedue.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tananarive Due\u003c/a> recalls meeting Butler in 1997 as a new writer. “You could fit all the black science fiction and fantasy writers on one stage, and that’s not the case anymore — the field has exploded so much!”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/Kundalini-Equation-Steven-Barnes-ebook/dp/B00ET8EMN0/ref=la_B000AQ3WS6_1_9?s=books&ie=UTF8&qid=1498858295&sr=1-9\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Barnes\u003c/a>, Due’s husband, is a science fiction writer, too, and was a friend of Butler’s for two decades. “She opened a door and walked all the way through it,” he says, “and therefore created a path for others.”\u003c/p>\n\u003cp>Butler enjoyed having the company. A photo early in the exhibit shows her at Clarion, the science fiction/fantasy writers’ workshop, in 1970. It’s a group picture with her mentor, Harlan Ellison, at the center surrounded by mostly young, mostly male, almost all-white faces\u003cem>. Almost\u003c/em>. There at the edge is a very serious Octavia Butler, almost fading into the background. Two decades later, she is with a group of black women at a writer’s conference sponsored by \u003cem>Essence\u003c/em> magazine. She’s smiling broadly and glowing, clearly enjoying the reverence paid her by other young writers.\u003c/p>\n\u003cp>Octavia Butler’s death in February 2006 took everyone by surprise. She’d been living in Seattle, where she’d moved in 1999, and died after a fall that some think was possibly the result of a stroke. (She’d been having health problems for several years.) She was 58. Obituaries in important papers across the country emphasized her pioneering role in creating a space for people of color in science fiction.\u003c/p>\n\u003cp>In several interviews Butler said she wrote because she had two choices: write, or die. “If I hadn’t written, I probably would have done something stupid that would have led to my death,” she said cheerfully. We’re fortunate that she chose to write.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Octavia+Butler%3A+Writing+Herself+Into+The+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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