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"content": "\u003cp>For the first time in my life I paid extra to have legroom in an airplane. I was getting over a cold, but also I wanted to stretch out and fully enjoy \u003cem>Large Animals\u003c/em> by Jess Arndt. You see, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.\u003c/p>\n\u003cp>Many a great story in \u003cem>Large Animals\u003c/em>, Arndt’s debut collection, has a strong resemblance to Kafka’s shorter fiction — which, unlike his longer work that deals with bureaucracy, are rather works of gorgeously, painfully strange portraiture in which one is irredeemably ill-made for the world. Arndt is fond of creating a constellation of small desires for her characters that are hilariously specific, and as with Kafka’s shorter work, her stories turn on the heel of making one seemingly insignificant obsession lie in wait and then ambush the biggest questions of selfhood.\u003c/p>\n\u003cp>\u003cem>However\u003c/em>.\u003c/p>\n\u003cp>There is no question Jess Arndt would have made Kafka blush.\u003c/p>\n\u003cp>To wit: in \u003cem>Third Arm\u003c/em>, an English Professor drives around touching herself while avoiding her love life and pretending to be largely endowed. “I only liked jerking off while driving — otherwise the sincerity of the act completely killed me,” she quips. This unnamed character sees healers at the Authentic Process Healing Institute, and also, she carries a bit of unspecified gore in alcohol in a jar.\u003c/p>\n\u003cfigure id=\"attachment_13366484\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg\" alt=\"'Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal...' - Franz Kafka, in 'Resolutions,' The Shorter Stories.\" width=\"510\" height=\"646\" class=\"size-full wp-image-13366484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-375x475.jpg 375w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal…’ – Franz Kafka, in ‘Resolutions,’ The Shorter Stories.\u003c/figcaption>\u003c/figure>\n\u003cp>Arndt’s stories are built like this—in as many compelling directions as possible. But invariably, one direction rises above the others. The bit of gore — described as apricot-sized, mostly made of fat, and with darker globs — finally turns allegorical. As you are busy ticking off options for what the jar could possibly contain (an amygdala? definitely an organ?), Arndt continues breathlessly: “It made me think of a bar I’d been to near Joshua Tree.” It is here where you get an answer of a different kind as the unnamed character recounts what she told the bartender: “Scientists have proven that matter doesn’t exist. You see a foot but when you get past all that skin bone squishy stuff et cetera, nothing’s really there,” which is a subterfuge lobbed at the mysterious jar, but also to the feeling of being mismatched with your body which artfully haunts this entire collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arndt’s imagination is amusing and far-flung. Her characters are amorphous and refusing of a gender binary, and the construct of each story is a delight. In \u003cem>Together, \u003c/em>two lovers share an STD, in \u003cem>Jeff \u003c/em>a misheard name introduction (Jess to Jeff) drives a low-key identity crisis. In the title story, \u003cem>Large Animals\u003c/em>, a man who is perceived to be a lesbian whiles away his time in the desert where Walruses seemingly materialize by his bed at night. (Only one story in this collection was a miss for me, \u003cem>Shadow of an Ape\u003c/em>, which details the rather confusing ordeal of a man in 1860’s San Francisco gold rush.)\u003c/p>\n\u003cp>There are some eerily stunning sentences in this collection, nonetheless, foremost of all in \u003cem>Moon Colonies\u003c/em>, the opening story where a threesome haunt the Vegas strip chasing after myriad temporary playthings:\u003c/p>\n\u003cblockquote>\u003cp>In the morning the waves glowed like uranium, a deep sweat coming up off the seafloor. It was beautiful but it was nerve-racking too, being that close to the future.\u003c/p>\u003c/blockquote>\n\u003cp>The great unresolved discomfort of perception and body punctuates the landscape in all the stories in \u003cem>Large Animals\u003c/em>, and each character finds themselves at the mercy of a conniving version of the self that is overpowering, stacks the deck, and ruins the possibility of what is precisely most desired. In this sense, \u003cem>Large Animals\u003c/em> is a collection of humanity reaching toward what might be graspable but remains painfully out of reach. At one point, Arndt writes:\u003c/p>\n\u003cblockquote>\u003cp>Then it’s spring break. I go on a wine tour. We stare into the big sweaty vats of red. “Wine fermentation,” the expert says, “happens when all of the individual grapes explode against the walls of their bodies.”\u003cem> How nice,\u003c/em> I think\u003cem>, for them.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This is a delightful read, perfect for the burgeoning summer, where the fact of the body is always at odds with the life of the mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Jess Arndt reading from ‘Large Animals’ on Wednesday, June 7, at City Lights Books in San Francisco. 7pm. More information \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2954\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the first time in my life I paid extra to have legroom in an airplane. I was getting over a cold, but also I wanted to stretch out and fully enjoy \u003cem>Large Animals\u003c/em> by Jess Arndt. You see, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.\u003c/p>\n\u003cp>Many a great story in \u003cem>Large Animals\u003c/em>, Arndt’s debut collection, has a strong resemblance to Kafka’s shorter fiction — which, unlike his longer work that deals with bureaucracy, are rather works of gorgeously, painfully strange portraiture in which one is irredeemably ill-made for the world. Arndt is fond of creating a constellation of small desires for her characters that are hilariously specific, and as with Kafka’s shorter work, her stories turn on the heel of making one seemingly insignificant obsession lie in wait and then ambush the biggest questions of selfhood.\u003c/p>\n\u003cp>\u003cem>However\u003c/em>.\u003c/p>\n\u003cp>There is no question Jess Arndt would have made Kafka blush.\u003c/p>\n\u003cp>To wit: in \u003cem>Third Arm\u003c/em>, an English Professor drives around touching herself while avoiding her love life and pretending to be largely endowed. “I only liked jerking off while driving — otherwise the sincerity of the act completely killed me,” she quips. This unnamed character sees healers at the Authentic Process Healing Institute, and also, she carries a bit of unspecified gore in alcohol in a jar.\u003c/p>\n\u003cfigure id=\"attachment_13366484\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg\" alt=\"'Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal...' - Franz Kafka, in 'Resolutions,' The Shorter Stories.\" width=\"510\" height=\"646\" class=\"size-full wp-image-13366484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-375x475.jpg 375w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal…’ – Franz Kafka, in ‘Resolutions,’ The Shorter Stories.\u003c/figcaption>\u003c/figure>\n\u003cp>Arndt’s stories are built like this—in as many compelling directions as possible. But invariably, one direction rises above the others. The bit of gore — described as apricot-sized, mostly made of fat, and with darker globs — finally turns allegorical. As you are busy ticking off options for what the jar could possibly contain (an amygdala? definitely an organ?), Arndt continues breathlessly: “It made me think of a bar I’d been to near Joshua Tree.” It is here where you get an answer of a different kind as the unnamed character recounts what she told the bartender: “Scientists have proven that matter doesn’t exist. You see a foot but when you get past all that skin bone squishy stuff et cetera, nothing’s really there,” which is a subterfuge lobbed at the mysterious jar, but also to the feeling of being mismatched with your body which artfully haunts this entire collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arndt’s imagination is amusing and far-flung. Her characters are amorphous and refusing of a gender binary, and the construct of each story is a delight. In \u003cem>Together, \u003c/em>two lovers share an STD, in \u003cem>Jeff \u003c/em>a misheard name introduction (Jess to Jeff) drives a low-key identity crisis. In the title story, \u003cem>Large Animals\u003c/em>, a man who is perceived to be a lesbian whiles away his time in the desert where Walruses seemingly materialize by his bed at night. (Only one story in this collection was a miss for me, \u003cem>Shadow of an Ape\u003c/em>, which details the rather confusing ordeal of a man in 1860’s San Francisco gold rush.)\u003c/p>\n\u003cp>There are some eerily stunning sentences in this collection, nonetheless, foremost of all in \u003cem>Moon Colonies\u003c/em>, the opening story where a threesome haunt the Vegas strip chasing after myriad temporary playthings:\u003c/p>\n\u003cblockquote>\u003cp>In the morning the waves glowed like uranium, a deep sweat coming up off the seafloor. It was beautiful but it was nerve-racking too, being that close to the future.\u003c/p>\u003c/blockquote>\n\u003cp>The great unresolved discomfort of perception and body punctuates the landscape in all the stories in \u003cem>Large Animals\u003c/em>, and each character finds themselves at the mercy of a conniving version of the self that is overpowering, stacks the deck, and ruins the possibility of what is precisely most desired. In this sense, \u003cem>Large Animals\u003c/em> is a collection of humanity reaching toward what might be graspable but remains painfully out of reach. At one point, Arndt writes:\u003c/p>\n\u003cblockquote>\u003cp>Then it’s spring break. I go on a wine tour. We stare into the big sweaty vats of red. “Wine fermentation,” the expert says, “happens when all of the individual grapes explode against the walls of their bodies.”\u003cem> How nice,\u003c/em> I think\u003cem>, for them.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This is a delightful read, perfect for the burgeoning summer, where the fact of the body is always at odds with the life of the mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Jess Arndt reading from ‘Large Animals’ on Wednesday, June 7, at City Lights Books in San Francisco. 7pm. More information \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2954\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and Rachael Myrow share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>First things first: thanks to Suzie Racho and Gabe Meline for filling in these past few weeks while my wife and I were on the road in Eastern California and Southern Utah. Meanwhile, our arts and entertainment cup runneth over with the opening of \u003ca href=\"http://deyoung.famsf.org/exhibitions/revelations-art-african-american-south\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revelations: Art from the African American South\u003c/em>\u003c/a> at the de Young Museum. The show features 62 new acquisitions by mostly self-taught artists born in the segregation era of Jim Crow. Also, \u003ca href=\"https://www.justintownesearle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Townes Earle\u003c/a> is in San Francisco with a kick-ass new album called \u003cem>Kids in the Street\u003c/em>, ranging from country pedal-steel to New Orleans funk. He’s at Slim’s June 2 — \u003ca href=\"http://www.slimspresents.com/event/justin-townes-earle-slims-w-the-sadies/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. I’ll be there. Now the rest of the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=asVhafDASjo\u003c/p>\n\u003cp>\u003cstrong>June 2 and 8\u003c/strong>: Chicago’s \u003ca href=\"http://www.jamila-woods.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamila Woods\u003c/a> puts a political spin on R&B — she’s a poet, teacher, singer-songwriter, and black feminist who’s worked with Chance the Rapper. She delivers even the toughest lines with a smile, but the lyrics are very edgy. (“They want us in kitchen; Kill our sons with lynchings.”) Woods, who grew up singing in the Chicago Children’s Choir, uses schoolyard chants to deliver some of her most potent songs. Woods plays the intimate Bing Concert Hall Studio June 2 on the Stanford Campus. Details \u003ca href=\"https://live.stanford.edu/calendar/june-2017/jamila-woods\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And then Woods opens for Corinne Bailey Rae at the Fillmore in San Francisco on June 8. Details \u003ca href=\"http://thefillmore.com/event/corinne-bailey-rae-with-jamila-woods/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13343163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13343163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg\" alt=\"Mom and child reading at last years Bay Area Book Festival\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mother and child reading at last years Bay Area Book Festival. \u003ccite>(Photo: Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 3–4\u003c/strong>: The \u003ca href=\"https://www.baybookfest.org\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Book Festival \u003c/a>is back in Berkeley with an all-star lineup of Bay Area and national writers, focused on a common theme — literature and activism. Author Roxanne Gay talks about her new memoir on food and self-image; Micah White explains how he co-created Occupy Wall Street; Quilt maker and pioneer LGBT activist Cleve Jones talks about his memoir; and Ayelet Waldman joins her husband Michael Chabon for a panel on their new collection of essays on Israel’s occupation of the West Bank. Bonuses include writing and performing workshops for teens, and programs for little kids — and their parents. As Rachael noted, reading is such a solitary experience, it’s great to be in a crowd of people who love books. Details \u003ca href=\"https://www.baybookfest.org/2017-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rg_JcWgiu3o\u003c/p>\n\u003cp>\u003cstrong>June 2–11\u003c/strong>: Jimmy Heath is a 90-year-old bebopper who sounds as good as ever. Jimmy and his brother, drummer Albert “Tootie” Heath — who is a mere 82 — are two of the best reasons to make it up to Sonoma County for the Healdsburg Jazz Festival, opening tonight. A lot of jazz festivals feature smooth jazz these days, but not at the long-running festival in Healdsburg — evidenced by this year’s tribute to the late Bay Area jazz master Bobby Hutcherson, who died last year. Renee Rosnes leads that event, with the great Steve Nelson standing in for Hutcherson on vibes. Bay Area percussion god John Santos and his band are also there, with spoken-word poet Rico Pabón, plus the terrific New Orleans piano legend Henry Butler, who cast a spell at SFJAZZ a few months ago. Oh — and some of the shows are free. Details for the Healdsburg Jazz Festival are\u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13343367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13343367\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-800x482.jpg\" alt=\"First Friday in San Jose\" width=\"800\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1920x1156.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1180x711.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">First Friday in San Jose. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2 and 3:\u003c/strong> I’ve been to a few South First Fridays in San Jose, and they turn what’s often a dead downtown into a party along on South First Street, with food, art and music. Rachael also notes that it’s a good time to hit three galleries with special programs. This Friday, the \u003ca href=\"http://www.sjquiltmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Quilts and Textiles \u003c/a>(celebrating its 40th anniversary) has a show of quilts about the environment and racism, including one with a Trayvon Martin yellow hoodie. \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> features music by the collective Sonido Clash, and the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA\u003c/a> shows off new work by Shawn HimbaCronan, a rebuilt 1963 Ford Falcon Deluxe Club Wagon transformed into a street-legal, mobile sculpture. Plus, it’s the 10th annual Subzero Festival, so local bands play the evenings of June 2 and 3. Details on South First Fridays are\u003ca href=\"http://www.southfirstfridays.com\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZqMbPX_GLZo\u003c/p>\n\u003cp>\u003cstrong>June 3\u003c/strong>: \u003ca href=\"http://www.charlieworsham.com/polaroid?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Worsham\u003c/a> is a young Nashville singer and songwriter with a new album called \u003cem>The Beginning of Things\u003c/em>, which is a mild joke on himself, because it’s his second album. (The first didn’t sell so well.) Worsham writes terrific pop hooks and smart lyrics that poke fun at country music conventions, and his music just \u003cem>feels\u003c/em> good. Also \u003ca href=\"http://www.brandyclarkmusic.com/#\" target=\"_blank\" rel=\"noopener noreferrer\">Brandy Clark\u003c/a>, who I love, opens for Worsham. We’ve talked before about her and her funny, feminist songs; they make a great pair. Details for their show at the Social Hall in San Francisco are \u003ca href=\"http://www.socialhallsf.com/events/detail/332219\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and Rachael Myrow share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>First things first: thanks to Suzie Racho and Gabe Meline for filling in these past few weeks while my wife and I were on the road in Eastern California and Southern Utah. Meanwhile, our arts and entertainment cup runneth over with the opening of \u003ca href=\"http://deyoung.famsf.org/exhibitions/revelations-art-african-american-south\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revelations: Art from the African American South\u003c/em>\u003c/a> at the de Young Museum. The show features 62 new acquisitions by mostly self-taught artists born in the segregation era of Jim Crow. Also, \u003ca href=\"https://www.justintownesearle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Townes Earle\u003c/a> is in San Francisco with a kick-ass new album called \u003cem>Kids in the Street\u003c/em>, ranging from country pedal-steel to New Orleans funk. He’s at Slim’s June 2 — \u003ca href=\"http://www.slimspresents.com/event/justin-townes-earle-slims-w-the-sadies/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. I’ll be there. Now the rest of the show.\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/asVhafDASjo'\n title='//www.youtube.com/embed/asVhafDASjo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 2 and 8\u003c/strong>: Chicago’s \u003ca href=\"http://www.jamila-woods.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamila Woods\u003c/a> puts a political spin on R&B — she’s a poet, teacher, singer-songwriter, and black feminist who’s worked with Chance the Rapper. She delivers even the toughest lines with a smile, but the lyrics are very edgy. (“They want us in kitchen; Kill our sons with lynchings.”) Woods, who grew up singing in the Chicago Children’s Choir, uses schoolyard chants to deliver some of her most potent songs. Woods plays the intimate Bing Concert Hall Studio June 2 on the Stanford Campus. Details \u003ca href=\"https://live.stanford.edu/calendar/june-2017/jamila-woods\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And then Woods opens for Corinne Bailey Rae at the Fillmore in San Francisco on June 8. Details \u003ca href=\"http://thefillmore.com/event/corinne-bailey-rae-with-jamila-woods/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13343163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13343163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg\" alt=\"Mom and child reading at last years Bay Area Book Festival\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mom-and-kid-reading-e1496256340163.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mother and child reading at last years Bay Area Book Festival. \u003ccite>(Photo: Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 3–4\u003c/strong>: The \u003ca href=\"https://www.baybookfest.org\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Book Festival \u003c/a>is back in Berkeley with an all-star lineup of Bay Area and national writers, focused on a common theme — literature and activism. Author Roxanne Gay talks about her new memoir on food and self-image; Micah White explains how he co-created Occupy Wall Street; Quilt maker and pioneer LGBT activist Cleve Jones talks about his memoir; and Ayelet Waldman joins her husband Michael Chabon for a panel on their new collection of essays on Israel’s occupation of the West Bank. Bonuses include writing and performing workshops for teens, and programs for little kids — and their parents. As Rachael noted, reading is such a solitary experience, it’s great to be in a crowd of people who love books. Details \u003ca href=\"https://www.baybookfest.org/2017-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\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/rg_JcWgiu3o'\n title='//www.youtube.com/embed/rg_JcWgiu3o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 2–11\u003c/strong>: Jimmy Heath is a 90-year-old bebopper who sounds as good as ever. Jimmy and his brother, drummer Albert “Tootie” Heath — who is a mere 82 — are two of the best reasons to make it up to Sonoma County for the Healdsburg Jazz Festival, opening tonight. A lot of jazz festivals feature smooth jazz these days, but not at the long-running festival in Healdsburg — evidenced by this year’s tribute to the late Bay Area jazz master Bobby Hutcherson, who died last year. Renee Rosnes leads that event, with the great Steve Nelson standing in for Hutcherson on vibes. Bay Area percussion god John Santos and his band are also there, with spoken-word poet Rico Pabón, plus the terrific New Orleans piano legend Henry Butler, who cast a spell at SFJAZZ a few months ago. Oh — and some of the shows are free. Details for the Healdsburg Jazz Festival are\u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13343367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13343367\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-800x482.jpg\" alt=\"First Friday in San Jose\" width=\"800\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1920x1156.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-1180x711.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/First-Friday-in-San-Jose-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">First Friday in San Jose. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2 and 3:\u003c/strong> I’ve been to a few South First Fridays in San Jose, and they turn what’s often a dead downtown into a party along on South First Street, with food, art and music. Rachael also notes that it’s a good time to hit three galleries with special programs. This Friday, the \u003ca href=\"http://www.sjquiltmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Quilts and Textiles \u003c/a>(celebrating its 40th anniversary) has a show of quilts about the environment and racism, including one with a Trayvon Martin yellow hoodie. \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> features music by the collective Sonido Clash, and the \u003ca href=\"http://sanjoseica.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA\u003c/a> shows off new work by Shawn HimbaCronan, a rebuilt 1963 Ford Falcon Deluxe Club Wagon transformed into a street-legal, mobile sculpture. Plus, it’s the 10th annual Subzero Festival, so local bands play the evenings of June 2 and 3. Details on South First Fridays are\u003ca href=\"http://www.southfirstfridays.com\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZqMbPX_GLZo'\n title='//www.youtube.com/embed/ZqMbPX_GLZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 3\u003c/strong>: \u003ca href=\"http://www.charlieworsham.com/polaroid?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Worsham\u003c/a> is a young Nashville singer and songwriter with a new album called \u003cem>The Beginning of Things\u003c/em>, which is a mild joke on himself, because it’s his second album. (The first didn’t sell so well.) Worsham writes terrific pop hooks and smart lyrics that poke fun at country music conventions, and his music just \u003cem>feels\u003c/em> good. Also \u003ca href=\"http://www.brandyclarkmusic.com/#\" target=\"_blank\" rel=\"noopener noreferrer\">Brandy Clark\u003c/a>, who I love, opens for Worsham. We’ve talked before about her and her funny, feminist songs; they make a great pair. Details for their show at the Social Hall in San Francisco are \u003ca href=\"http://www.socialhallsf.com/events/detail/332219\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remember That Time When Wonder Woman Was a U.N. Ambassador?",
"headTitle": "Remember That Time When Wonder Woman Was a U.N. Ambassador? | KQED",
"content": "\u003cp>Wonder Woman is certainly basking in accolades these days.\u003c/p>\n\u003cp>The new movie starring Gal Gadot is being widely praised for finally giving the world a big-screen female superhero who — to quote just a few of the glowing reviews — is both “awesomely fierce” and “surprisingly funny,” “sexually aware without being sexualized” and a refreshing throwback to the days of “uncomplicated role models … fighting for peace and justice.”\u003c/p>\n\u003cp>All of which got us thinking about our coverage last fall of Wonder Woman’s short-lived tenure as the United Nation’s honorary ambassador for the empowerment of women of girls.\u003c/p>\n\u003cp>Remember that episode? Back then her reviews were decidedly more mixed.\u003c/p>\n\u003cp>The idea was to make the character of Wonder Woman the face of a U.N. social media campaign to promote women’s rights via tweets and Facebook callouts. Women’s rights advocates exploded in outrage, and nearly 45,000 people signed a petition against the decision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s an insult, frankly,” said \u003ca href=\"http://www.sps.nyu.edu/content/scps/faculty/faculty-profile.html?id=15655&name=Anne%20Marie-Goetz\" target=\"_blank\" rel=\"noopener\">Anne Marie Goetz\u003c/a> at the time. Goetz, a professor of global affairs at New York University and a former adviser on peace and security issues to the United Nations agency, U.N. Women, said a big issue was the timing.\u003c/p>\n\u003cfigure id=\"attachment_13350614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg\" alt=\"Wonder Woman on the cover of Sensation Comics\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13350614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d.jpg 949w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman on the cover of Sensation Comics\u003c/figcaption>\u003c/figure>\n\u003cp>The Wonder Woman campaign rollout — a collaboration with Warner Bros. and DC Comics, which owns the rights to the character — was intended to celebrate both the character’s 75th birthday and the upcoming movie featuring Gadot. The actress even attended the appointment ceremony at the U.N.’s New York headquarters, along with Lynda Carter, who portrayed the superhero in the 1970s television show. But the announcement also came on the heels of a disappointing, yearlong grass-roots effort to get the U.N. to choose its first female secretary-general.\u003c/p>\n\u003cp>“This was months and months of campaigning by feminist organizations around the world for a woman to be selected,” said Goetz.\u003c/p>\n\u003cp>Seven women — including a prime minister and other highly qualified individuals — were in the running, an unprecedented number. Ultimately the Security Council went with a man — Antonio Guterres. So at the time, the selection of Wonder Woman to represent women’s issues for the U.N. came off to Goetz and others as a sort of demeaning consolation prize.\u003c/p>\n\u003cp>“It’s frivolous, it’s fatuous and it reduces an extremely serious human rights problem experienced by half of the world to a cartoon,” she said.\u003c/p>\n\u003cp>And not just any cartoon, added Goetz. Wonder Woman in her view was tantamount to a Barbie/Playboy pinup. Like most female comic action figures, she has big breasts bursting out of a skimpy outfit and an impossibly tiny waist.\u003c/p>\n\u003cp>“The message to girls is that you are expected to meet a male standard in which your significance is reduced to your role as a sexual object,” said Goetz.\u003c/p>\n\u003cp>Maher Nasser, the U.N. official who essentially brokered Wonder Woman’s appointment, responded at the time that he and other U.N. colleagues had considered those concerns.\u003c/p>\n\u003cp>“I mean we have had these discussions, of course, with our partners,” said Nasser, who directs the Outreach Division of the U.N.’s Department of Public Information, which handles partnerships with celebrities and entertainment figures.\u003c/p>\n\u003cp>And Nasser noted that his team worked closely with artists at DC Comics to tone down the image that was used in the U.N. campaign.\u003c/p>\n\u003cp>“The campaign art that we are working with … doesn’t have that caricature image of the wrong stereotype of what a woman should look like,” he said.\u003c/p>\n\u003cp>For instance they only showed Wonder Woman from the waist up. And they gave her a cape draped round her neck and shoulders, making her bust less prominent.\u003c/p>\n\u003cp>Nasser also said the social media campaign was all about emphasizing Wonder Woman’s girl power credentials, what he called “the essence of the character.”\u003c/p>\n\u003cp>“The focus [of the U.N.] was on her feminist background, being the first female superhero in a world of male superheroes and that basically she always fought for fairness, justice and peace,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13350615\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg\" alt=\"Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, 'Ms.' magazine put her on the cover\" width=\"434\" height=\"325\" class=\"size-full wp-image-13350615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-375x281.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, ‘Ms.’ magazine put her on the cover\u003c/figcaption>\u003c/figure>\n\u003cp>Nasser said he expected the campaign to last well into 2017. But less than two months later, with little fanfare, U.N. officials announced that Wonder Woman’s U.N. career was coming to a close, adding that, actually, they had always intended it to be brief.\u003c/p>\n\u003cp>Jill Lepore, a professor at Harvard University who wrote a book, \u003ca href=\"https://www.amazon.com/Secret-History-Wonder-Woman/dp/0804173400\" target=\"_blank\" rel=\"noopener\">The Secret History of Wonder Woman\u003c/a>\u003cem>,\u003c/em>\u003cem> \u003c/em>about the comic book character’s creation, said disputes like this have long dogged Wonder Woman.\u003c/p>\n\u003cp>On one hand, said Lepore, the character has solid feminist roots. She was invented in 1941 by William Moulton Marston, a Harvard-trained Ph.D. psychologist-cum-advice columnist for \u003cem>Family Circle\u003c/em> magazine. Marston had been brought on board by the company that eventually became DC Comics to help deal with a public relations problem.\u003c/p>\n\u003cp>The company’s first two superheroes, created in the late 1930s, had become controversial. “Superman looked a bit like a fascist — he’s an ubermensch. Batman carried a gun and was quite violent,” explained Lepore.\u003c/p>\n\u003cp>It had gotten to the point where various religious and parental groups had banned the comics.\u003c/p>\n\u003cp>According to Lapore, “Marston said, ‘You know, you need a female superhero because she will embody the nurturing values of womanhood. She will be about peace not war.'”\u003c/p>\n\u003cp>The character he set about creating drew largely on a real-life woman Marston knew personally and greatly admired: Margaret Sanger, the co-founder of Planned Parenthood.\u003c/p>\n\u003cp>In the comic book — and now in the new movie — Wonder Woman is a princess of the Amazons of Greek mythology, living on an island where there are no men. That story, said Lepore, “comes not from science fiction but from feminist utopian fiction” popular with Sanger and other early feminists of the progressive era. (The cartoon then introduced the character of a U.S. Army officer, Capt. Steve Trevor, who crash lands on the island. Wonder Woman rescues him and then resolves to go with him to America to fight for democracy and equal rights.)\u003c/p>\n\u003cp>Marston had an ambitious vision for his new character, laid out in a remarkable press release, distributed soon after her debut. He stated: “The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity. He added, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.”\u003c/p>\n\u003cp>Yet even in those earliest years Wonder Woman embodied contradictions. It wasn’t just the risqué outfits. Marston insisted that in every episode Wonder Woman had to be tied up or otherwise bound by the villain.\u003c/p>\n\u003cp>In part, said Lepore, this was a nod to the iconography of the suffragettes of the early 1900s, who often wore chains on marches seeking the right to vote. But it also became clear from letters to DC Comics that Wonder Woman’s largely male audience found this aspect of her story titillating.\u003c/p>\n\u003cp>And last fall, that bondage theme — at a time when women are under threat from extremist violence around the world — was just one more reason activists like Goetz were uncomfortable with the idea of Wonder Woman as a U.N. ambassador.\u003c/p>\n\u003cp>Wonder Woman nonetheless remained a darling of feminists through the 1970s — she was on the first cover of \u003cem>Ms.\u003c/em> magazine. But by the end of that decade she had started to symbolize a split within the feminist movement.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“A lot of people started to say, ‘Why is she the symbol of women’s power? She’s just so obviously made for men to look at and ogle,'” said Lepore. So it’s no surprise that she continues to raise conflicting feelings to this day. “Part of the richness of this character is that there are many layers to understanding her. Wonder Woman is always going to have a mixed legacy.” \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=Remember+That+Time+When+Wonder+Woman+Was+A+U.N.+Ambassador%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It wasn't that long ago. Just last fall. Nearly 45,000 people signed a petition in protest. Then again, the Amazon warrior has always been a controversial figure.",
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"headline": "Remember That Time When Wonder Woman Was a U.N. Ambassador?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wonder Woman is certainly basking in accolades these days.\u003c/p>\n\u003cp>The new movie starring Gal Gadot is being widely praised for finally giving the world a big-screen female superhero who — to quote just a few of the glowing reviews — is both “awesomely fierce” and “surprisingly funny,” “sexually aware without being sexualized” and a refreshing throwback to the days of “uncomplicated role models … fighting for peace and justice.”\u003c/p>\n\u003cp>All of which got us thinking about our coverage last fall of Wonder Woman’s short-lived tenure as the United Nation’s honorary ambassador for the empowerment of women of girls.\u003c/p>\n\u003cp>Remember that episode? Back then her reviews were decidedly more mixed.\u003c/p>\n\u003cp>The idea was to make the character of Wonder Woman the face of a U.N. social media campaign to promote women’s rights via tweets and Facebook callouts. Women’s rights advocates exploded in outrage, and nearly 45,000 people signed a petition against the decision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s an insult, frankly,” said \u003ca href=\"http://www.sps.nyu.edu/content/scps/faculty/faculty-profile.html?id=15655&name=Anne%20Marie-Goetz\" target=\"_blank\" rel=\"noopener\">Anne Marie Goetz\u003c/a> at the time. Goetz, a professor of global affairs at New York University and a former adviser on peace and security issues to the United Nations agency, U.N. Women, said a big issue was the timing.\u003c/p>\n\u003cfigure id=\"attachment_13350614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg\" alt=\"Wonder Woman on the cover of Sensation Comics\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13350614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d.jpg 949w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman on the cover of Sensation Comics\u003c/figcaption>\u003c/figure>\n\u003cp>The Wonder Woman campaign rollout — a collaboration with Warner Bros. and DC Comics, which owns the rights to the character — was intended to celebrate both the character’s 75th birthday and the upcoming movie featuring Gadot. The actress even attended the appointment ceremony at the U.N.’s New York headquarters, along with Lynda Carter, who portrayed the superhero in the 1970s television show. But the announcement also came on the heels of a disappointing, yearlong grass-roots effort to get the U.N. to choose its first female secretary-general.\u003c/p>\n\u003cp>“This was months and months of campaigning by feminist organizations around the world for a woman to be selected,” said Goetz.\u003c/p>\n\u003cp>Seven women — including a prime minister and other highly qualified individuals — were in the running, an unprecedented number. Ultimately the Security Council went with a man — Antonio Guterres. So at the time, the selection of Wonder Woman to represent women’s issues for the U.N. came off to Goetz and others as a sort of demeaning consolation prize.\u003c/p>\n\u003cp>“It’s frivolous, it’s fatuous and it reduces an extremely serious human rights problem experienced by half of the world to a cartoon,” she said.\u003c/p>\n\u003cp>And not just any cartoon, added Goetz. Wonder Woman in her view was tantamount to a Barbie/Playboy pinup. Like most female comic action figures, she has big breasts bursting out of a skimpy outfit and an impossibly tiny waist.\u003c/p>\n\u003cp>“The message to girls is that you are expected to meet a male standard in which your significance is reduced to your role as a sexual object,” said Goetz.\u003c/p>\n\u003cp>Maher Nasser, the U.N. official who essentially brokered Wonder Woman’s appointment, responded at the time that he and other U.N. colleagues had considered those concerns.\u003c/p>\n\u003cp>“I mean we have had these discussions, of course, with our partners,” said Nasser, who directs the Outreach Division of the U.N.’s Department of Public Information, which handles partnerships with celebrities and entertainment figures.\u003c/p>\n\u003cp>And Nasser noted that his team worked closely with artists at DC Comics to tone down the image that was used in the U.N. campaign.\u003c/p>\n\u003cp>“The campaign art that we are working with … doesn’t have that caricature image of the wrong stereotype of what a woman should look like,” he said.\u003c/p>\n\u003cp>For instance they only showed Wonder Woman from the waist up. And they gave her a cape draped round her neck and shoulders, making her bust less prominent.\u003c/p>\n\u003cp>Nasser also said the social media campaign was all about emphasizing Wonder Woman’s girl power credentials, what he called “the essence of the character.”\u003c/p>\n\u003cp>“The focus [of the U.N.] was on her feminist background, being the first female superhero in a world of male superheroes and that basically she always fought for fairness, justice and peace,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13350615\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg\" alt=\"Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, 'Ms.' magazine put her on the cover\" width=\"434\" height=\"325\" class=\"size-full wp-image-13350615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-375x281.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, ‘Ms.’ magazine put her on the cover\u003c/figcaption>\u003c/figure>\n\u003cp>Nasser said he expected the campaign to last well into 2017. But less than two months later, with little fanfare, U.N. officials announced that Wonder Woman’s U.N. career was coming to a close, adding that, actually, they had always intended it to be brief.\u003c/p>\n\u003cp>Jill Lepore, a professor at Harvard University who wrote a book, \u003ca href=\"https://www.amazon.com/Secret-History-Wonder-Woman/dp/0804173400\" target=\"_blank\" rel=\"noopener\">The Secret History of Wonder Woman\u003c/a>\u003cem>,\u003c/em>\u003cem> \u003c/em>about the comic book character’s creation, said disputes like this have long dogged Wonder Woman.\u003c/p>\n\u003cp>On one hand, said Lepore, the character has solid feminist roots. She was invented in 1941 by William Moulton Marston, a Harvard-trained Ph.D. psychologist-cum-advice columnist for \u003cem>Family Circle\u003c/em> magazine. Marston had been brought on board by the company that eventually became DC Comics to help deal with a public relations problem.\u003c/p>\n\u003cp>The company’s first two superheroes, created in the late 1930s, had become controversial. “Superman looked a bit like a fascist — he’s an ubermensch. Batman carried a gun and was quite violent,” explained Lepore.\u003c/p>\n\u003cp>It had gotten to the point where various religious and parental groups had banned the comics.\u003c/p>\n\u003cp>According to Lapore, “Marston said, ‘You know, you need a female superhero because she will embody the nurturing values of womanhood. She will be about peace not war.'”\u003c/p>\n\u003cp>The character he set about creating drew largely on a real-life woman Marston knew personally and greatly admired: Margaret Sanger, the co-founder of Planned Parenthood.\u003c/p>\n\u003cp>In the comic book — and now in the new movie — Wonder Woman is a princess of the Amazons of Greek mythology, living on an island where there are no men. That story, said Lepore, “comes not from science fiction but from feminist utopian fiction” popular with Sanger and other early feminists of the progressive era. (The cartoon then introduced the character of a U.S. Army officer, Capt. Steve Trevor, who crash lands on the island. Wonder Woman rescues him and then resolves to go with him to America to fight for democracy and equal rights.)\u003c/p>\n\u003cp>Marston had an ambitious vision for his new character, laid out in a remarkable press release, distributed soon after her debut. He stated: “The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity. He added, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.”\u003c/p>\n\u003cp>Yet even in those earliest years Wonder Woman embodied contradictions. It wasn’t just the risqué outfits. Marston insisted that in every episode Wonder Woman had to be tied up or otherwise bound by the villain.\u003c/p>\n\u003cp>In part, said Lepore, this was a nod to the iconography of the suffragettes of the early 1900s, who often wore chains on marches seeking the right to vote. But it also became clear from letters to DC Comics that Wonder Woman’s largely male audience found this aspect of her story titillating.\u003c/p>\n\u003cp>And last fall, that bondage theme — at a time when women are under threat from extremist violence around the world — was just one more reason activists like Goetz were uncomfortable with the idea of Wonder Woman as a U.N. ambassador.\u003c/p>\n\u003cp>Wonder Woman nonetheless remained a darling of feminists through the 1970s — she was on the first cover of \u003cem>Ms.\u003c/em> magazine. But by the end of that decade she had started to symbolize a split within the feminist movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of people started to say, ‘Why is she the symbol of women’s power? She’s just so obviously made for men to look at and ogle,'” said Lepore. So it’s no surprise that she continues to raise conflicting feelings to this day. “Part of the richness of this character is that there are many layers to understanding her. Wonder Woman is always going to have a mixed legacy.” \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=Remember+That+Time+When+Wonder+Woman+Was+A+U.N.+Ambassador%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Good Old-Fashioned Berkeley Activism, By the Book",
"headTitle": "Good Old-Fashioned Berkeley Activism, By the Book | KQED",
"content": "\u003cp>When Cherilyn Parsons first moved from L.A. to the Bay Area in 2012, she loved most things about her new home — but she deeply missed the annual Los Angeles Festival of Books.\u003c/p>\n\u003cp>“I would look forward to the festival all year,” says Parsons. “And then it would come, and for one weekend it would be so great — people coming together to talk about books and ideas, and all of these writers there. And then [the end of] Sunday would come, and every year I would be sad.”\u003c/p>\n\u003cfigure id=\"attachment_13343940\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13343940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475.png\" alt=\"\" width=\"720\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-240x158.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-375x247.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-520x343.png 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cherilyn Parsons (right) with members of her leadership team and author Gary Kamiya. \u003ccite>(Richard Friedman / Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So began the \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Book Festival\u003c/a>, now in its third year — a young but already widely successful weekend connecting writers, readers, and ideas. And far from being a copycat of L.A.’s fest, t\u003c/span>his year the BABF embraces its Bay Area roots like never before. The third annual festival takes place Saturday and Sunday, June 3 and 4, at venues throughout downtown Berkeley, featuring the theme “literature as an activist force.” More than \u003cspan style=\"font-weight: 400\">200 authors and 100 literary p\u003c/span>anels, workshops, and discussions will all consider the power of the written word within a resistance movement.\u003c/p>\n\u003cfigure id=\"attachment_13339717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13339717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-1180x1771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-960x1441.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-520x781.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg.jpg 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Roxane Gay. \u003ccite>(Jay Grabiec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cherilyn Parsons, the festival’s founder, says it felt necessary to focus on this theme both in light of our current administration, and because of Berkeley’s historic reputation as a hotbed of political activism. (In recent months, in particular, it’s also become the center of a renewed debate about\u003ca href=\"https://ww2.kqed.org/news/2017/04/27/protesters-gather-in-berkeley-following-coulter-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\"> hate speech and the First Amendment on college campuses\u003c/a>.)\u003c/p>\n\u003cp>“All of society is becoming more politicized right now,” says Parsons. “Honestly, after the election my first question to myself was, ‘How is a literary festival relevant now?’ And my second thought was ‘more relevant than ever.’ Because literature is such an important tool in changing hearts and minds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parsons underscores this shifting intention in a manifesto/mission statement she wrote to guide this year’s festival: “We have always emphasized writers and books concerned with social justice, diversity, and the environment,” it reads. “We now are raising our sign higher in the public sphere as we explore and amplify the literary voice of resistance.”\u003c/p>\n\u003cfigure id=\"attachment_13338378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Garza-Alicia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13338378\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Garza-Alicia-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alicia Garza will appear Sunday, June 4 at a panel called ‘Race and Resistance in the Trump Era: Fighting Words and Wisdom from The Nation and Black Lives Matter.’ \u003ccite>(Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the two-day fest, authors including Roxane Gay, Cleve Jones, Lindy West, Geoff Dyer, Alicia Garza, Wesley Morris, Jack Kornfield, David Talbot, Michael Chabon and Ayelet Waldman take on questions like: Is writing a female protagonist inherently feminist? How can journalism advance social justice in a “post-truth” era? And — not to put too fine a point on it — what happens when reality starts to feel a little too much like science fiction?\u003c/p>\n\u003cp>Arlie Hochschild, a UC Berkeley sociology professor and the author of the 2016 \u003cem>New York Times\u003c/em> best-seller \u003cem>Strangers in their Own Land: Anger and Mourning on the American Right\u003c/em>, will discuss the importance of empathy at a June 3 panel titled “\u003ca href=\"https://www.baybookfest.org/session/understanding-the-other-how-emotion-shapes-politics-and-can-heal-our-divides/\" target=\"_blank\" rel=\"noopener noreferrer\">Understanding the Other: How Emotion Shapes Politics and Can Heal our Divides.\u003c/a>” Hochschild’s book, published just eight weeks before the presidential election, recounts the Berkeley-born writer’s experiences living among Tea Party supporters for five years, deep in rural Louisiana.\u003c/p>\n\u003cfigure id=\"attachment_13339715\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/arlie_smaller.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13339715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/arlie_smaller.jpg\" alt=\"\" width=\"424\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller-240x226.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller-375x354.jpg 375w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlie Russell Hochschild. \u003ccite>(Courtesy UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hochschild says her work embraces activism in an indirect way. “I think of taking my readers on a journey into a world they don’t know of,” she says. “[Readers learn about] people who oppose them and who are trying to prevent their activism. And in doing so I do hope to be healing that divide and helping us find common ground.”\u003c/p>\n\u003cp>“Activism is always based on a picture of the world, and ideas inform that picture of the world,” she adds. “I see both nonfiction and fiction literature as informing that picture.”\u003c/p>\n\u003cp>Carolina de Robertis, a local writer and SFSU professor, is also focused on finding common ground — but among progressives who come from vastly different backgrounds. She hosts a Saturday evening panel titled “\u003ca href=\"https://www.baybookfest.org/session/radical-hope-staying-sane-awake-and-engaged-in-dangerous-times/\" target=\"_blank\" rel=\"noopener noreferrer\">Radical Hope: Staying Sane, Awake, and Engaged in Dangerous Times\u003c/a>,” featuring contributors to the similarly titled, recently published\u003cem> Radical Hope: Letters of Love and Dissent in Dangerous Times \u003c/em>(de Robertis served as editor). An epistolary collection modeled after \u003ca href=\"http://progressive.org/magazine/letter-nephew/\" target=\"_blank\" rel=\"noopener noreferrer\">James Baldwin’s letter to his nephew\u003c/a>, the book includes authors’ letters to their ancestors, friends, partners, siblings, and future children about the current state of the country.\u003c/p>\n\u003cfigure id=\"attachment_13339716\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13339716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina.jpg\" alt=\"\" width=\"532\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-375x362.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-32x32.jpg 32w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carolina DeRobertis. \u003ccite>(Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unapologetically progressive, but at the same time I don’t see it as one-sided at all,” says de Robertis of the collection. “I really wanted to have voices in this book who thought intersectionally — for that to be expressed by juxtaposing these different voices with each other. This is what we look like. This is the United States of America. They’re all coming from different backgrounds, but their voices come together to form a dialogue.”\u003c/p>\n\u003cp>Samuel Getachew and Leticia Guzman, two young spoken word artists with the \u003ca href=\"https://ww2.kqed.org/arts/2017/01/19/on-mlk-day-youth-speaks-poets-speak-out-against-injustice/\" target=\"_blank\" rel=\"noopener noreferrer\">non-profit organization Youth Speaks\u003c/a>, will contribute to this dialogue as part of “Speak Your Truth: A Youth Speaks Writing & Performance Workshop” on Saturday afternoon. Both poets grew up in the Bay Area, and see their local communities as integral to their practice as slam poets.\u003c/p>\n\u003cp>“Since the election, I feel I have responsibility,” says Guzman, who writes mostly about Chicana and queer identity. “Since I was born here I have privilege to speak out about certain issues, and I have the privilege to actually talk about my identity, unlike some other people.”\u003c/p>\n\u003cp>She says that becoming a writer in the Bay Area “has been great because people are so supportive. People come up on stage afterwards, other Chicanos, and say to me that they needed to hear that. I feel it’s very important to incorporate our stories so that we inspire other people. To find their own form of resistance.”\u003c/p>\n\u003cfigure id=\"attachment_13343941\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/sponsors3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13343941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/sponsors3.jpg\" alt=\"\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-520x347.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A 2015 BABF event at Freight & Salvage. \u003ccite>(Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getachew takes a different stance toward our current administration. “This election was not something that I was extremely surprised by,” he says. “While I do address some elements of the election in my writing, I don’t like to give it too much power in my life.” At the same time, he allows that such a position is largely possible because of the famously liberal place he lives. “It provides me a place where I can create art about what I want to,” he says. “I feel very lucky to be in a place that fosters my creativity.”\u003c/p>\n\u003cp>It’s both this creative Bay Area spirit and contradictory opinions that Parsons hopes to foment at the festival. When she founded the BABF in 2015, says Parsons, her aim was to create a sense of community and connection for bookish people who spent much of their time reading or writing on their own. She wanted a space where these writers an readers could talk about their pressing ideas — which, in 2017, as it turns out, overwhelmingly come back to politics and action.\u003c/p>\n\u003cp>Of course, her ultimate goal is for the conversations started at BABF to continue year-round — and, ideally, to grow into something more than just talk. After all, writing is an act that inherently provokes change, writes Parsons in her mission statement:\u003c/p>\n\u003cp>“We can experiment with ourselves. Then we can experiment with the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bay Area Book Festival programming kicks off at 10am on Saturday, June 3, and continues until 7:30pm on June 4 at venues throughout downtown Berkeley. For tickets (many events are free; priority admission is $8), \u003ca href=\"https://www.baybookfest.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit the festival website here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Cherilyn Parsons first moved from L.A. to the Bay Area in 2012, she loved most things about her new home — but she deeply missed the annual Los Angeles Festival of Books.\u003c/p>\n\u003cp>“I would look forward to the festival all year,” says Parsons. “And then it would come, and for one weekend it would be so great — people coming together to talk about books and ideas, and all of these writers there. And then [the end of] Sunday would come, and every year I would be sad.”\u003c/p>\n\u003cfigure id=\"attachment_13343940\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13343940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475.png\" alt=\"\" width=\"720\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-240x158.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-375x247.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Screen-Shot-2014-06-22-at-7.19.20-PM-720x475-520x343.png 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cherilyn Parsons (right) with members of her leadership team and author Gary Kamiya. \u003ccite>(Richard Friedman / Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So began the \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Book Festival\u003c/a>, now in its third year — a young but already widely successful weekend connecting writers, readers, and ideas. And far from being a copycat of L.A.’s fest, t\u003c/span>his year the BABF embraces its Bay Area roots like never before. The third annual festival takes place Saturday and Sunday, June 3 and 4, at venues throughout downtown Berkeley, featuring the theme “literature as an activist force.” More than \u003cspan style=\"font-weight: 400\">200 authors and 100 literary p\u003c/span>anels, workshops, and discussions will all consider the power of the written word within a resistance movement.\u003c/p>\n\u003cfigure id=\"attachment_13339717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13339717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-1180x1771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-960x1441.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg-520x781.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Gay-Roxane-credit-Jay-Grabiecjpg.jpg 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Roxane Gay. \u003ccite>(Jay Grabiec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cherilyn Parsons, the festival’s founder, says it felt necessary to focus on this theme both in light of our current administration, and because of Berkeley’s historic reputation as a hotbed of political activism. (In recent months, in particular, it’s also become the center of a renewed debate about\u003ca href=\"https://ww2.kqed.org/news/2017/04/27/protesters-gather-in-berkeley-following-coulter-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\"> hate speech and the First Amendment on college campuses\u003c/a>.)\u003c/p>\n\u003cp>“All of society is becoming more politicized right now,” says Parsons. “Honestly, after the election my first question to myself was, ‘How is a literary festival relevant now?’ And my second thought was ‘more relevant than ever.’ Because literature is such an important tool in changing hearts and minds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parsons underscores this shifting intention in a manifesto/mission statement she wrote to guide this year’s festival: “We have always emphasized writers and books concerned with social justice, diversity, and the environment,” it reads. “We now are raising our sign higher in the public sphere as we explore and amplify the literary voice of resistance.”\u003c/p>\n\u003cfigure id=\"attachment_13338378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Garza-Alicia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13338378\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Garza-Alicia-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Garza-Alicia-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alicia Garza will appear Sunday, June 4 at a panel called ‘Race and Resistance in the Trump Era: Fighting Words and Wisdom from The Nation and Black Lives Matter.’ \u003ccite>(Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the two-day fest, authors including Roxane Gay, Cleve Jones, Lindy West, Geoff Dyer, Alicia Garza, Wesley Morris, Jack Kornfield, David Talbot, Michael Chabon and Ayelet Waldman take on questions like: Is writing a female protagonist inherently feminist? How can journalism advance social justice in a “post-truth” era? And — not to put too fine a point on it — what happens when reality starts to feel a little too much like science fiction?\u003c/p>\n\u003cp>Arlie Hochschild, a UC Berkeley sociology professor and the author of the 2016 \u003cem>New York Times\u003c/em> best-seller \u003cem>Strangers in their Own Land: Anger and Mourning on the American Right\u003c/em>, will discuss the importance of empathy at a June 3 panel titled “\u003ca href=\"https://www.baybookfest.org/session/understanding-the-other-how-emotion-shapes-politics-and-can-heal-our-divides/\" target=\"_blank\" rel=\"noopener noreferrer\">Understanding the Other: How Emotion Shapes Politics and Can Heal our Divides.\u003c/a>” Hochschild’s book, published just eight weeks before the presidential election, recounts the Berkeley-born writer’s experiences living among Tea Party supporters for five years, deep in rural Louisiana.\u003c/p>\n\u003cfigure id=\"attachment_13339715\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/arlie_smaller.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13339715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/arlie_smaller.jpg\" alt=\"\" width=\"424\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller-240x226.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/arlie_smaller-375x354.jpg 375w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlie Russell Hochschild. \u003ccite>(Courtesy UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hochschild says her work embraces activism in an indirect way. “I think of taking my readers on a journey into a world they don’t know of,” she says. “[Readers learn about] people who oppose them and who are trying to prevent their activism. And in doing so I do hope to be healing that divide and helping us find common ground.”\u003c/p>\n\u003cp>“Activism is always based on a picture of the world, and ideas inform that picture of the world,” she adds. “I see both nonfiction and fiction literature as informing that picture.”\u003c/p>\n\u003cp>Carolina de Robertis, a local writer and SFSU professor, is also focused on finding common ground — but among progressives who come from vastly different backgrounds. She hosts a Saturday evening panel titled “\u003ca href=\"https://www.baybookfest.org/session/radical-hope-staying-sane-awake-and-engaged-in-dangerous-times/\" target=\"_blank\" rel=\"noopener noreferrer\">Radical Hope: Staying Sane, Awake, and Engaged in Dangerous Times\u003c/a>,” featuring contributors to the similarly titled, recently published\u003cem> Radical Hope: Letters of Love and Dissent in Dangerous Times \u003c/em>(de Robertis served as editor). An epistolary collection modeled after \u003ca href=\"http://progressive.org/magazine/letter-nephew/\" target=\"_blank\" rel=\"noopener noreferrer\">James Baldwin’s letter to his nephew\u003c/a>, the book includes authors’ letters to their ancestors, friends, partners, siblings, and future children about the current state of the country.\u003c/p>\n\u003cfigure id=\"attachment_13339716\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13339716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina.jpg\" alt=\"\" width=\"532\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-375x362.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DeRobertis-Carolina-32x32.jpg 32w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carolina DeRobertis. \u003ccite>(Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unapologetically progressive, but at the same time I don’t see it as one-sided at all,” says de Robertis of the collection. “I really wanted to have voices in this book who thought intersectionally — for that to be expressed by juxtaposing these different voices with each other. This is what we look like. This is the United States of America. They’re all coming from different backgrounds, but their voices come together to form a dialogue.”\u003c/p>\n\u003cp>Samuel Getachew and Leticia Guzman, two young spoken word artists with the \u003ca href=\"https://ww2.kqed.org/arts/2017/01/19/on-mlk-day-youth-speaks-poets-speak-out-against-injustice/\" target=\"_blank\" rel=\"noopener noreferrer\">non-profit organization Youth Speaks\u003c/a>, will contribute to this dialogue as part of “Speak Your Truth: A Youth Speaks Writing & Performance Workshop” on Saturday afternoon. Both poets grew up in the Bay Area, and see their local communities as integral to their practice as slam poets.\u003c/p>\n\u003cp>“Since the election, I feel I have responsibility,” says Guzman, who writes mostly about Chicana and queer identity. “Since I was born here I have privilege to speak out about certain issues, and I have the privilege to actually talk about my identity, unlike some other people.”\u003c/p>\n\u003cp>She says that becoming a writer in the Bay Area “has been great because people are so supportive. People come up on stage afterwards, other Chicanos, and say to me that they needed to hear that. I feel it’s very important to incorporate our stories so that we inspire other people. To find their own form of resistance.”\u003c/p>\n\u003cfigure id=\"attachment_13343941\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/sponsors3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13343941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/sponsors3.jpg\" alt=\"\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/sponsors3-520x347.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A 2015 BABF event at Freight & Salvage. \u003ccite>(Courtesy Bay Area Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getachew takes a different stance toward our current administration. “This election was not something that I was extremely surprised by,” he says. “While I do address some elements of the election in my writing, I don’t like to give it too much power in my life.” At the same time, he allows that such a position is largely possible because of the famously liberal place he lives. “It provides me a place where I can create art about what I want to,” he says. “I feel very lucky to be in a place that fosters my creativity.”\u003c/p>\n\u003cp>It’s both this creative Bay Area spirit and contradictory opinions that Parsons hopes to foment at the festival. When she founded the BABF in 2015, says Parsons, her aim was to create a sense of community and connection for bookish people who spent much of their time reading or writing on their own. She wanted a space where these writers an readers could talk about their pressing ideas — which, in 2017, as it turns out, overwhelmingly come back to politics and action.\u003c/p>\n\u003cp>Of course, her ultimate goal is for the conversations started at BABF to continue year-round — and, ideally, to grow into something more than just talk. After all, writing is an act that inherently provokes change, writes Parsons in her mission statement:\u003c/p>\n\u003cp>“We can experiment with ourselves. Then we can experiment with the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bay Area Book Festival programming kicks off at 10am on Saturday, June 3, and continues until 7:30pm on June 4 at venues throughout downtown Berkeley. For tickets (many events are free; priority admission is $8), \u003ca href=\"https://www.baybookfest.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit the festival website here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Sorrow of Isadora Duncan",
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"content": "\u003cp>Fun fact: Isadora Duncan and Jack London were contemporaries. Both were born in San Francisco, in 1877 and 1876, respectively. Both experienced poverty-stricken childhoods in Oakland and went on to make definitive marks on their art forms — London in fiction, Duncan in dance. Both lived dramatic lives full of travel, alcohol, and socialist politics.\u003c/p>\n\u003cp>And both died young — London in 1916 at age 40, from kidney failure; Duncan in 1927 at age 49, famously in a car accident. The long red scarf she was wearing tangled in the hubcap of a moving car. Her neck was broken. \u003c/p>\n\u003cp>We live in a time where the lives of famous artists can attract more interest than the art itself. Sometimes this is a shame, and sometimes it’s a sign that the artist’s persona has outlived her art. Duncan’s work, while important to the history of modern dance, \u003ca href=\"https://www.youtube.com/watch?v=Kq2GgIMM060\" target=\"_blank\" rel=\"noopener\">might look a little silly to modern eyes\u003c/a>. Her life, however, remains fascinating, and thus, a dancer who intended to leave behind an artistic legacy is now a character in other people’s art. Last year, Lily-Rose Depp, Johnny Depp’s daughter, played Duncan in a movie called \u003cem>The Dancer\u003c/em>. This month, there’s a novel, \u003cem>Isadora\u003c/em>, by Amelia Gray. \u003c/p>\n\u003cfigure id=\"attachment_13322817\" class=\"wp-caption alignright\" style=\"max-width: 733px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg\" alt=\"'Isadora,' by Amelia Gray.\" width=\"733\" height=\"1100\" class=\"size-full wp-image-13322817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-520x780.jpg 520w\" sizes=\"(max-width: 733px) 100vw, 733px\">\u003cfigcaption class=\"wp-caption-text\">‘Isadora,’ by Amelia Gray.\u003c/figcaption>\u003c/figure>\n\u003cp>Gray’s novel isn’t the stuff of a Netflix series, however. It’s a serious meditation on grief in the life of an artist. The story starts with the death of Duncan’s children, who drowned when the car they were in accidentally drove into the Seine. The novel stays so mercilessly focused on this tragic event, diving deeper into the effects of grief, that it plunges the reader into an atmosphere suffocated by the presence of loss. “A keening scream spread swiftly from my body to reach the walls and the floor,” Isadora says. “It made a residence of sound [that] echoed through my empty core, my ribs a spider’s web strung ragged across my spine, a sagging cradle for the mess of my broken heart.” She is shattered, and Gray is too ruthless a writer to look away or soften her pain.\u003c/p>\n\u003cp>Told in short chapters, the novel alternates four different voices: Isadora; the father of her son, Paris Singer; her sister, Elizabeth; and her lover, Max. The story moves slowly, inching through the funeral, Isadora’s travels in Europe, and her return to the dance school. There are long, lingering sections about her illness and mundane descriptions of waiting or eating or drinking. There’s an entire chapter where Paris studies the figures in the painting \u003ca href=\"https://en.wikipedia.org/wiki/The_Coronation_of_Napoleon#/media/File:Jacques-Louis_David,_The_Coronation_of_Napoleon_edit.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Coronation of Napoleon\u003c/em>\u003c/a>. This focus on details dissipates the intensity of action — it’s fairly boring to read about funeral arrangements — but does humanize and intensify Duncan’s grief.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Without the dull details fogging things up,” Isadora says, “we can exist forever as in a museum diorama, standing forever in a perfect state of admiration and anticipation.” Certainly, Gray is not interested in a diorama of her famous subject. Her Duncan is a woman rooted deeply in her body. She’s unpleasant, wry, complex, and verging on madness — she pees on the floor, bites people, and eats her children’s ashes. There is her slow, arduous return from the sea of grief to her art, which she also wields with almost careless power. “You don’t have a bit of philosophy you didn’t scrape off the shoes of greater man, and there is no greater man than me,” she says to Max. “You have failed to see how each planet in my orbit is lashed to me with diamond thread.”\u003c/p>\n\u003cp>Fictionalizing a real person is difficult, especially when dealing with personal tragedy. As I read, I found myself wondering about the real Isadora Duncan, and what in the text is fictionalized and what is true. I was perplexed that there weren’t more details of her life before the accident, but maybe that would have been too predictable. (This led to me looking Duncan up online, and remembering the similarities to Jack London. Also, the Duncan siblings used to climb the fence of Gertrude Stein’s house in Oakland and steal apples from her orchard.)\u003c/p>\n\u003cp>But perhaps factoids are best left to biographers. \u003cem>Isadora\u003c/em> explores themes of art and genius, history and personal grief, and the specific sorrows of the female body. It’s not an entirely successful book, nor a happy one, but it does transcend the entertainment value and repurposed gossip of most biographical novels to stand apart as a depiction of an artist’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Amelia Gray reads at The Booksmith in San Francisco on June 26; \u003ca href=\"http://www.booksmith.com/event/amelia-gray-and-rosecrans-baldwin\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: Isadora Duncan and Jack London were contemporaries. Both were born in San Francisco, in 1877 and 1876, respectively. Both experienced poverty-stricken childhoods in Oakland and went on to make definitive marks on their art forms — London in fiction, Duncan in dance. Both lived dramatic lives full of travel, alcohol, and socialist politics.\u003c/p>\n\u003cp>And both died young — London in 1916 at age 40, from kidney failure; Duncan in 1927 at age 49, famously in a car accident. The long red scarf she was wearing tangled in the hubcap of a moving car. Her neck was broken. \u003c/p>\n\u003cp>We live in a time where the lives of famous artists can attract more interest than the art itself. Sometimes this is a shame, and sometimes it’s a sign that the artist’s persona has outlived her art. Duncan’s work, while important to the history of modern dance, \u003ca href=\"https://www.youtube.com/watch?v=Kq2GgIMM060\" target=\"_blank\" rel=\"noopener\">might look a little silly to modern eyes\u003c/a>. Her life, however, remains fascinating, and thus, a dancer who intended to leave behind an artistic legacy is now a character in other people’s art. Last year, Lily-Rose Depp, Johnny Depp’s daughter, played Duncan in a movie called \u003cem>The Dancer\u003c/em>. This month, there’s a novel, \u003cem>Isadora\u003c/em>, by Amelia Gray. \u003c/p>\n\u003cfigure id=\"attachment_13322817\" class=\"wp-caption alignright\" style=\"max-width: 733px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg\" alt=\"'Isadora,' by Amelia Gray.\" width=\"733\" height=\"1100\" class=\"size-full wp-image-13322817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-520x780.jpg 520w\" sizes=\"(max-width: 733px) 100vw, 733px\">\u003cfigcaption class=\"wp-caption-text\">‘Isadora,’ by Amelia Gray.\u003c/figcaption>\u003c/figure>\n\u003cp>Gray’s novel isn’t the stuff of a Netflix series, however. It’s a serious meditation on grief in the life of an artist. The story starts with the death of Duncan’s children, who drowned when the car they were in accidentally drove into the Seine. The novel stays so mercilessly focused on this tragic event, diving deeper into the effects of grief, that it plunges the reader into an atmosphere suffocated by the presence of loss. “A keening scream spread swiftly from my body to reach the walls and the floor,” Isadora says. “It made a residence of sound [that] echoed through my empty core, my ribs a spider’s web strung ragged across my spine, a sagging cradle for the mess of my broken heart.” She is shattered, and Gray is too ruthless a writer to look away or soften her pain.\u003c/p>\n\u003cp>Told in short chapters, the novel alternates four different voices: Isadora; the father of her son, Paris Singer; her sister, Elizabeth; and her lover, Max. The story moves slowly, inching through the funeral, Isadora’s travels in Europe, and her return to the dance school. There are long, lingering sections about her illness and mundane descriptions of waiting or eating or drinking. There’s an entire chapter where Paris studies the figures in the painting \u003ca href=\"https://en.wikipedia.org/wiki/The_Coronation_of_Napoleon#/media/File:Jacques-Louis_David,_The_Coronation_of_Napoleon_edit.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Coronation of Napoleon\u003c/em>\u003c/a>. This focus on details dissipates the intensity of action — it’s fairly boring to read about funeral arrangements — but does humanize and intensify Duncan’s grief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Without the dull details fogging things up,” Isadora says, “we can exist forever as in a museum diorama, standing forever in a perfect state of admiration and anticipation.” Certainly, Gray is not interested in a diorama of her famous subject. Her Duncan is a woman rooted deeply in her body. She’s unpleasant, wry, complex, and verging on madness — she pees on the floor, bites people, and eats her children’s ashes. There is her slow, arduous return from the sea of grief to her art, which she also wields with almost careless power. “You don’t have a bit of philosophy you didn’t scrape off the shoes of greater man, and there is no greater man than me,” she says to Max. “You have failed to see how each planet in my orbit is lashed to me with diamond thread.”\u003c/p>\n\u003cp>Fictionalizing a real person is difficult, especially when dealing with personal tragedy. As I read, I found myself wondering about the real Isadora Duncan, and what in the text is fictionalized and what is true. I was perplexed that there weren’t more details of her life before the accident, but maybe that would have been too predictable. (This led to me looking Duncan up online, and remembering the similarities to Jack London. Also, the Duncan siblings used to climb the fence of Gertrude Stein’s house in Oakland and steal apples from her orchard.)\u003c/p>\n\u003cp>But perhaps factoids are best left to biographers. \u003cem>Isadora\u003c/em> explores themes of art and genius, history and personal grief, and the specific sorrows of the female body. It’s not an entirely successful book, nor a happy one, but it does transcend the entertainment value and repurposed gossip of most biographical novels to stand apart as a depiction of an artist’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Amelia Gray reads at The Booksmith in San Francisco on June 26; \u003ca href=\"http://www.booksmith.com/event/amelia-gray-and-rosecrans-baldwin\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Denis Johnson, Author Who Wrote of the 'Painfully Beautiful,' Dies at 67",
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"content": "\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Denis Johnson, the author behind the seminal collection \u003cem>Jesus’ Son\u003c/em>, has died at the age of 67. Jeff Seroy, a spokesperson for Johnson’s publisher, Farrar Straus and Giroux, confirmed that the National Book Award-winning novelist died but offered no further details.\u003c/p>\n\u003cp>https://twitter.com/fsgbooks/status/868115191501914112\u003c/p>\n\u003cp>“Denis was one of the great writers of his generation,” FSG’s president and publisher, Jonathan Galassi, said in a statement Friday. “He wrote prose with the imaginative concentration and empathy of the poet he was.”\u003c/p>\n\u003cp>“Brutally honest and painfully beautiful” — that’s how novelist Nathan Englander described Johnson’s work in 1992’s \u003cem>Jesus’ Son\u003c/em>, a brief, unvarnished set of interwoven stories that focus on the desperate lives of drug addicts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He doesn’t ever romanticize these dark settings while leaving his narrator open to the fact that, despite it all, we may live in a heartbreakingly romantic world,” Englander \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11531765\" target=\"_blank\" rel=\"noopener\">wrote of Johnson in 2007\u003c/a>, adding: “With dialogue that feels like you’re getting it verbatim and stripped-down prose, he writes simple, honest stories that have the bigness of great work.”\u003c/p>\n\u003cp>The same year that Englander praised him on NPR, Johnson went on to win the National Book Award for a significantly heftier work — at least in physical size. \u003cem>Tree of Smoke\u003c/em>, a deep dive into covert operations during the Vietnam War, only added proof to the notion Johnson was “a fine stylist of the world of soulful disaster,” reviewer Alan Cheuse \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=14162036\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a>.\u003c/p>\n\u003cp>And Johnson, whose novella \u003cem>Train Dreams\u003c/em> was also a finalist for the 2012 Pulitzer, proved to be prolific both on the page and off: The author of about 20 books, including several collections of poetry, he pursued journalistic stories in Somalia and Liberia, among other places around the world.\u003c/p>\n\u003cp>In Liberia’s capital city in 1990, the dogs were doing well “because they feed on human corpses,” he wrote in “The Civil War in Hell,” a piece included in the nonfiction collection \u003cem>Seek\u003c/em>. “The people are starving, but the dogs have put on weight.”\u003c/p>\n\u003cp>https://twitter.com/alexanderchee/status/867973643539587076\u003c/p>\n\u003cp>https://twitter.com/AimeeBender/status/867975314265186304\u003c/p>\n\u003cp>From book to book, the protean writer frequently defied readers’ expectations, slipping into new voices with each publication.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I get bored quickly and try another style, another genre, another form,” he \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-denis-johnson-20141102-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times\u003c/a> in 2014, around the time he released his 10th novel, \u003cem>Laughing Monsters\u003c/em>. “To me the writing is all one thing, or maybe I should say it’s all nothing. The truth is, I just write sentences.” \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=Denis+Johnson%2C+Author+Who+Wrote+Of+The+%27Painfully+Beautiful%2C%27+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The National Book Award-winning novelist was perhaps best known for 'Jesus' Son', a book of interwoven stories focused on the lives of addicts. A spokesman for his publisher tells NPR he died this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Denis was one of the great writers of his generation,” FSG’s president and publisher, Jonathan Galassi, said in a statement Friday. “He wrote prose with the imaginative concentration and empathy of the poet he was.”\u003c/p>\n\u003cp>“Brutally honest and painfully beautiful” — that’s how novelist Nathan Englander described Johnson’s work in 1992’s \u003cem>Jesus’ Son\u003c/em>, a brief, unvarnished set of interwoven stories that focus on the desperate lives of drug addicts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He doesn’t ever romanticize these dark settings while leaving his narrator open to the fact that, despite it all, we may live in a heartbreakingly romantic world,” Englander \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11531765\" target=\"_blank\" rel=\"noopener\">wrote of Johnson in 2007\u003c/a>, adding: “With dialogue that feels like you’re getting it verbatim and stripped-down prose, he writes simple, honest stories that have the bigness of great work.”\u003c/p>\n\u003cp>The same year that Englander praised him on NPR, Johnson went on to win the National Book Award for a significantly heftier work — at least in physical size. \u003cem>Tree of Smoke\u003c/em>, a deep dive into covert operations during the Vietnam War, only added proof to the notion Johnson was “a fine stylist of the world of soulful disaster,” reviewer Alan Cheuse \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=14162036\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a>.\u003c/p>\n\u003cp>And Johnson, whose novella \u003cem>Train Dreams\u003c/em> was also a finalist for the 2012 Pulitzer, proved to be prolific both on the page and off: The author of about 20 books, including several collections of poetry, he pursued journalistic stories in Somalia and Liberia, among other places around the world.\u003c/p>\n\u003cp>In Liberia’s capital city in 1990, the dogs were doing well “because they feed on human corpses,” he wrote in “The Civil War in Hell,” a piece included in the nonfiction collection \u003cem>Seek\u003c/em>. “The people are starving, but the dogs have put on weight.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>From book to book, the protean writer frequently defied readers’ expectations, slipping into new voices with each publication.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I get bored quickly and try another style, another genre, another form,” he \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-denis-johnson-20141102-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times\u003c/a> in 2014, around the time he released his 10th novel, \u003cem>Laughing Monsters\u003c/em>. “To me the writing is all one thing, or maybe I should say it’s all nothing. The truth is, I just write sentences.” \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=Denis+Johnson%2C+Author+Who+Wrote+Of+The+%27Painfully+Beautiful%2C%27+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before reading \u003cem>The Inheritance of Shame\u003c/em>, there were three things I knew about conversion therapy: that children who exhibit signs of homosexuality are whisked away into church basements for exorcisms, that adults are told they can withdraw from their sexuality, and that if they fail, it is portrayed as a lack of piety.\u003c/p>\n\u003cp>Peter Gajdics’ harrowing memoir goes deeper. Covering seven years spent struggling to change his sexual orientation, \u003cem>The Inheritance of Shame\u003c/em> is a profound journey to self-destruction, self-acceptance, and finally a reckoning with the dangers of shame and silence. This is a memoir that is hard to read, but one that must absolutely be read.\u003c/p>\n\u003cp>Conversion therapy (sometimes called reparative therapy, or ex-gay therapy) has been discredited and condemned by most medical organizations, including the American Medical Association and the American Psychological Association, and yet it is not illegal for a licensed psychiatrist to engage in conversion therapy. Only eight states in the country (including California) have instituted a ban on conversion therapy for minors. It continues to exist for adults through churches and faith-allied organizations, or as in the case of \u003cem>The Inheritance of Shame\u003c/em>, through a prejudiced psychiatrist.\u003c/p>\n\u003cfigure id=\"attachment_13252756\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Shame.jpg\" alt=\"'The Inheritance of Shame.'\" width=\"500\" height=\"800\" class=\"size-full wp-image-13252756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-375x600.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Inheritance of Shame.’\u003c/figcaption>\u003c/figure>\n\u003cp>How does one arrive at a place in life to want to seek conversion therapy? And how does one become, essentially, part of a cult?\u003c/p>\n\u003cp>For Gajdics, the answer to both questions is: not all at once. His story begins with \u003ca href=\"https://en.wikipedia.org/wiki/Primal_therapy\" target=\"_blank\" rel=\"noopener\">primal therapy\u003c/a>, wherein Gajdics lays on a mattress, relives repressed traumatic events, and expresses pain and anger through unrestrained screaming. He imagines the moment an older man abused him as a child, and the moments he felt unprotected by his parents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a slow boil to the oncoming calamity as Gajdics’ psychiatrist, Dr. Alfonzo, says an odd thing here, does an odd thing there, insignificant enough to miss or forget. Then, Alfonzo says that he believes Gajdics to be heterosexual — that his true sexuality is buried under the abuse he experienced, and that homosexuality is something he can unlearn. Gajdics writes:\u003c/p>\n\u003cblockquote>\u003cp>This had always been my greatest fear: that my attraction for men had been created, and not by God; that my sexuality had been like a descending staircase I’d been pushed down, one step at a time, into the cellar of my homosexuality […] Alfonzo was saying that I could unlearn my homosexuality, unlock my trap door, and ascend into the light of heterosexuality. [His] words were like a lifeline thrown out to me at sea.\u003c/p>\u003c/blockquote>\n\u003cp>In just five more pages, Gajdics moves into a house with two other patients, where they receive intensive accelerated treatment. The inpatients aptly nickname the house The Styx, but there is no ferrying of the dead to the underworld. Rather, there is Gajdics and eventually five other residential patients who forsake their former lives in favor of Alfonzo, whom they begin to call Papa. He starts medicating them with ketamine (a horse tranquilizer), and bids them shave their heads so they may be like children and get to a place where they can rewire what each of them want changed.\u003c/p>\n\u003cp>https://twitter.com/HungarianWriter/status/855824916163309571\u003c/p>\n\u003cp>It is a relief to witness the full journey of this book, to get through the raw, horrifying parts and reach the other side. Everything is hard-earned in this book, vulnerable, naked, and luminous. Though it’s hard to imagine reaching acceptance after such an experience, Gajdics does. As he wrote in a 2012 op-ed for \u003cem>The Advocate\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>If my experiences taught me anything it was that a change to the ‘map’ of my identity from homosexual to heterosexual would never change the ‘territory’ of my experience from same-sex to opposite-sex desire […] Enacting laws to make it illegal to practice reparative therapy on anyone under the age of 18 is only a start. Reparative therapy may be a lie, but the lie begins not with the idea that we can change from gay to straight, but with the belief that we are who the culture tells us we are, that a change to the map of our identity is a change to the territory of our experience. And no one, no matter what age, is safe from that.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Inheritance of Shame\u003c/em> is an important story — one that isn’t soon forgotten.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Peter Gajdics on Tuesday, May 23, at Dog Eared Books (Castro store) in San Francisco. 7pm; \u003ca href=\"http://www.dogearedbooks.com/castro-events.html\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Gajdics also reads from ‘The Inheritance of Shame’ on Thursday, May 25, at Laurel Bookstore in Oakland. 7pm; \u003ca href=\"http://www.laurelbookstore.com/event/6-years-gay-conversion-therapy-peter-gajdics-conversation-lucy-jane-bledsoe\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "After Conversion Therapy, a Survivor's Sense of Pride | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before reading \u003cem>The Inheritance of Shame\u003c/em>, there were three things I knew about conversion therapy: that children who exhibit signs of homosexuality are whisked away into church basements for exorcisms, that adults are told they can withdraw from their sexuality, and that if they fail, it is portrayed as a lack of piety.\u003c/p>\n\u003cp>Peter Gajdics’ harrowing memoir goes deeper. Covering seven years spent struggling to change his sexual orientation, \u003cem>The Inheritance of Shame\u003c/em> is a profound journey to self-destruction, self-acceptance, and finally a reckoning with the dangers of shame and silence. This is a memoir that is hard to read, but one that must absolutely be read.\u003c/p>\n\u003cp>Conversion therapy (sometimes called reparative therapy, or ex-gay therapy) has been discredited and condemned by most medical organizations, including the American Medical Association and the American Psychological Association, and yet it is not illegal for a licensed psychiatrist to engage in conversion therapy. Only eight states in the country (including California) have instituted a ban on conversion therapy for minors. It continues to exist for adults through churches and faith-allied organizations, or as in the case of \u003cem>The Inheritance of Shame\u003c/em>, through a prejudiced psychiatrist.\u003c/p>\n\u003cfigure id=\"attachment_13252756\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Shame.jpg\" alt=\"'The Inheritance of Shame.'\" width=\"500\" height=\"800\" class=\"size-full wp-image-13252756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-375x600.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Inheritance of Shame.’\u003c/figcaption>\u003c/figure>\n\u003cp>How does one arrive at a place in life to want to seek conversion therapy? And how does one become, essentially, part of a cult?\u003c/p>\n\u003cp>For Gajdics, the answer to both questions is: not all at once. His story begins with \u003ca href=\"https://en.wikipedia.org/wiki/Primal_therapy\" target=\"_blank\" rel=\"noopener\">primal therapy\u003c/a>, wherein Gajdics lays on a mattress, relives repressed traumatic events, and expresses pain and anger through unrestrained screaming. He imagines the moment an older man abused him as a child, and the moments he felt unprotected by his parents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a slow boil to the oncoming calamity as Gajdics’ psychiatrist, Dr. Alfonzo, says an odd thing here, does an odd thing there, insignificant enough to miss or forget. Then, Alfonzo says that he believes Gajdics to be heterosexual — that his true sexuality is buried under the abuse he experienced, and that homosexuality is something he can unlearn. Gajdics writes:\u003c/p>\n\u003cblockquote>\u003cp>This had always been my greatest fear: that my attraction for men had been created, and not by God; that my sexuality had been like a descending staircase I’d been pushed down, one step at a time, into the cellar of my homosexuality […] Alfonzo was saying that I could unlearn my homosexuality, unlock my trap door, and ascend into the light of heterosexuality. [His] words were like a lifeline thrown out to me at sea.\u003c/p>\u003c/blockquote>\n\u003cp>In just five more pages, Gajdics moves into a house with two other patients, where they receive intensive accelerated treatment. The inpatients aptly nickname the house The Styx, but there is no ferrying of the dead to the underworld. Rather, there is Gajdics and eventually five other residential patients who forsake their former lives in favor of Alfonzo, whom they begin to call Papa. He starts medicating them with ketamine (a horse tranquilizer), and bids them shave their heads so they may be like children and get to a place where they can rewire what each of them want changed.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It is a relief to witness the full journey of this book, to get through the raw, horrifying parts and reach the other side. Everything is hard-earned in this book, vulnerable, naked, and luminous. Though it’s hard to imagine reaching acceptance after such an experience, Gajdics does. As he wrote in a 2012 op-ed for \u003cem>The Advocate\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>If my experiences taught me anything it was that a change to the ‘map’ of my identity from homosexual to heterosexual would never change the ‘territory’ of my experience from same-sex to opposite-sex desire […] Enacting laws to make it illegal to practice reparative therapy on anyone under the age of 18 is only a start. Reparative therapy may be a lie, but the lie begins not with the idea that we can change from gay to straight, but with the belief that we are who the culture tells us we are, that a change to the map of our identity is a change to the territory of our experience. And no one, no matter what age, is safe from that.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Inheritance of Shame\u003c/em> is an important story — one that isn’t soon forgotten.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Peter Gajdics on Tuesday, May 23, at Dog Eared Books (Castro store) in San Francisco. 7pm; \u003ca href=\"http://www.dogearedbooks.com/castro-events.html\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Gajdics also reads from ‘The Inheritance of Shame’ on Thursday, May 25, at Laurel Bookstore in Oakland. 7pm; \u003ca href=\"http://www.laurelbookstore.com/event/6-years-gay-conversion-therapy-peter-gajdics-conversation-lucy-jane-bledsoe\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Suzie & Gabe's Picks: Rockin' the Front Porch, Talkin' with OGs, and Paintin' an Empty Warehouse",
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"content": "\u003cp>\u003cstrong>KQED’s Suzie Racho and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>The seasons are changing, the sun is out, and this week we’ve got not one, not two, not three but four free events in the show. One of them is the Malcolm X Jazz Arts Festival in Oakland — a large annual party in San Antonio Park with street art, breakdancing, spoken word and music, including a set by the great jazz saxophonist David Murray and his trio. \u003ca href=\"https://www.eastsideartsalliance.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. We also need to give a quick mention to Rajeev Taranath a master of the the Indian Lute, who’s at the Freight and Salvage on Tuesday. \u003ca href=\"http://thefreight.org/rajeev-taranath-udayraj-karpur\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Now on with the show.\u003c/p>\n\u003cfigure id=\"attachment_13257845\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg\" alt=\"Alcatraz Islanders.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13257845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz Islanders.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> The fun, accessible live-music smorgasbord \u003cstrong>Porchfest\u003c/strong> is a tradition running for 10 years now; it started in New York and eventually came west. The idea is simple: instead of going to a nightclub or ballroom to see music, attendees can walk or ride bikes around the neighborhood and see music performed on front steps, porches, or backyards. This year there are over 50 bands, from folk to punk, and it takes place all over the Mission District in San Francisco — though centered on Valencia Street. \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg\" alt=\"A mural from 'Out of Order 2.'\" width=\"800\" height=\"481\" class=\"size-medium wp-image-13257847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural from ‘Out of Order 2.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> When an abandoned warehouse in Santa Rosa was taken over in 2013 by dozens of street artists, it was the talk of the town. After all, the 4,000-sq.-ft. warehouse once housed a printing press, but has become a building of mystique — the Wonka Factory of downtown Santa Rosa, if you will. So it’s a thrill that \u003cstrong>Out Of Order\u003c/strong> is opening its doors again and returning for a second run, with over 30 artists taking part in covering the walls, doors, and every available surface with huge graffiti murals. It’s free, it’s at the Corner Store Collective, and details are \u003ca href=\"https://www.facebook.com/events/203721943464213/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg\" alt=\"Liss Fain's 'Known Once' is a multi-generational collaboration.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13257848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna.jpg 840w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liss Fain’s ‘Known Once’ is a multi-generational collaboration. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 19–21\u003c/strong>: Liss Fain Dance often bases its works on fiction or literature, like that of William Faulkner or Virginia Woolf. For \u003cem>Known Once\u003c/em>, they partnered with 826 Valencia and The Redwoods to create a performance from real life, pulling together seniors and kids for a piece about personal experience and similarities across generations. Six years in the making, it finally premieres this week at Z Space. \u003ca href=\"http://www.lissfaindance.org/known-once/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg\" alt=\"Pendarvis Harshaw, author of 'OG Told Me.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13257849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, author of ‘OG Told Me.’ \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 21:\u003c/strong> Oakland City Hall on Sunday hosts the city’s annual \u003cstrong>Oakland Book Festival\u003c/strong>, where this year’s theme is Equality/Inequality. There are panels on arts advocacy after the Ghost Ship fire, the free press and fake news, and authors like Ishmael Reed and Jeff Chang. There’s also this book that everyone’s been talking about — \u003cem>OG Told Me\u003c/em>, written by teacher and journalist Pendarvis Harshaw, an true story about growing up on the streets of Oakland and the lessons he learned from his elders and peers. He’s on a panel about race and place in the Bay Area, and it’s a guaranteed way to get a copy of \u003cem>OG Told Me\u003c/em> — not the easiest thing to do, since right now, Harshaw’s just riding his bike around Oakland and selling it out of his backpack. \u003ca href=\"http://www.oaklandbookfestival.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/S8Gx0q4TssA\u003c/p>\n\u003cp>\u003cstrong>May 20\u003c/strong>: San Jose is one of only six cities in the United States hosting the current tour by \u003cstrong>Shankar Mahadevan\u003c/strong>, a Bollywood composer who’s scored over 65 films. Mahadevan is a huge star in India, and he specializes in a rhythm-heavy sound bolstered by extra production — though he’s also written for small combos as well. For this tour, a benefit for literacy causes, he’s got a 20-piece orchestra and a set list sure to get people dancing at the City National Civic. \u003ca href=\"http://sanjosetheaters.org/event/krishna-sabrang-shankar-mahadevan-live-concert/?instance_id=8522\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "On the Do List this week, we talk to 'OG Told Me' author Pendarvis Harshaw and discuss Porchfest, a huge warehouse graffiti show, Liss Fain's newest, and more.",
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"title": "Suzie & Gabe's Picks: Rockin' the Front Porch, Talkin' with OGs, and Paintin' an Empty Warehouse | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Suzie Racho and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>The seasons are changing, the sun is out, and this week we’ve got not one, not two, not three but four free events in the show. One of them is the Malcolm X Jazz Arts Festival in Oakland — a large annual party in San Antonio Park with street art, breakdancing, spoken word and music, including a set by the great jazz saxophonist David Murray and his trio. \u003ca href=\"https://www.eastsideartsalliance.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. We also need to give a quick mention to Rajeev Taranath a master of the the Indian Lute, who’s at the Freight and Salvage on Tuesday. \u003ca href=\"http://thefreight.org/rajeev-taranath-udayraj-karpur\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Now on with the show.\u003c/p>\n\u003cfigure id=\"attachment_13257845\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg\" alt=\"Alcatraz Islanders.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13257845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/AlcatrazIslanders-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz Islanders.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> The fun, accessible live-music smorgasbord \u003cstrong>Porchfest\u003c/strong> is a tradition running for 10 years now; it started in New York and eventually came west. The idea is simple: instead of going to a nightclub or ballroom to see music, attendees can walk or ride bikes around the neighborhood and see music performed on front steps, porches, or backyards. This year there are over 50 bands, from folk to punk, and it takes place all over the Mission District in San Francisco — though centered on Valencia Street. \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg\" alt=\"A mural from 'Out of Order 2.'\" width=\"800\" height=\"481\" class=\"size-medium wp-image-13257847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder-520x313.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OutOfOrder.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural from ‘Out of Order 2.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 20:\u003c/strong> When an abandoned warehouse in Santa Rosa was taken over in 2013 by dozens of street artists, it was the talk of the town. After all, the 4,000-sq.-ft. warehouse once housed a printing press, but has become a building of mystique — the Wonka Factory of downtown Santa Rosa, if you will. So it’s a thrill that \u003cstrong>Out Of Order\u003c/strong> is opening its doors again and returning for a second run, with over 30 artists taking part in covering the walls, doors, and every available surface with huge graffiti murals. It’s free, it’s at the Corner Store Collective, and details are \u003ca href=\"https://www.facebook.com/events/203721943464213/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg\" alt=\"Liss Fain's 'Known Once' is a multi-generational collaboration.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13257848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LissFain.RJMuna.jpg 840w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liss Fain’s ‘Known Once’ is a multi-generational collaboration. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 19–21\u003c/strong>: Liss Fain Dance often bases its works on fiction or literature, like that of William Faulkner or Virginia Woolf. For \u003cem>Known Once\u003c/em>, they partnered with 826 Valencia and The Redwoods to create a performance from real life, pulling together seniors and kids for a piece about personal experience and similarities across generations. Six years in the making, it finally premieres this week at Z Space. \u003ca href=\"http://www.lissfaindance.org/known-once/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13257849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg\" alt=\"Pendarvis Harshaw, author of 'OG Told Me.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13257849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/OGToldMe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, author of ‘OG Told Me.’ \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 21:\u003c/strong> Oakland City Hall on Sunday hosts the city’s annual \u003cstrong>Oakland Book Festival\u003c/strong>, where this year’s theme is Equality/Inequality. There are panels on arts advocacy after the Ghost Ship fire, the free press and fake news, and authors like Ishmael Reed and Jeff Chang. There’s also this book that everyone’s been talking about — \u003cem>OG Told Me\u003c/em>, written by teacher and journalist Pendarvis Harshaw, an true story about growing up on the streets of Oakland and the lessons he learned from his elders and peers. He’s on a panel about race and place in the Bay Area, and it’s a guaranteed way to get a copy of \u003cem>OG Told Me\u003c/em> — not the easiest thing to do, since right now, Harshaw’s just riding his bike around Oakland and selling it out of his backpack. \u003ca href=\"http://www.oaklandbookfestival.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Helen Fielding’s latest book about the misadventures of indomitable singleton Bridget Jones won the Bollinger Everyman Wodehouse Prize for comic fiction Thursday, gaining the writer rewards that include champagne and a pig.\u003c/p>\n\u003cp>\u003cem>Bridget Jones’s Baby: The Diaries\u003c/em> was declared winner of the prize named in honor of novelist P.G. Wodehouse.\u003c/p>\n\u003cp>The book sees Bridget uncertain which of her rival beaus — stalwart Mark Darcy or fickle Daniel Cleaver — is the father of her child.\u003c/p>\n\u003cp>It was released to accompany the movie of the same name.\u003c/p>\n\u003cp>Fielding will receive a Gloucester Old Spot pig, a jeroboam of champagne and a set of Wodehouse novels at the May 27 Hay Festival in Wales.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The author said she is “completely overjoyed to win the pig.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Previous winners include Ian McEwan and the late Terry Pratchett.\u003c/p>\n\n",
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"title": "Talking With Jeff VanderMeer About 'Borne,' Mothers, and Nurturing",
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"content": "\u003cp>Science-fiction author \u003ca href=\"http://www.jeffvandermeer.com/\" target=\"_blank\" rel=\"noopener\">Jeff VanderMeer\u003c/a>’s books are an Audubon guide of fantastical creatures. From glow-in-the-dark fungi that spell out words to bloodthirsty bears that fly through the night sky, VanderMeer pushes past the boundaries of what’s real with plants and animals both recognizable and terrifying.\u003c/p>\n\u003cp>His latest invention is \u003cem>Borne\u003c/em> — the title of his newest book, and the name of a discarded piece of biotech that will eventually become a sentient being. VanderMeer creates a world decimated by climate change, where a young scavenger named Rachel finds Borne, a seemingly “half-closed stranded sea anemone” that smells like the ocean. Borne starts to grow and speak, and Rachel begins to raise him like a child. Borne yearns to become human, even as his darker impulses take over. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Borne-Gif-08.gif\" alt=\"\" width=\"650\" height=\"650\" class=\"aligncenter size-full wp-image-13225151\">\u003c/p>\n\u003cp>Paramount Pictures has already optioned the book — little surprise, given that \u003cem>Annihilation\u003c/em> (2014), the first novel in VanderMeer’s bestselling Southern Reach trilogy, is set to be released in 2018 as a movie starring Natalie Portman and Gina Rodriguez. We caught up with VanderMeer during a break in his book tour. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>I fell in love right away with Borne. After a while, you forget that this young woman Rachel is conversing with a blob-like creature with multiple eyes. It feels so much like a parent-child relationship. \u003c/strong>\u003c/p>\n\u003cp>Those early conversations between Borne and Rachel are really those early conversations between a mother and child, as Borne kind of learns more about the world around him. And I really wanted that to feel real and personal, and I took a lot of time relating to my being a stepparent. When I entered [my wife] Ann’s household as a stepparent to a six-year-old daughter, I didn’t want in any way to try and replace her real dad, but I wanted her to feel comfortable. We would joke around a lot, and she’d say “long mouse” when she saw a ferret since she didn’t know what a ferret was, and that’s a line in \u003cem>Borne\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13225152\" class=\"wp-caption alignright\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_.jpg\" alt=\"Jeff VanderMeer.\" width=\"533\" height=\"800\" class=\"size-full wp-image-13225152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-520x780.jpg 520w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Jeff VanderMeer. \u003ccite>(Kyle Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It reminded me also of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, where you create this creature and in an ironic way, the creature ends up being more human in its desire to connect and to be loved. \u003c/strong>\u003c/p>\n\u003cp>I definitely wanted to explore what is it that makes us human. Is it the shape we take? Is it the bodies we inhabit? You see it in the news all the time: people who are struggling or displaced, who still have moments of kindness to others, and still try to form connections, even though they might be better off \u003cem>not\u003c/em> doing that. But I think that speaks to something about the human condition. There are a lot of post-apocalyptic novels that are really about militias ravaging a landscape and how terrible everybody is, and I really wanted to look at how we try to connect to someone else, even in these strange situations. Rachel engaging in an act of faith and trusting, even if that faith is misplaced at times. It’s basically saying she has a hope in the future. \u003c/p>\n\u003cp>\u003cstrong>You write a lot about climate change. Here in the Bay Area, we have many environmental and activist groups. Many of us have been struggling with what role we can take as citizens. Do you see writing as a form of activism, or do you reach out in other ways? \u003c/strong>\u003c/p>\n\u003cp>I go back and forth in regards to the actual effect of advocacy in fiction, but I do think there is something of value in the laboratory of fiction, in playing out certain scenarios — a thought experiment that you can’t really do as much in the real world. In terms of my own advocacy, it’s sad to say but in the U.S., everything is so under threat, you can choose almost anything and be of use. We’re putting some percentage of the \u003cem>Annihilation\u003c/em> royalty money [into local environmental causes in Florida]. So if more movie projects come down the line, the main thing I’m thinking is I can acquire land in North Florida to protect it. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o5stee_pAAU\u003c/p>\n\u003cp>\u003cstrong>In your books, your characters live in places very isolated from other people. And yet there’s this sense they’re still hungry to connect, whether they’re human or biotech. \u003c/strong> \u003c/p>\n\u003cp>In the Southern Reach trilogy, I was writing about characters who really have a tough time connecting at all, and so that creates a sense of alienation. And honestly, that comes from my nuclear family, who went over to Fiji and kind of cut the bonds with extended family when I was a kid. So when I came into [my wife] Ann’s household, she might have a second cousin who had died and she was in tears, and that took me a long time to understand what that emotional connection was. So as I progressed as a novelist, there was her having more connectivity to the world than I had, and my learning from that. \u003c/p>\n\u003cp>\u003cstrong>You gave Ann, a well-known science fiction editor in her own right, the first draft copy of \u003cem>Annihilation\u003c/em> to read while you were driving together to a conference. What happened during that drive? \u003c/strong>\u003c/p>\n\u003cp>I have this nervous energy when she’s reading my novels. And we were going to this conference, and I could also hear her gasping at some points. I’d look over and think, “Yes, that’s the moment when you’re supposed to be terrified or surprised.” Of course, if she hadn’t liked it, it would have been a terrible experience being trapped in the car for three hours driving down to this conference! \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jeff VanderMeer appears in conversation with Robin Sloan at Green Apple Books (9th Avenue store) on Tuesday, May 16, at 7:30pm; \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-jeff-vandermeer\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. He also appears in conversation with Karen Joy Fowler at Bookshop Santa Cruz on Wednesday, May 17, at 7pm; \u003ca href=\"http://www.bookshopsantacruz.com/event/jeff-vandermeer-borne\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science-fiction author \u003ca href=\"http://www.jeffvandermeer.com/\" target=\"_blank\" rel=\"noopener\">Jeff VanderMeer\u003c/a>’s books are an Audubon guide of fantastical creatures. From glow-in-the-dark fungi that spell out words to bloodthirsty bears that fly through the night sky, VanderMeer pushes past the boundaries of what’s real with plants and animals both recognizable and terrifying.\u003c/p>\n\u003cp>His latest invention is \u003cem>Borne\u003c/em> — the title of his newest book, and the name of a discarded piece of biotech that will eventually become a sentient being. VanderMeer creates a world decimated by climate change, where a young scavenger named Rachel finds Borne, a seemingly “half-closed stranded sea anemone” that smells like the ocean. Borne starts to grow and speak, and Rachel begins to raise him like a child. Borne yearns to become human, even as his darker impulses take over. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Borne-Gif-08.gif\" alt=\"\" width=\"650\" height=\"650\" class=\"aligncenter size-full wp-image-13225151\">\u003c/p>\n\u003cp>Paramount Pictures has already optioned the book — little surprise, given that \u003cem>Annihilation\u003c/em> (2014), the first novel in VanderMeer’s bestselling Southern Reach trilogy, is set to be released in 2018 as a movie starring Natalie Portman and Gina Rodriguez. We caught up with VanderMeer during a break in his book tour. \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>\u003cstrong>I fell in love right away with Borne. After a while, you forget that this young woman Rachel is conversing with a blob-like creature with multiple eyes. It feels so much like a parent-child relationship. \u003c/strong>\u003c/p>\n\u003cp>Those early conversations between Borne and Rachel are really those early conversations between a mother and child, as Borne kind of learns more about the world around him. And I really wanted that to feel real and personal, and I took a lot of time relating to my being a stepparent. When I entered [my wife] Ann’s household as a stepparent to a six-year-old daughter, I didn’t want in any way to try and replace her real dad, but I wanted her to feel comfortable. We would joke around a lot, and she’d say “long mouse” when she saw a ferret since she didn’t know what a ferret was, and that’s a line in \u003cem>Borne\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13225152\" class=\"wp-caption alignright\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_.jpg\" alt=\"Jeff VanderMeer.\" width=\"533\" height=\"800\" class=\"size-full wp-image-13225152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/VanderMeer.Jeff_.author.phot_-520x780.jpg 520w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Jeff VanderMeer. \u003ccite>(Kyle Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It reminded me also of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, where you create this creature and in an ironic way, the creature ends up being more human in its desire to connect and to be loved. \u003c/strong>\u003c/p>\n\u003cp>I definitely wanted to explore what is it that makes us human. Is it the shape we take? Is it the bodies we inhabit? You see it in the news all the time: people who are struggling or displaced, who still have moments of kindness to others, and still try to form connections, even though they might be better off \u003cem>not\u003c/em> doing that. But I think that speaks to something about the human condition. There are a lot of post-apocalyptic novels that are really about militias ravaging a landscape and how terrible everybody is, and I really wanted to look at how we try to connect to someone else, even in these strange situations. Rachel engaging in an act of faith and trusting, even if that faith is misplaced at times. It’s basically saying she has a hope in the future. \u003c/p>\n\u003cp>\u003cstrong>You write a lot about climate change. Here in the Bay Area, we have many environmental and activist groups. Many of us have been struggling with what role we can take as citizens. Do you see writing as a form of activism, or do you reach out in other ways? \u003c/strong>\u003c/p>\n\u003cp>I go back and forth in regards to the actual effect of advocacy in fiction, but I do think there is something of value in the laboratory of fiction, in playing out certain scenarios — a thought experiment that you can’t really do as much in the real world. In terms of my own advocacy, it’s sad to say but in the U.S., everything is so under threat, you can choose almost anything and be of use. We’re putting some percentage of the \u003cem>Annihilation\u003c/em> royalty money [into local environmental causes in Florida]. So if more movie projects come down the line, the main thing I’m thinking is I can acquire land in North Florida to protect it. \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/o5stee_pAAU'\n title='//www.youtube.com/embed/o5stee_pAAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>In your books, your characters live in places very isolated from other people. And yet there’s this sense they’re still hungry to connect, whether they’re human or biotech. \u003c/strong> \u003c/p>\n\u003cp>In the Southern Reach trilogy, I was writing about characters who really have a tough time connecting at all, and so that creates a sense of alienation. And honestly, that comes from my nuclear family, who went over to Fiji and kind of cut the bonds with extended family when I was a kid. So when I came into [my wife] Ann’s household, she might have a second cousin who had died and she was in tears, and that took me a long time to understand what that emotional connection was. So as I progressed as a novelist, there was her having more connectivity to the world than I had, and my learning from that. \u003c/p>\n\u003cp>\u003cstrong>You gave Ann, a well-known science fiction editor in her own right, the first draft copy of \u003cem>Annihilation\u003c/em> to read while you were driving together to a conference. What happened during that drive? \u003c/strong>\u003c/p>\n\u003cp>I have this nervous energy when she’s reading my novels. And we were going to this conference, and I could also hear her gasping at some points. I’d look over and think, “Yes, that’s the moment when you’re supposed to be terrified or surprised.” Of course, if she hadn’t liked it, it would have been a terrible experience being trapped in the car for three hours driving down to this conference! \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jeff VanderMeer appears in conversation with Robin Sloan at Green Apple Books (9th Avenue store) on Tuesday, May 16, at 7:30pm; \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-jeff-vandermeer\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. He also appears in conversation with Karen Joy Fowler at Bookshop Santa Cruz on Wednesday, May 17, at 7pm; \u003ca href=\"http://www.bookshopsantacruz.com/event/jeff-vandermeer-borne\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "German Publishers' Lawsuit Against Google Threatens to Backfire",
"headTitle": "German Publishers’ Lawsuit Against Google Threatens to Backfire | KQED",
"content": "\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \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=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \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=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a time in a book reviewer’s life when one opens the freshly arrived Media Mail package, cracks open a book, sits for a moment to check out the blurbs, and over the next several hours is never heard from again.\u003c/p>\n\u003cp>I’ve been on the couch, if you’re wondering, reading Patricia Lockwood’s \u003cem>Priestdaddy\u003c/em>, which I hereby proclaim the memoir of the season. \u003cem>Priestdaddy \u003c/em>is a memoir of lovely improbables: when Lockwood and her husband have a medical emergency, they find themselves — after years of “tending the pigs of liberalism, agnosticism, poetry, fornication, cussing, salad-eating, and wanting to visit Europe” — as having no other recourse but to move in with her very conservative family.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13167673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/giphy.gif\" alt=\"\" width=\"480\" height=\"268\">\u003c/p>\n\u003cp>The most improbable aspect lies in the fact that there are no fights, no confrontations, no disinheriting and forswearing; instead, it is the most hilarious homecoming you might read. Lockwood’s father is a Catholic priest—\u003cem>hello, current and lapsed Catholics: apparently there is a loophole, onward!—\u003c/em>who, when not donning finely-accented robes and presiding over religious litanies, likes to lounge at home in nothing but thin underwear and rip electric guitar solos. He also has a soft spot for the movie \u003cem>The Exorcist\u003c/em>, because once, deep in the ocean, under the “eerie, pea-soup light” pouring down inside the submarine where he was a Naval sailor, at the 73\u003csup>rd\u003c/sup> viewing of \u003cem>The Exorcist\u003c/em>, he experienced a glorious conversion — an event he calls “the deepest conversion on record.” Look out, Paul!\u003c/p>\n\u003cp>I meet Patricia Lockwood in San Francisco at a café in the Inner Sunset. The weather, mildly nice, means the cafés are full, and so we sit outside by the soothing sounds of screaming children and screeching cable cars. I begin by asking whether turning to memoir gave her the creative feeling of opening the floodgates after having avoided herself as a literary subject for most of her career. “No,” she tells me, “when it came time to \u003cem>Priestdaddy\u003c/em> I didn’t feel unleashed or free. I felt circumscribed, because it was about my family.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout our interview Lockwood is uniquely energetic, interrupting her sentences to say hello to babies, salute a very fat pigeon, and observe the terror of a pedestrian screaming for the cable car to wait. She keeps masterly track of our conversation, though, in a way I find impressive. Lockwood says that she chose humor over other ways of telling the story, and when asked what role humor has in the world of her memoir, she answers, “[Teasing] is a place where people can find common ground, you can deflate each other’s pretensions a little bit.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13167691 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-1020x1020.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>One of the most mesmerizing aspects of \u003cem>Priestdaddy\u003c/em> is the lack of confrontation, even while everyone is being utterly themselves; Lockwood and her husband behave like self-professed heathens, while her father and mother continue to behave firmly Catholic. “I think you have to enter into the spirit of it,” Lockwood tells me. “You go back home, and it’s a movie like \u003cem>Home for the Holidays\u003c/em> and you just strap in, and go. In order to do that you do have to give up control a little bit. But that’s something I think I’m good at doing in certain circumstances. Of course, writing about it is a way to have another kind of control.”\u003c/p>\n\u003cp>\u003cem>Priestdaddy \u003c/em>was finished a year before the election. Lockwood is sure that the memoir would have been very different had she written it during our current times. But “I don’t know if it would be as good,” she says. “I don’t know if it would get to the humanity of them as well — cause you are, I mean, you are dealing with human beings.\u003c/p>\n\u003cp>“But in a way, I am happy that I wrote it before all this went down because you \u003cem>can\u003c/em> look at those things foreignly. There \u003cem>can\u003c/em> be a sort of nostalgia looking back [at] it. Whereas now, it feels so urgent to excise all these conservative forms of thought as opposed to just seeing them as quirks — which they’re not \u003cem>just \u003c/em>quirks, but they are that, especially when it’s your family.” She adds, “I always had the sense that running alongside this book was a book that was much angrier, or was expressed more as a sort of haranguing monologue against various things, but that’s not particularly natural to me as a writer.”\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> natural to Lockwood is a kind of glimmering comedy where the heaven and earth of the low passions and impropriety meet English Literature. She describes some church-goers as “square-faced and blue eyed and gently brimming with pie filling,” who harbor a passion for fabric-appliqué banners that impinges on the “erotic,” noting they are never happier than when “scissoring big purple grapes out of felt and gluing them onto their felt.” Use of scissoring here, of course, is part of the kind of subliminal wordplay abound in the book. In a favorite passage, as Lockwood worries about whether her husband’s eye surgery will restore his eyesight, she wonders if one day she’ll have to be his eyes, and practices by describing a nearby perfume ad:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>The horse is an erotic moonbeam, trampling across the shore of infinity. He’s eating the woman’s neck with arousal. She smells so good that the horse thinks he is a man. He wants to conceive a pearl with her and watch her give birth to it in the sea.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>I interpret her humor as a sort of family heirloom. For one, there is her mother’s endless interest in questionable crime stories: “Who would have thought that a hug could be so deadly?” she muses, when reporting to the family on the death of a child who was smothered to death on his own teddy bear. Throughout the memoir, Lockwood’s mother is like a hilarious news ticker sharing stories about the incoming threat of demonic rosaries made in China, Satanism on the rise in Italy, and a new kind of diarrhea that is killing senior citizens.\u003c/p>\n\u003cp>Lockwood thinks the family humor was formed in response to what she describes as her father’s blusteriness, and it is something she shares with her siblings and mother. “Maybe that’s just family language. You create a language, and I think in a larger family it becomes a very close-knit and more complex language.”\u003c/p>\n\u003cp>Probably the most original part of Lockwood’s voice has to do with her inhabiting the language of the church, as a feminist and lover of tarot cards. She is as much a contrarian as her father, whose opinions are so full of opinion you cannot do anything else but appreciate them. There are, for example, his notions about cats. Lockwood writes:\u003c/p>\n\u003cblockquote>\u003cp>My father despises cats. He believes them to be Democrats. He considers them to be mean little hillary clintons covered all over with feminist legfur. Cats would have abortions, if given half a chance. Cats would have abortions \u003cem>for fun.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13167698\" class=\"wp-caption alignright\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13167698 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Canon-choir.png\" alt=\"\" width=\"1206\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-160x60.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-800x301.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-768x289.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-1020x384.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-1180x444.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-960x361.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-240x90.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-375x141.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-520x196.png 520w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Cannon Choir-dress illustration. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s too funny, I mean,” Lockwood says, leaning forward over the little café table. “My dad is from that generation of dudes that when he was driving he would, like, look to the kids in the back and purposefully swerve to the side of the road if we saw something cute to freak us out and be like, ‘Haha, I’m going to kill it!’ It’s very hard to understand that mindset. For him, having a cat was the greatest outward sign of liberalism that a person can exhibit. So growing up it was like, \u003cem>You know, if you have cats you’re a pussy,\u003c/em> basically, and in the most pontifical terms. And if you have a dog you’re a Republican! It makes no sense!”\u003c/p>\n\u003cp>Even though most consider Patricia Lockwood a funny writer, she thinks of herself as quite grave. “When I think about just being in a room alone and letting out a breath and putting my pen down, I think of myself as writing something serious.” Just so you don’t think \u003cem>Priestdaddy \u003c/em>is all fluff and fun, there are also chapters devoted to child abuse in the church, as well as what it was like to be part of the early pro-life movement. Talking about the legacy of Catholicism, Lockwood says: “You can cherish the cultural things, but then there were the institutional things. You have to make peace between the culture that feels like you, and the institution which is your oppressor—in many cases the \u003cem>absolute\u003c/em> enemy and the instrument of a great deal of evil.”\u003c/p>\n\u003cp>“A writer has a job to do,” she concludes. “And I don’t think we can do that job and get to be considered pure ethical beings. Sometimes it’s messy to write and you have to deal with that.”\u003c/p>\n\u003cp>At the center of this memoir is a father and a daughter, the patriarch and the feminist, and how these two opposites meet — and perhaps here lies the secret of the living nature of family. In contrarianism, there is a zenith where all can meet as equals.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Priestdaddy’ is out now from Riverhead Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a time in a book reviewer’s life when one opens the freshly arrived Media Mail package, cracks open a book, sits for a moment to check out the blurbs, and over the next several hours is never heard from again.\u003c/p>\n\u003cp>I’ve been on the couch, if you’re wondering, reading Patricia Lockwood’s \u003cem>Priestdaddy\u003c/em>, which I hereby proclaim the memoir of the season. \u003cem>Priestdaddy \u003c/em>is a memoir of lovely improbables: when Lockwood and her husband have a medical emergency, they find themselves — after years of “tending the pigs of liberalism, agnosticism, poetry, fornication, cussing, salad-eating, and wanting to visit Europe” — as having no other recourse but to move in with her very conservative family.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13167673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/giphy.gif\" alt=\"\" width=\"480\" height=\"268\">\u003c/p>\n\u003cp>The most improbable aspect lies in the fact that there are no fights, no confrontations, no disinheriting and forswearing; instead, it is the most hilarious homecoming you might read. Lockwood’s father is a Catholic priest—\u003cem>hello, current and lapsed Catholics: apparently there is a loophole, onward!—\u003c/em>who, when not donning finely-accented robes and presiding over religious litanies, likes to lounge at home in nothing but thin underwear and rip electric guitar solos. He also has a soft spot for the movie \u003cem>The Exorcist\u003c/em>, because once, deep in the ocean, under the “eerie, pea-soup light” pouring down inside the submarine where he was a Naval sailor, at the 73\u003csup>rd\u003c/sup> viewing of \u003cem>The Exorcist\u003c/em>, he experienced a glorious conversion — an event he calls “the deepest conversion on record.” Look out, Paul!\u003c/p>\n\u003cp>I meet Patricia Lockwood in San Francisco at a café in the Inner Sunset. The weather, mildly nice, means the cafés are full, and so we sit outside by the soothing sounds of screaming children and screeching cable cars. I begin by asking whether turning to memoir gave her the creative feeling of opening the floodgates after having avoided herself as a literary subject for most of her career. “No,” she tells me, “when it came time to \u003cem>Priestdaddy\u003c/em> I didn’t feel unleashed or free. I felt circumscribed, because it was about my family.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout our interview Lockwood is uniquely energetic, interrupting her sentences to say hello to babies, salute a very fat pigeon, and observe the terror of a pedestrian screaming for the cable car to wait. She keeps masterly track of our conversation, though, in a way I find impressive. Lockwood says that she chose humor over other ways of telling the story, and when asked what role humor has in the world of her memoir, she answers, “[Teasing] is a place where people can find common ground, you can deflate each other’s pretensions a little bit.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13167691 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-1020x1020.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Patricia-Lockwood-author-photo.-credit-belongs-to-Grep-Hoaxsq.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>One of the most mesmerizing aspects of \u003cem>Priestdaddy\u003c/em> is the lack of confrontation, even while everyone is being utterly themselves; Lockwood and her husband behave like self-professed heathens, while her father and mother continue to behave firmly Catholic. “I think you have to enter into the spirit of it,” Lockwood tells me. “You go back home, and it’s a movie like \u003cem>Home for the Holidays\u003c/em> and you just strap in, and go. In order to do that you do have to give up control a little bit. But that’s something I think I’m good at doing in certain circumstances. Of course, writing about it is a way to have another kind of control.”\u003c/p>\n\u003cp>\u003cem>Priestdaddy \u003c/em>was finished a year before the election. Lockwood is sure that the memoir would have been very different had she written it during our current times. But “I don’t know if it would be as good,” she says. “I don’t know if it would get to the humanity of them as well — cause you are, I mean, you are dealing with human beings.\u003c/p>\n\u003cp>“But in a way, I am happy that I wrote it before all this went down because you \u003cem>can\u003c/em> look at those things foreignly. There \u003cem>can\u003c/em> be a sort of nostalgia looking back [at] it. Whereas now, it feels so urgent to excise all these conservative forms of thought as opposed to just seeing them as quirks — which they’re not \u003cem>just \u003c/em>quirks, but they are that, especially when it’s your family.” She adds, “I always had the sense that running alongside this book was a book that was much angrier, or was expressed more as a sort of haranguing monologue against various things, but that’s not particularly natural to me as a writer.”\u003c/p>\n\u003cp>What \u003cem>is\u003c/em> natural to Lockwood is a kind of glimmering comedy where the heaven and earth of the low passions and impropriety meet English Literature. She describes some church-goers as “square-faced and blue eyed and gently brimming with pie filling,” who harbor a passion for fabric-appliqué banners that impinges on the “erotic,” noting they are never happier than when “scissoring big purple grapes out of felt and gluing them onto their felt.” Use of scissoring here, of course, is part of the kind of subliminal wordplay abound in the book. In a favorite passage, as Lockwood worries about whether her husband’s eye surgery will restore his eyesight, she wonders if one day she’ll have to be his eyes, and practices by describing a nearby perfume ad:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>The horse is an erotic moonbeam, trampling across the shore of infinity. He’s eating the woman’s neck with arousal. She smells so good that the horse thinks he is a man. He wants to conceive a pearl with her and watch her give birth to it in the sea.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>I interpret her humor as a sort of family heirloom. For one, there is her mother’s endless interest in questionable crime stories: “Who would have thought that a hug could be so deadly?” she muses, when reporting to the family on the death of a child who was smothered to death on his own teddy bear. Throughout the memoir, Lockwood’s mother is like a hilarious news ticker sharing stories about the incoming threat of demonic rosaries made in China, Satanism on the rise in Italy, and a new kind of diarrhea that is killing senior citizens.\u003c/p>\n\u003cp>Lockwood thinks the family humor was formed in response to what she describes as her father’s blusteriness, and it is something she shares with her siblings and mother. “Maybe that’s just family language. You create a language, and I think in a larger family it becomes a very close-knit and more complex language.”\u003c/p>\n\u003cp>Probably the most original part of Lockwood’s voice has to do with her inhabiting the language of the church, as a feminist and lover of tarot cards. She is as much a contrarian as her father, whose opinions are so full of opinion you cannot do anything else but appreciate them. There are, for example, his notions about cats. Lockwood writes:\u003c/p>\n\u003cblockquote>\u003cp>My father despises cats. He believes them to be Democrats. He considers them to be mean little hillary clintons covered all over with feminist legfur. Cats would have abortions, if given half a chance. Cats would have abortions \u003cem>for fun.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13167698\" class=\"wp-caption alignright\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13167698 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Canon-choir.png\" alt=\"\" width=\"1206\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-160x60.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-800x301.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-768x289.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-1020x384.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-1180x444.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-960x361.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-240x90.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-375x141.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Canon-choir-520x196.png 520w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Cannon Choir-dress illustration. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s too funny, I mean,” Lockwood says, leaning forward over the little café table. “My dad is from that generation of dudes that when he was driving he would, like, look to the kids in the back and purposefully swerve to the side of the road if we saw something cute to freak us out and be like, ‘Haha, I’m going to kill it!’ It’s very hard to understand that mindset. For him, having a cat was the greatest outward sign of liberalism that a person can exhibit. So growing up it was like, \u003cem>You know, if you have cats you’re a pussy,\u003c/em> basically, and in the most pontifical terms. And if you have a dog you’re a Republican! It makes no sense!”\u003c/p>\n\u003cp>Even though most consider Patricia Lockwood a funny writer, she thinks of herself as quite grave. “When I think about just being in a room alone and letting out a breath and putting my pen down, I think of myself as writing something serious.” Just so you don’t think \u003cem>Priestdaddy \u003c/em>is all fluff and fun, there are also chapters devoted to child abuse in the church, as well as what it was like to be part of the early pro-life movement. Talking about the legacy of Catholicism, Lockwood says: “You can cherish the cultural things, but then there were the institutional things. You have to make peace between the culture that feels like you, and the institution which is your oppressor—in many cases the \u003cem>absolute\u003c/em> enemy and the instrument of a great deal of evil.”\u003c/p>\n\u003cp>“A writer has a job to do,” she concludes. “And I don’t think we can do that job and get to be considered pure ethical beings. Sometimes it’s messy to write and you have to deal with that.”\u003c/p>\n\u003cp>At the center of this memoir is a father and a daughter, the patriarch and the feminist, and how these two opposites meet — and perhaps here lies the secret of the living nature of family. In contrarianism, there is a zenith where all can meet as equals.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>‘Priestdaddy’ is out now from Riverhead Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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