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He said he was motivated to revisit the world of Lyra and her companions with a full trilogy because “I sensed a big story. I sensed the presence, in the way that you do, of another story that hadn’t been told, and I went closer and … thought about it and lived with it for a while and discovered that yes, it was a big story, and it did deserve to be told, it deserves its own books.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On where \u003cem>The Book of Dust\u003c/em> will fall in the saga\u003c/strong>\u003c/p>\n\u003cp>Well, the first book is set roughly ten years before the action of \u003cem>His Dark Materials\u003c/em>. And the second book and subsequent books … are set ten years after it. So in the first one, Lyra is only a baby of about six months. So she’s not able to do very much, but she’s certainly the focus of intense activity on the part of the main protagonists. In the second book she will be twenty years old, she’ll be an adult….\u003c/p>\n\u003cp>It’s a sort of companion book, if you like. It doesn’t stand before [\u003cem>His Dark Materials\u003c/em>], it doesn’t stand after it, it stands beside it.\u003c/p>\n\u003cp>\u003cstrong>On why he’s calling it \u003cem>The Book of Dust\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Dust is something which terrifies the religious authorities in \u003cem>His Dark Materials\u003c/em>. It seems to have something to do with human consciousness, it seems to have something to do with experience, or as they call it, “sin.” But they don’t know what it is, or why it’s important, and they’re terrified of it. Now, in the course of the story, Lyra and her companions discover something about Dust, something important: that it’s not a bad thing, it’s a good thing.\u003c/p>\n\u003cp>\u003cstrong>On whether the overwhelming worldwide reaction to the original trilogy colors his writing of the new one\u003c/strong>\u003c/p>\n\u003cp>When I wrote the first series, starting in 1993, I didn’t expect more than a readership of about two or three thousand. That’s sort of based on previous experience and thinking what sort of book it was, I didn’t think it would have very wide audience but maybe a few people would enjoy it. The fact that it was received with such interest all over the world in 40 different languages really did amaze me.\u003c/p>\n\u003cp>It didn’t change what I was doing, though, because I was already in my late 40s when I was starting that, I wasn’t a very young writer bowled over by all the response and attention and so on. I was pretty clear and determined about what I was doing and how I was doing it. The only difference it made was that I had a lot more letters to write back. To answer. Nowadays I communicate by Twitter, but back in those days there were a lot of letters to write back, which I duly did.\u003c/p>\n\u003cp>\u003cstrong>On his impatient readership\u003c/strong>\u003c/p>\n\u003cp>Well, I have a standard answer. When people say “How’s \u003cem>The Book of Dust\u003c/em> getting along? When’s it going to be finished?” I say, with perfect truth, “It is three pages longer today than it was yesterday.”\u003c/p>\n\u003cp>\u003cstrong>On the criticism his books have received\u003c/strong>\u003c/p>\n\u003cp>I’ve been greatly criticized for the attention to religion that I give in the books, but I’ve been criticized, on the whole, by people who haven’t read the books. My attitude to religion is that religion is a most interesting and extraordinary human phenomenon. I’m fascinated by it, interested in it, and at some points critical of it. And the points when I become critical are the points when politics come into it, and religion acquires political power — political with a small “p,” for example, within the confines of a single family, or Political with a large “P,” on a national or international scale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When religion gets the power to tell people how to dress, who to fall in love with, how to behave, what they must not read, what they must not wear, all those things, then religion goes bad. … Religion is private thing, and a fine thing and a good thing, as long as it remains private. As soon as it becomes public and political, it’s dangerous. That’s the position I’ve taken up in the first series and the position this current one takes up as well. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Philip+Pullman+Announces+A+Follow-Up+Trilogy+To+%27His+Dark+Materials%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hugely successful fantasy trilogy \u003cem>His Dark Materials\u003c/em> will be getting a “companion” trilogy, author Philip Pullman announced this evening.\u003c/p>\n\u003cp>The first book of the new series, which will collectively be called \u003cem>The Book of Dust\u003c/em>, is set for publication on October 19.\u003c/p>\n\u003cp>The original \u003cem>His Dark Materials\u003c/em> trilogy consists of three volumes (\u003cem>The Golden Compass, The Subtle Knife, \u003c/em>and\u003cem> The Amber Spyglass\u003c/em>) published between 1995 and 2000. The series has sold over 17.5 million copies and been translated into 40 languages.\u003c/p>\n\u003cp>The events of the first trilogy took place across several parallel worlds — including our own — and touched on disparate ideas related to theology, particle physics, and the loss of childhood innocence. Characters included a headstrong and fiercely intelligent young girl named Lyra Belacqua, and an armored, talking polar bear.\u003c/p>\n\u003cp>\u003cem>The Book of Dust\u003c/em> will return to the world(s) and characters of \u003cem>His Dark Materials,\u003c/em> Pullman said, and Lyra will be integral to the new story — but not in the way she was before. The first volume will take place a decade before the events of \u003cem>His Dark Materials\u003c/em>, when Lyra is an infant. The second and third volumes will be set ten years after the original trilogy’s conclusion, and will follow Lyra as a young woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that doesn’t mean what you might expect, Pullman told NPR editor Glen Weldon. He wants readers to consider the new work not as a simple extension of the original trilogy, but as a “companion” to it.\u003c/p>\n\u003cp>“The [new] story begins before \u003cem>His Dark Materials\u003c/em> and continues after it,” he said, “… you don’t have to read it before you read [the original trilogy] … this is another story that comes after it, so it’s not a sequel, and it’s not a prequel, it’s an \u003cem>equal\u003c/em>.”\u003c/p>\n\u003cp>The title, \u003cem>The Book of Dust\u003c/em>, refers to an invisible substance that figures largely in the earlier books — a fictional elementary particle that harbors a mysterious affinity with human consciousness.\u003c/p>\n\u003cp>“That’s what I really wanted to explore in this new work,” he said. “More about the nature of Dust, and consciousness, and what it means to be a human being.”\u003c/p>\n\u003cp>Pullman has already followed up the original trilogy with two novellas and an audiobook. He said he was motivated to revisit the world of Lyra and her companions with a full trilogy because “I sensed a big story. I sensed the presence, in the way that you do, of another story that hadn’t been told, and I went closer and … thought about it and lived with it for a while and discovered that yes, it was a big story, and it did deserve to be told, it deserves its own books.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On where \u003cem>The Book of Dust\u003c/em> will fall in the saga\u003c/strong>\u003c/p>\n\u003cp>Well, the first book is set roughly ten years before the action of \u003cem>His Dark Materials\u003c/em>. And the second book and subsequent books … are set ten years after it. So in the first one, Lyra is only a baby of about six months. So she’s not able to do very much, but she’s certainly the focus of intense activity on the part of the main protagonists. In the second book she will be twenty years old, she’ll be an adult….\u003c/p>\n\u003cp>It’s a sort of companion book, if you like. It doesn’t stand before [\u003cem>His Dark Materials\u003c/em>], it doesn’t stand after it, it stands beside it.\u003c/p>\n\u003cp>\u003cstrong>On why he’s calling it \u003cem>The Book of Dust\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Dust is something which terrifies the religious authorities in \u003cem>His Dark Materials\u003c/em>. It seems to have something to do with human consciousness, it seems to have something to do with experience, or as they call it, “sin.” But they don’t know what it is, or why it’s important, and they’re terrified of it. Now, in the course of the story, Lyra and her companions discover something about Dust, something important: that it’s not a bad thing, it’s a good thing.\u003c/p>\n\u003cp>\u003cstrong>On whether the overwhelming worldwide reaction to the original trilogy colors his writing of the new one\u003c/strong>\u003c/p>\n\u003cp>When I wrote the first series, starting in 1993, I didn’t expect more than a readership of about two or three thousand. That’s sort of based on previous experience and thinking what sort of book it was, I didn’t think it would have very wide audience but maybe a few people would enjoy it. The fact that it was received with such interest all over the world in 40 different languages really did amaze me.\u003c/p>\n\u003cp>It didn’t change what I was doing, though, because I was already in my late 40s when I was starting that, I wasn’t a very young writer bowled over by all the response and attention and so on. I was pretty clear and determined about what I was doing and how I was doing it. The only difference it made was that I had a lot more letters to write back. To answer. Nowadays I communicate by Twitter, but back in those days there were a lot of letters to write back, which I duly did.\u003c/p>\n\u003cp>\u003cstrong>On his impatient readership\u003c/strong>\u003c/p>\n\u003cp>Well, I have a standard answer. When people say “How’s \u003cem>The Book of Dust\u003c/em> getting along? When’s it going to be finished?” I say, with perfect truth, “It is three pages longer today than it was yesterday.”\u003c/p>\n\u003cp>\u003cstrong>On the criticism his books have received\u003c/strong>\u003c/p>\n\u003cp>I’ve been greatly criticized for the attention to religion that I give in the books, but I’ve been criticized, on the whole, by people who haven’t read the books. My attitude to religion is that religion is a most interesting and extraordinary human phenomenon. I’m fascinated by it, interested in it, and at some points critical of it. And the points when I become critical are the points when politics come into it, and religion acquires political power — political with a small “p,” for example, within the confines of a single family, or Political with a large “P,” on a national or international scale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When religion gets the power to tell people how to dress, who to fall in love with, how to behave, what they must not read, what they must not wear, all those things, then religion goes bad. … Religion is private thing, and a fine thing and a good thing, as long as it remains private. As soon as it becomes public and political, it’s dangerous. That’s the position I’ve taken up in the first series and the position this current one takes up as well. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Philip+Pullman+Announces+A+Follow-Up+Trilogy+To+%27His+Dark+Materials%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I was surprised to receive an e-mail from Winston Smith: “Hey, I heard you’re interested in hearing about how this started.”\u003c/p>\n\u003cp>Winston Smith is the main character of George Orwell’s \u003cem>1984\u003c/em>. I first read \u003cem>1984\u003c/em> in high school, then I re-read it during a cold winter in Chicago. It had been some years, yet sitting at my desk, I recalled clearly the small, frail man with an itchy ulcer on his ankle. Winston Smith, I remembered, worked for The Ministry of Truth where he and others engaged in the busy work of erasing and rewriting history. Even though telescreens and Big Brother spies watched citizens at all times, Winston Smith committed a small gesture of resistance — he began to keep a diary, an act punishable by death.\u003c/p>\n\u003cp>https://www.instagram.com/p/BPyFy8ng-IZ/?taken-by=booksonthepark\u003c/p>\n\u003cp>My Winston Smith, the one in my inbox, is the anonymous donor who started the Bay Area trend of bookstores giving copies of \u003cem>1984\u003c/em> for free. “Winston Smith” is a pseudonym, but he tells me shortly: he went to Point Reyes Books, Green Apple Books, then the Booksmith on Haight Street, bought copies of \u003cem>1984\u003c/em>, and asked the bookstores to display them prevalently.\u003c/p>\n\u003cp>Winston Smith is also an immigrant from Southern Europe, whose family members were incarcerated for belonging to left wing unions and opposing a fascist regime; that is as detailed as he wants to be. He is fearful of being identified, but in speaking of that time, he tells me he learned to measure his words at age six. When he read \u003cem>1984\u003c/em> at age fourteen, he found in that novel a government machine reminiscent of the one that affected his childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When asked what specifically led him to buying scores of books now and donating them all across the Bay Area, Smith said, “Four words: post truth, alternative facts.” Winston Smith is a linguist and a writer and as such, he is fascinated with language, the use of language, and the power of language.\u003c/p>\n\u003cp>Since the election, \u003cem>1984 \u003c/em>has risen in the national bestseller lists. As I write this, it occupies the No. 1 bestseller spot at Amazon. As a novel about the dangers of truth being co-opted for a government’s vanity and stay of power, \u003cem>1984 \u003c/em>speaks to our contemporary problems like no other.\u003c/p>\n\u003cp>https://www.instagram.com/p/BPqpKr3hvrO/?taken-by=pointreyesbooks\u003c/p>\n\u003cp>Stephen Sparks of Point Reyes Books was the first bookseller to participate in the free-books venture. I asked his opinion about the relevance of \u003cem>1984\u003c/em>.\u003c/p>\n\u003cp>“I think \u003cem>1984\u003c/em> speaks so much to our moment because of Orwell’s ability to probe the language of authoritarianism and to demonstrate how slippery truth can be and how those in power can manipulate it (“alternative facts”) to further their ends,” Sparks says. “For many of us, the famous slogans in the novel — WAR IS PEACE. FREEDOM IS SLAVERY. IGNORANCE IS STRENGTH — are keystones for understanding corruption.”\u003c/p>\n\u003cp>Sinking into the couch with this dystopian masterpiece, I noted uncomfortable parallels to our times. There is the Big Brother party slogan — \u003cem>Who controls the past, controls the future: who controls the present controls the past\u003c/em>.\u003c/p>\n\u003cp>There’s Orwell’s Ministry of Truth, gratingly reminiscent of a fake news empire — if said fake-news empire was backed by the government and its reach dipped not only into our newspapers but into our history books. In \u003cem>1984 \u003c/em>the government has the power to retroactively change truth to make it fit into a larger narrative of prosperity, happiness, and perpetual victory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PKzHXelQi_A\u003c/p>\n\u003cp>Then there is the concept of \u003cem>Doublethink\u003c/em>, one of the most important and lasting ideas in this book, which recalled \u003ca href=\"https://www.youtube.com/watch?v=OOg1z3Z72sU\">Kellyanne Conway\u003c/a>’s tactics in speaking to the press:\u003c/p>\n\u003cp>“To know and not to know, to be conscious of complete truthfulness while telling carefully-constructed lies, to hold simultaneously two opinions which cancelled out, knowing them to be contradictory and believing in both of them; to use logic against logic, to repudiate morality while laying claim to it, to believe that democracy was impossible and that the Party was guardian of democracy; to forget whatever it was necessary to forget, then to draw it back into memory again at the moment when it was needed, and then promptly forget it again: and above all, to apply the same process to the process itself.”\u003c/p>\n\u003cp>\u003cem>1984\u003c/em> is not the only book being given away since the election. On Jan. 20, many bookstores \u003ca href=\"http://www.huffingtonpost.com/entry/we-should-all-be-feminists-free_us_587e72c3e4b01cdc64c815c2\" target=\"_blank\" rel=\"noopener\">followed the lead of Portland’s Broadway Books\u003c/a> and gave out free copies of Chimananda Ngochie Adichie’s \u003cem>We Should All Be Feminists. \u003c/em>\u003c/p>\n\u003cp>And another anonymous donor has undertaken to buy and give away at different bookstores Margaret Atwood’s \u003cem>The Handmaid’s Tale. \u003c/em>They wrote over email, “I’ve been joking-not-joking for a while that someone needed to tell the Republicans that Atwood, Butler, Bradbury, etc, weren’t meant to be how-to manuals.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BQQxYyhDDi1/?taken-by=booksmithsf\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em> is an achingly beautiful novel in which an extreme, totalitarian Christian movement has taken power and women have lost their rights. This second anonymous donor also bought copies of Erik Larson’s \u003cem>In the Garden of Beasts\u003c/em>, a nonfiction book about the 1933 U.S. ambassador to Germany who witnesses Hitler’s rise to power.\u003c/p>\n\u003cp>As for the Winston Smith behind the \u003cem>1984\u003c/em> giveaway, he has said he has no plans of slowing down. “I don’t know how many [copies] I plan to buy. As many as necessary.” A few other donors have taken up Smith’s philanthropical scheme. Scott Esposito, a book publicist, critic, and editor in Oakland, said \u003cem>1984 \u003c/em>is a cornerstone of his understanding of the world and he cannot imagine not being exposed to its ideas, so he followed suit and bought and donated four copies, with plans to buy more. The count so far for \u003cem>1984 \u003c/em>is 100 free books, five bookstores, and three cities.\u003c/p>\n\u003cp>Like the fictional Winston Smith, our anonymous Bay Area donor doesn’t have an ulterior motive — only a desire to spark critical thinking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My Winston Smith, the one in my inbox, is the anonymous donor who started the Bay Area trend of bookstores giving copies of \u003cem>1984\u003c/em> for free. “Winston Smith” is a pseudonym, but he tells me shortly: he went to Point Reyes Books, Green Apple Books, then the Booksmith on Haight Street, bought copies of \u003cem>1984\u003c/em>, and asked the bookstores to display them prevalently.\u003c/p>\n\u003cp>Winston Smith is also an immigrant from Southern Europe, whose family members were incarcerated for belonging to left wing unions and opposing a fascist regime; that is as detailed as he wants to be. He is fearful of being identified, but in speaking of that time, he tells me he learned to measure his words at age six. When he read \u003cem>1984\u003c/em> at age fourteen, he found in that novel a government machine reminiscent of the one that affected his childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked what specifically led him to buying scores of books now and donating them all across the Bay Area, Smith said, “Four words: post truth, alternative facts.” Winston Smith is a linguist and a writer and as such, he is fascinated with language, the use of language, and the power of language.\u003c/p>\n\u003cp>Since the election, \u003cem>1984 \u003c/em>has risen in the national bestseller lists. As I write this, it occupies the No. 1 bestseller spot at Amazon. As a novel about the dangers of truth being co-opted for a government’s vanity and stay of power, \u003cem>1984 \u003c/em>speaks to our contemporary problems like no other.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Sparks of Point Reyes Books was the first bookseller to participate in the free-books venture. I asked his opinion about the relevance of \u003cem>1984\u003c/em>.\u003c/p>\n\u003cp>“I think \u003cem>1984\u003c/em> speaks so much to our moment because of Orwell’s ability to probe the language of authoritarianism and to demonstrate how slippery truth can be and how those in power can manipulate it (“alternative facts”) to further their ends,” Sparks says. “For many of us, the famous slogans in the novel — WAR IS PEACE. FREEDOM IS SLAVERY. IGNORANCE IS STRENGTH — are keystones for understanding corruption.”\u003c/p>\n\u003cp>Sinking into the couch with this dystopian masterpiece, I noted uncomfortable parallels to our times. There is the Big Brother party slogan — \u003cem>Who controls the past, controls the future: who controls the present controls the past\u003c/em>.\u003c/p>\n\u003cp>There’s Orwell’s Ministry of Truth, gratingly reminiscent of a fake news empire — if said fake-news empire was backed by the government and its reach dipped not only into our newspapers but into our history books. In \u003cem>1984 \u003c/em>the government has the power to retroactively change truth to make it fit into a larger narrative of prosperity, happiness, and perpetual victory.\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/PKzHXelQi_A'\n title='//www.youtube.com/embed/PKzHXelQi_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then there is the concept of \u003cem>Doublethink\u003c/em>, one of the most important and lasting ideas in this book, which recalled \u003ca href=\"https://www.youtube.com/watch?v=OOg1z3Z72sU\">Kellyanne Conway\u003c/a>’s tactics in speaking to the press:\u003c/p>\n\u003cp>“To know and not to know, to be conscious of complete truthfulness while telling carefully-constructed lies, to hold simultaneously two opinions which cancelled out, knowing them to be contradictory and believing in both of them; to use logic against logic, to repudiate morality while laying claim to it, to believe that democracy was impossible and that the Party was guardian of democracy; to forget whatever it was necessary to forget, then to draw it back into memory again at the moment when it was needed, and then promptly forget it again: and above all, to apply the same process to the process itself.”\u003c/p>\n\u003cp>\u003cem>1984\u003c/em> is not the only book being given away since the election. On Jan. 20, many bookstores \u003ca href=\"http://www.huffingtonpost.com/entry/we-should-all-be-feminists-free_us_587e72c3e4b01cdc64c815c2\" target=\"_blank\" rel=\"noopener\">followed the lead of Portland’s Broadway Books\u003c/a> and gave out free copies of Chimananda Ngochie Adichie’s \u003cem>We Should All Be Feminists. \u003c/em>\u003c/p>\n\u003cp>And another anonymous donor has undertaken to buy and give away at different bookstores Margaret Atwood’s \u003cem>The Handmaid’s Tale. \u003c/em>They wrote over email, “I’ve been joking-not-joking for a while that someone needed to tell the Republicans that Atwood, Butler, Bradbury, etc, weren’t meant to be how-to manuals.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Handmaid’s Tale\u003c/em> is an achingly beautiful novel in which an extreme, totalitarian Christian movement has taken power and women have lost their rights. This second anonymous donor also bought copies of Erik Larson’s \u003cem>In the Garden of Beasts\u003c/em>, a nonfiction book about the 1933 U.S. ambassador to Germany who witnesses Hitler’s rise to power.\u003c/p>\n\u003cp>As for the Winston Smith behind the \u003cem>1984\u003c/em> giveaway, he has said he has no plans of slowing down. “I don’t know how many [copies] I plan to buy. As many as necessary.” A few other donors have taken up Smith’s philanthropical scheme. Scott Esposito, a book publicist, critic, and editor in Oakland, said \u003cem>1984 \u003c/em>is a cornerstone of his understanding of the world and he cannot imagine not being exposed to its ideas, so he followed suit and bought and donated four copies, with plans to buy more. The count so far for \u003cem>1984 \u003c/em>is 100 free books, five bookstores, and three cities.\u003c/p>\n\u003cp>Like the fictional Winston Smith, our anonymous Bay Area donor doesn’t have an ulterior motive — only a desire to spark critical thinking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s story time at the \u003ca href=\"http://www.oaklandlibrary.org/locations/dimond-branch\" target=\"_blank\" rel=\"noopener\">Dimond Branch \u003c/a>of the Oakland Public Library, and librarian Miriam Medow sits before a group of about 30 kids and parents — black, white, Latino, Asian American and Arab American. First Medow leads them in a song where everyone gets to blow raspberries, and then she reads about the all-animal cast in\u003ca href=\"http://www.publishersweekly.com/978-0-316-20063-9\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Tiger Goes Wild\u003c/em>.\u003c/a> Medow says one of the toughest parts of her job is finding enough books that reflect this very diverse neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12730328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg\" alt=\"Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1920x1311.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That means a great variety of races and religions and sexualities and experiences of disability and so much more,” Medow said in an interview.\u003c/p>\n\u003cp>Every child, Medow said, quoting an old publishing ideal, should be able to read books that are both a window on the world, and a reflection of their own lives. But when I asked if she finds enough of those books, she said, “No. Never enough. Not yet.”\u003c/p>\n\u003cp>That’s a concern for Solomon Makoni, a Zimbabwean American with a white wife who brought their three year-old son Tadashe to Medow’s story time.\u003c/p>\n\u003cfigure id=\"attachment_12730329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730329\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg\" alt=\"Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We both want him to see himself in the books that he reads,” Makoni said. “To teach him he’s no different. And once you see yourself among your books, or see superheroes who look like you, then you can dream big.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than half of U.S. children under the age of five are like Tadashe — children of color. But only about 14 percent of the kids’ books published in 2015 were authored by or featured people of color.\u003c/p>\n\u003cp>Those statistics come from the \u003ca href=\"https://ccbc.education.wisc.edu/\" target=\"_blank\" rel=\"noopener\">Cooperative Children’s Book Center at the University of Wisconsin\u003c/a>, where Megan Schliesman is a librarian, and has been tracking diversity numbers since 2002.\u003c/p>\n\u003cp>“And they’re always abysmally low,” Schliesman said.\u003c/p>\n\u003cp>The issue, Schliesman said, is one that comes up again and again among librarians and publishers at conferences on children’s books around the country.\u003c/p>\n\u003cp>“There are overall good intentions in the publishing industry,” Schliesman said, “but I think there is a big gap between those good intentions and the reality of what is being published for children and teenagers.”\u003c/p>\n\u003ch3>Two Local Startups\u003c/h3>\n\u003cp>Back in Oakland, Janine Macbeth is trying to close that gap.\u003c/p>\n\u003cp>“I can attest to the fact that our communities are hungry for these books,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12730894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg\" alt=\"Janine Macbeth, founder and publisher of Blood Orange Press\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1920x1314.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-960x657.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-520x356.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janine Macbeth, founder and publisher of Blood Orange Press. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Macbeth is the founder of \u003ca href=\"http://www.bloodorangepress.com/\" target=\"_blank\" rel=\"noopener\">Blood Orange Press\u003c/a>, a kids book publisher devoted to making kid-lit more diverse, and we’re sitting in her office and studio, really the walk-in closet of her bedroom.\u003c/p>\n\u003cp>Macbeth, who lives just a few blocks from the Dimond Library, shows me an illustration for one of the three books she’s published, a story about a Latino boy who defies gender rules. “The author, Laurin Mayeno, based the book on her son,” Macbeth said, “who, when he was in preschool, wanted to be a princess for the school parade.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mMDkCxRjq2I\u003c/p>\n\u003cp>Macbeth is mixed race, Chinese American on her mom’s side, African American on her dad’s. She loved libraries and books as a kid. “But I noticed that my community wasn’t reflected in the books,” she said, choking up a bit. “So I started to think that books weren’t an option for me, because of my race.”\u003c/p>\n\u003cp>She gave up her dream in college, but a few years ago, Macbeth said, she worked up her courage and founded Blood Orange Press with a small Kickstarter campaign. “I’m going to create an institution that embraces our stories, and sees them as worthy of being shared.”\u003c/p>\n\u003cp>Macbeth’s print runs are tiny, just five to 10 thousand books. But she’s part of a ripple of change in the big ocean of publishing. Across the bay in San Francisco, there’s another ripple from Maya Christina Gonzalez.\u003c/p>\n\u003cp>“I always joke that they accidentally let me in, as a radical, queer, Chicana,” Gonzalez said. “I’m not the normal voice you tend to hear.”\u003c/p>\n\u003cfigure id=\"attachment_12730327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg\" alt=\"Maya Christina Gonzalez with some her self-published books in her Mission District studio\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1920x1284.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454.jpg 2012w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Christina Gonzalez with some her self-published books in her Mission District studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzalez runs \u003ca href=\"http://www.reflectionpress.com/\" target=\"_blank\" rel=\"noopener\">Reflection Press\u003c/a> out of a tiny Mission District Studio, where we talked while slightly crouched under the low ceiling and surrounded by dolls and mirrors and fabrics to inspire Gonzalez’s illustrations. She’s an award-winning illustrator and author, writing and illustrating 20 multicultural books for traditional publishers, and more at her own press. The newest book from Reflection Press, written the day after the fall election, is \u003ca href=\"http://www.reflectionpress.com/our-books/when-a-bully-is-president/\" target=\"_blank\" rel=\"noopener\">\u003cem>When a Bully Becomes President.\u003c/em> \u003c/a>\u003c/p>\n\u003ch3>A Nationwide Movement\u003c/h3>\n\u003cp>These two Bay Area startups aren’t so alone: they’re part of a recent wave of attention for diversity in kids books, led by \u003ca href=\"http://weneeddiversebooks.org/\" target=\"_blank\" rel=\"noopener\">We Need Diverse Books\u003c/a> (WNDB), a two year-old social media network with more than thirty thousand followers. The group came together after a 2014 publishing conference featuring an all-white, all-male children’s literacy panel.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mrrh0G-OkBw\u003c/p>\n\u003cp>“And social media gave a visual to the message,” said Dhonielle Clayton, an African American author in New York City who is also Chief Operating Officer for WNDB. “So we got to see a lot of different kinds of kids, and different kinds of families on Facebook and Snapchat. And we’d hear from teenagers and kids saying things like, ‘I’m in a wheelchair, and yes, I would love to be the hero of my own story.’”\u003c/p>\n\u003cp>Clayton said WNDB has set up a fund to provide grants to writers of color, and help pay for internships in the publishing industry, which is dominated by straight, white women.\u003c/p>\n\u003cfigure id=\"attachment_12749157\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12749157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg\" alt=\"Lee and Low Books is a rare publisher specializing in multicultural books\" width=\"800\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-768x287.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-1020x382.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-960x359.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-240x90.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-375x140.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-520x194.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee and Low Books is a rare publisher specializing in multicultural books. \u003ccite>(Photo: Courtesy of Lee and Low Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The publishing industry is not keeping pace with what the world really looks like and how it’s changing demographically,” said Jason Low, who runs \u003ca href=\"https://www.leeandlow.com/\" target=\"_blank\" rel=\"noopener\">Lee and Low Books\u003c/a>, the only major U.S. publisher specializing in multicultural books.\u003c/p>\n\u003ch3>Why the Numbers are Low\u003c/h3>\n\u003cp>“The barriers for the mainstream publishers are really about perception,” Low said in a phone interview. “There is a widely outdated but constantly reinforced belief out there that diverse books simply don’t sell, and that’s not true.”\u003c/p>\n\u003cp>That bias is getting a small test from one industry giant. Crown Books for Younger Readers, part of Penguin Random House, has just released an anthology called \u003ca href=\"http://www.penguinrandomhouse.com/books/530007/flying-lessons-and-other-stories-by-ellen-oh/9781101934593/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flying Lessons\u003c/em>\u003c/a>, edited by WNDB President \u003ca href=\"http://www.ellenoh.com/index1.html\" target=\"_blank\" rel=\"noopener\">Ellen Oh\u003c/a>, with profits going to the group. Phoebe Yeh is an editor with Crown.\u003c/p>\n\u003cp>“Finally people are waking up and realizing we need to figure this out together,” Yeh said.\u003c/p>\n\u003cp>Just as the #OscarsSoWhite social media campaign put pressure on Hollywood, We Need Diverse Books is pushing major kids book publishers to diversify.\u003c/p>\n\u003cp>“You know, maybe not this year,” Yeh said, “but in the next few years, the stats are going to look different.”\u003c/p>\n\u003cp>Megan Schliesman at the Cooperative Children’s Book Center said her fellow librarians have a responsibility as well, especially in a state where many work in small rural communities.\u003c/p>\n\u003cp>“If we are just letting those books sit on the shelf,” Schliesman said, “what message is it sending for kids in a predominantly white community about who we are collectively? Visibility says, ‘You matter. You matter in this classroom and school, you matter in this library, you matter in this community.’”\u003c/p>\n\u003ch3>What’s at Stake\u003c/h3>\n\u003cp>Many of those in the diverse kid-lit effort say the stakes are very high now, with a president who, they say, seems willing to scapegoat groups based on race or religion.\u003c/p>\n\u003cp>“I think the last year has shown us what can happen,” said Jason Low, “when someone in a leadership role dismisses large cross-sections of American based on ethnicity, gender and religious beliefs.\u003c/p>\n\u003cp>“I believe that if Donald Trump read diverse books while growing up, he would not be the same person he is today.”\u003c/p>\n\u003cp>That may seem a stretch, but back at the Dimond Library, I met Silwan Ali, a 13-year-old in a headscarf who came to story time with her little brother. I asked for her thoughts on Donald Trump, and his statements critical of Muslims.\u003c/p>\n\u003cp>“Yeah. I know Donald Trump,” she said. “Sometimes he really infuriates our feelings.” I asked her if it might change his mind if he read some of the books she’s reading about respecting diversity.\u003c/p>\n\u003cp>“It would mean to him a lot,” she said, “because he didn’t really know what our culture means.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s story time at the \u003ca href=\"http://www.oaklandlibrary.org/locations/dimond-branch\" target=\"_blank\" rel=\"noopener\">Dimond Branch \u003c/a>of the Oakland Public Library, and librarian Miriam Medow sits before a group of about 30 kids and parents — black, white, Latino, Asian American and Arab American. First Medow leads them in a song where everyone gets to blow raspberries, and then she reads about the all-animal cast in\u003ca href=\"http://www.publishersweekly.com/978-0-316-20063-9\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Tiger Goes Wild\u003c/em>.\u003c/a> Medow says one of the toughest parts of her job is finding enough books that reflect this very diverse neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12730328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg\" alt=\"Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1920x1311.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That means a great variety of races and religions and sexualities and experiences of disability and so much more,” Medow said in an interview.\u003c/p>\n\u003cp>Every child, Medow said, quoting an old publishing ideal, should be able to read books that are both a window on the world, and a reflection of their own lives. But when I asked if she finds enough of those books, she said, “No. Never enough. Not yet.”\u003c/p>\n\u003cp>That’s a concern for Solomon Makoni, a Zimbabwean American with a white wife who brought their three year-old son Tadashe to Medow’s story time.\u003c/p>\n\u003cfigure id=\"attachment_12730329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730329\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg\" alt=\"Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We both want him to see himself in the books that he reads,” Makoni said. “To teach him he’s no different. And once you see yourself among your books, or see superheroes who look like you, then you can dream big.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than half of U.S. children under the age of five are like Tadashe — children of color. But only about 14 percent of the kids’ books published in 2015 were authored by or featured people of color.\u003c/p>\n\u003cp>Those statistics come from the \u003ca href=\"https://ccbc.education.wisc.edu/\" target=\"_blank\" rel=\"noopener\">Cooperative Children’s Book Center at the University of Wisconsin\u003c/a>, where Megan Schliesman is a librarian, and has been tracking diversity numbers since 2002.\u003c/p>\n\u003cp>“And they’re always abysmally low,” Schliesman said.\u003c/p>\n\u003cp>The issue, Schliesman said, is one that comes up again and again among librarians and publishers at conferences on children’s books around the country.\u003c/p>\n\u003cp>“There are overall good intentions in the publishing industry,” Schliesman said, “but I think there is a big gap between those good intentions and the reality of what is being published for children and teenagers.”\u003c/p>\n\u003ch3>Two Local Startups\u003c/h3>\n\u003cp>Back in Oakland, Janine Macbeth is trying to close that gap.\u003c/p>\n\u003cp>“I can attest to the fact that our communities are hungry for these books,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12730894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg\" alt=\"Janine Macbeth, founder and publisher of Blood Orange Press\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1920x1314.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-960x657.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-520x356.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janine Macbeth, founder and publisher of Blood Orange Press. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Macbeth is the founder of \u003ca href=\"http://www.bloodorangepress.com/\" target=\"_blank\" rel=\"noopener\">Blood Orange Press\u003c/a>, a kids book publisher devoted to making kid-lit more diverse, and we’re sitting in her office and studio, really the walk-in closet of her bedroom.\u003c/p>\n\u003cp>Macbeth, who lives just a few blocks from the Dimond Library, shows me an illustration for one of the three books she’s published, a story about a Latino boy who defies gender rules. “The author, Laurin Mayeno, based the book on her son,” Macbeth said, “who, when he was in preschool, wanted to be a princess for the school parade.”\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/mMDkCxRjq2I'\n title='//www.youtube.com/embed/mMDkCxRjq2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Macbeth is mixed race, Chinese American on her mom’s side, African American on her dad’s. She loved libraries and books as a kid. “But I noticed that my community wasn’t reflected in the books,” she said, choking up a bit. “So I started to think that books weren’t an option for me, because of my race.”\u003c/p>\n\u003cp>She gave up her dream in college, but a few years ago, Macbeth said, she worked up her courage and founded Blood Orange Press with a small Kickstarter campaign. “I’m going to create an institution that embraces our stories, and sees them as worthy of being shared.”\u003c/p>\n\u003cp>Macbeth’s print runs are tiny, just five to 10 thousand books. But she’s part of a ripple of change in the big ocean of publishing. Across the bay in San Francisco, there’s another ripple from Maya Christina Gonzalez.\u003c/p>\n\u003cp>“I always joke that they accidentally let me in, as a radical, queer, Chicana,” Gonzalez said. “I’m not the normal voice you tend to hear.”\u003c/p>\n\u003cfigure id=\"attachment_12730327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg\" alt=\"Maya Christina Gonzalez with some her self-published books in her Mission District studio\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1920x1284.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454.jpg 2012w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Christina Gonzalez with some her self-published books in her Mission District studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzalez runs \u003ca href=\"http://www.reflectionpress.com/\" target=\"_blank\" rel=\"noopener\">Reflection Press\u003c/a> out of a tiny Mission District Studio, where we talked while slightly crouched under the low ceiling and surrounded by dolls and mirrors and fabrics to inspire Gonzalez’s illustrations. She’s an award-winning illustrator and author, writing and illustrating 20 multicultural books for traditional publishers, and more at her own press. The newest book from Reflection Press, written the day after the fall election, is \u003ca href=\"http://www.reflectionpress.com/our-books/when-a-bully-is-president/\" target=\"_blank\" rel=\"noopener\">\u003cem>When a Bully Becomes President.\u003c/em> \u003c/a>\u003c/p>\n\u003ch3>A Nationwide Movement\u003c/h3>\n\u003cp>These two Bay Area startups aren’t so alone: they’re part of a recent wave of attention for diversity in kids books, led by \u003ca href=\"http://weneeddiversebooks.org/\" target=\"_blank\" rel=\"noopener\">We Need Diverse Books\u003c/a> (WNDB), a two year-old social media network with more than thirty thousand followers. The group came together after a 2014 publishing conference featuring an all-white, all-male children’s literacy panel.\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/mrrh0G-OkBw'\n title='//www.youtube.com/embed/mrrh0G-OkBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“And social media gave a visual to the message,” said Dhonielle Clayton, an African American author in New York City who is also Chief Operating Officer for WNDB. “So we got to see a lot of different kinds of kids, and different kinds of families on Facebook and Snapchat. And we’d hear from teenagers and kids saying things like, ‘I’m in a wheelchair, and yes, I would love to be the hero of my own story.’”\u003c/p>\n\u003cp>Clayton said WNDB has set up a fund to provide grants to writers of color, and help pay for internships in the publishing industry, which is dominated by straight, white women.\u003c/p>\n\u003cfigure id=\"attachment_12749157\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12749157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg\" alt=\"Lee and Low Books is a rare publisher specializing in multicultural books\" width=\"800\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-768x287.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-1020x382.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-960x359.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-240x90.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-375x140.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-520x194.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee and Low Books is a rare publisher specializing in multicultural books. \u003ccite>(Photo: Courtesy of Lee and Low Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The publishing industry is not keeping pace with what the world really looks like and how it’s changing demographically,” said Jason Low, who runs \u003ca href=\"https://www.leeandlow.com/\" target=\"_blank\" rel=\"noopener\">Lee and Low Books\u003c/a>, the only major U.S. publisher specializing in multicultural books.\u003c/p>\n\u003ch3>Why the Numbers are Low\u003c/h3>\n\u003cp>“The barriers for the mainstream publishers are really about perception,” Low said in a phone interview. “There is a widely outdated but constantly reinforced belief out there that diverse books simply don’t sell, and that’s not true.”\u003c/p>\n\u003cp>That bias is getting a small test from one industry giant. Crown Books for Younger Readers, part of Penguin Random House, has just released an anthology called \u003ca href=\"http://www.penguinrandomhouse.com/books/530007/flying-lessons-and-other-stories-by-ellen-oh/9781101934593/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flying Lessons\u003c/em>\u003c/a>, edited by WNDB President \u003ca href=\"http://www.ellenoh.com/index1.html\" target=\"_blank\" rel=\"noopener\">Ellen Oh\u003c/a>, with profits going to the group. Phoebe Yeh is an editor with Crown.\u003c/p>\n\u003cp>“Finally people are waking up and realizing we need to figure this out together,” Yeh said.\u003c/p>\n\u003cp>Just as the #OscarsSoWhite social media campaign put pressure on Hollywood, We Need Diverse Books is pushing major kids book publishers to diversify.\u003c/p>\n\u003cp>“You know, maybe not this year,” Yeh said, “but in the next few years, the stats are going to look different.”\u003c/p>\n\u003cp>Megan Schliesman at the Cooperative Children’s Book Center said her fellow librarians have a responsibility as well, especially in a state where many work in small rural communities.\u003c/p>\n\u003cp>“If we are just letting those books sit on the shelf,” Schliesman said, “what message is it sending for kids in a predominantly white community about who we are collectively? Visibility says, ‘You matter. You matter in this classroom and school, you matter in this library, you matter in this community.’”\u003c/p>\n\u003ch3>What’s at Stake\u003c/h3>\n\u003cp>Many of those in the diverse kid-lit effort say the stakes are very high now, with a president who, they say, seems willing to scapegoat groups based on race or religion.\u003c/p>\n\u003cp>“I think the last year has shown us what can happen,” said Jason Low, “when someone in a leadership role dismisses large cross-sections of American based on ethnicity, gender and religious beliefs.\u003c/p>\n\u003cp>“I believe that if Donald Trump read diverse books while growing up, he would not be the same person he is today.”\u003c/p>\n\u003cp>That may seem a stretch, but back at the Dimond Library, I met Silwan Ali, a 13-year-old in a headscarf who came to story time with her little brother. I asked for her thoughts on Donald Trump, and his statements critical of Muslims.\u003c/p>\n\u003cp>“Yeah. I know Donald Trump,” she said. “Sometimes he really infuriates our feelings.” I asked her if it might change his mind if he read some of the books she’s reading about respecting diversity.\u003c/p>\n\u003cp>“It would mean to him a lot,” she said, “because he didn’t really know what our culture means.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Somebody just f-ck me already!” demands Chris Kammler.\u003c/p>\n\u003cp>Behind sassy black-rimmed glasses, she stares out into the crowd at the Octopus Literary Salon in Downtown Oakland, her pixie-cut silver hair glistening in the light. Kammler could easily pass as the mother of any audience member here in their twenties, but there’s no awkward giggling or uncomfortable shifting in the crowd. Rather, the room stays attentive as the open mic reader continues to detail a very explicit scene.\u003c/p>\n\u003cp>It’s the fourth Tuesday of the month, which means the bookstore’s stage is devoted to Dirty Old Women.\u003c/p>\n\u003cfigure id=\"attachment_12686017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12686017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/IMG_9271-800x533.jpg\" alt=\"Chris Kammler reading during Dirty Old Women at Octopus Literary Salon. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Kammler reading during Dirty Old Women at Octopus Literary Salon. \u003ccite>(Holly Meadows-Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Kammler, host Susan Kuchinskas takes to the mic in a maroon dress, yellow tights and red cowboy boots to introduce the next reader. The evening’s stories ultimately includes everything from an American sex worker’s search for her own woman-for-hire in Bangkok to a steamy account of an otherwise shy woman’s first time being tied up — a la \u003cem>Fifty Shades of Grey\u003c/em>. The crowd of nearly 50 people packed into the venue is stimulated the entire time.\u003c/p>\n\u003cp>Kuchinskas, 67, who writes erotica under the pseudonym Lynx Canon, started the monthly reading series nearly two years ago as a place for “women of experience” to read original erotica. At the time, Kuchinskas was just starting a memoir recounting her own wildly diverse sex life: she grew up in a family with little sense of intimacy, enjoyed free love as a hippie in college, spent 10 years as a lesbian feminist and experienced stints in sex work and go-go dancing. (The memoir will be published this spring.) Then, she met a woman in her seventies who had also written an autobiographical account of her sexcapades, and realized that there were probably more women their age writing unabashedly about sex.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turns out, she was right. The Dirty Old Women reading series has grown into a robust group of authors mostly in their fifties and sixties — some seasoned erotica writers and some newly inspired — who get behind the mic every month and excite an audience of all genders and ages. In a culture that fetishizes youth and avoids honest conversations about sex, it’s refreshing for both readers and attendees.\u003c/p>\n\u003cfigure id=\"attachment_12686018\" class=\"wp-caption alignleft\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12686018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/IMG_9277-800x1050.jpg\" alt=\"Justine TenZeldam reading during Dirty Old Women at Octopus Literary Salon. \" width=\"360\" height=\"549\">\u003cfigcaption class=\"wp-caption-text\">Justine TenZeldam reading during Dirty Old Women at Octopus Literary Salon. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is incredibly exciting and empowering to just stand up there and be heard and be listened to,” says Kuchinskas. “Some women are a little nervous, or they’re scared, and then after they’ve done it, they’re like, ‘Wow, that felt so good!’\u003c/p>\n\u003cp>“Our culture is so sexualized, but it’s very performative, it’s not really genuine,” she continues, “so it’s really, really exciting to stand up and speak to a group of people who you don’t know and share material that is erotic and designed to arouse.”\u003c/p>\n\u003cp>The series has been so generative that Kuchinskas (or, rather, Canon) is about to release the first Dirty Old Women anthology, which includes 23 poems and short stories from series regulars that detail sexy fantasies and libidinal desires with addictive playfulness and authenticity. Strap ons, threesomes, first-time lesbian experiences, sex work, special massages, even vampires — the collection covers all the bases. But it also feels real: The characters are honest about their bodies — sometimes expressing insecurities through internal dialogue, then overcoming them for an extra pleasurable climax erupting with self-love.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12686020 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/dirty-old-women-4.jpg\" alt=\"dirty old women 4\" width=\"252\" height=\"367\">“There’s a point where you’re trying to look younger and fit in and there’s a point where you’re like, ‘You know what? This is me now,’” says Kuchinskas. “My impression of the women who read is that they have totally come to terms with where they are in their life, where their bodies are — that’s part of what makes the work so good.”\u003c/p>\n\u003cp>And that honesty is ultimately in service of the audience. In fact, Kuchinskas guesses it may even be the draw for many younger attendees. Because it’s so rare for “old” people to talk about their sex lives or be sexually portrayed in pop culture, young people often don’t know what to expect from the later stages of life.\u003c/p>\n\u003cp>As Lynx Canon writes in the intro to the anthology: “I also hope that when we stand up there, with our wrinkles, gray hair and unabashed desire, we reassure young women that it’s not over at 30, or 50, or even 90.”\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=\"Q.Logo.Break\" 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>A free \u003ca href=\"https://www.facebook.com/events/1515300341830973/\">book launch party\u003c/a> for the Dirty Old Women anthology takes place Wednesday, Feb. 8, at the Make-Out Room (3225 22nd St., San Francisco). 7:30–9:30pm. In the East Bay, a second launch takes place Tuesday, Feb. 28, at the Octopus Literary Salon (2101 Webster St, Oakland). 7:00-9:00pm.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Somebody just f-ck me already!” demands Chris Kammler.\u003c/p>\n\u003cp>Behind sassy black-rimmed glasses, she stares out into the crowd at the Octopus Literary Salon in Downtown Oakland, her pixie-cut silver hair glistening in the light. Kammler could easily pass as the mother of any audience member here in their twenties, but there’s no awkward giggling or uncomfortable shifting in the crowd. Rather, the room stays attentive as the open mic reader continues to detail a very explicit scene.\u003c/p>\n\u003cp>It’s the fourth Tuesday of the month, which means the bookstore’s stage is devoted to Dirty Old Women.\u003c/p>\n\u003cfigure id=\"attachment_12686017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12686017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/IMG_9271-800x533.jpg\" alt=\"Chris Kammler reading during Dirty Old Women at Octopus Literary Salon. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/IMG_9271.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Kammler reading during Dirty Old Women at Octopus Literary Salon. \u003ccite>(Holly Meadows-Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Kammler, host Susan Kuchinskas takes to the mic in a maroon dress, yellow tights and red cowboy boots to introduce the next reader. The evening’s stories ultimately includes everything from an American sex worker’s search for her own woman-for-hire in Bangkok to a steamy account of an otherwise shy woman’s first time being tied up — a la \u003cem>Fifty Shades of Grey\u003c/em>. The crowd of nearly 50 people packed into the venue is stimulated the entire time.\u003c/p>\n\u003cp>Kuchinskas, 67, who writes erotica under the pseudonym Lynx Canon, started the monthly reading series nearly two years ago as a place for “women of experience” to read original erotica. At the time, Kuchinskas was just starting a memoir recounting her own wildly diverse sex life: she grew up in a family with little sense of intimacy, enjoyed free love as a hippie in college, spent 10 years as a lesbian feminist and experienced stints in sex work and go-go dancing. (The memoir will be published this spring.) Then, she met a woman in her seventies who had also written an autobiographical account of her sexcapades, and realized that there were probably more women their age writing unabashedly about sex.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turns out, she was right. The Dirty Old Women reading series has grown into a robust group of authors mostly in their fifties and sixties — some seasoned erotica writers and some newly inspired — who get behind the mic every month and excite an audience of all genders and ages. In a culture that fetishizes youth and avoids honest conversations about sex, it’s refreshing for both readers and attendees.\u003c/p>\n\u003cfigure id=\"attachment_12686018\" class=\"wp-caption alignleft\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12686018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/IMG_9277-800x1050.jpg\" alt=\"Justine TenZeldam reading during Dirty Old Women at Octopus Literary Salon. \" width=\"360\" height=\"549\">\u003cfigcaption class=\"wp-caption-text\">Justine TenZeldam reading during Dirty Old Women at Octopus Literary Salon. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is incredibly exciting and empowering to just stand up there and be heard and be listened to,” says Kuchinskas. “Some women are a little nervous, or they’re scared, and then after they’ve done it, they’re like, ‘Wow, that felt so good!’\u003c/p>\n\u003cp>“Our culture is so sexualized, but it’s very performative, it’s not really genuine,” she continues, “so it’s really, really exciting to stand up and speak to a group of people who you don’t know and share material that is erotic and designed to arouse.”\u003c/p>\n\u003cp>The series has been so generative that Kuchinskas (or, rather, Canon) is about to release the first Dirty Old Women anthology, which includes 23 poems and short stories from series regulars that detail sexy fantasies and libidinal desires with addictive playfulness and authenticity. Strap ons, threesomes, first-time lesbian experiences, sex work, special massages, even vampires — the collection covers all the bases. But it also feels real: The characters are honest about their bodies — sometimes expressing insecurities through internal dialogue, then overcoming them for an extra pleasurable climax erupting with self-love.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12686020 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/dirty-old-women-4.jpg\" alt=\"dirty old women 4\" width=\"252\" height=\"367\">“There’s a point where you’re trying to look younger and fit in and there’s a point where you’re like, ‘You know what? This is me now,’” says Kuchinskas. “My impression of the women who read is that they have totally come to terms with where they are in their life, where their bodies are — that’s part of what makes the work so good.”\u003c/p>\n\u003cp>And that honesty is ultimately in service of the audience. In fact, Kuchinskas guesses it may even be the draw for many younger attendees. Because it’s so rare for “old” people to talk about their sex lives or be sexually portrayed in pop culture, young people often don’t know what to expect from the later stages of life.\u003c/p>\n\u003cp>As Lynx Canon writes in the intro to the anthology: “I also hope that when we stand up there, with our wrinkles, gray hair and unabashed desire, we reassure young women that it’s not over at 30, or 50, or even 90.”\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=\"Q.Logo.Break\" 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>A free \u003ca href=\"https://www.facebook.com/events/1515300341830973/\">book launch party\u003c/a> for the Dirty Old Women anthology takes place Wednesday, Feb. 8, at the Make-Out Room (3225 22nd St., San Francisco). 7:30–9:30pm. In the East Bay, a second launch takes place Tuesday, Feb. 28, at the Octopus Literary Salon (2101 Webster St, Oakland). 7:00-9:00pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Read Poems From the 7 Countries Affected by Trump’s Immigration Ban",
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"content": "\u003cp>On Monday, Tehran-born poet Kaveh Akbar began tweeting out poetry written by poets from the seven countries — Iran, Libya, Yemen, Sudan, Somalia, Iraq and Syria — impacted by President Donald Trump’s executive order that \u003ca href=\"http://www.pbs.org/newshour/bb/trumps-immigration-order-tangle-legal-issues/\">temporarily bans immigrants\u003c/a> from those countries.\u003c/p>\n\u003cp>The poetry Akbar shared includes work from \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/khaled-mattawa\">Khaled Mattawa\u003c/a>, a Libyan poet born in Benghazi who emigrated to the U.S. as a teenager, \u003ca href=\"http://www.narrativemagazine.com/authors/ladan-osman\">Ladan Osman\u003c/a>, who was born in Somalia and raised in Columbus, Ohio, and \u003ca href=\"http://safia-mafia.com/bio\">Safia Elhillo\u003c/a>, a poet born in the U.S. to Sudanese parents, but who didn’t move to the U.S. until 2000.\u003c/p>\n\u003cp>Akbar said he was inspired to tweet Monday morning while reading the poetry of Persian poet Majid Naficy, and wondering what his life would be like without having read Naficy’s work. Naficy, who was born and raised in Iran, \u003ca href=\"http://www.scpr.org/news/2012/03/13/31608/los-angeles-iranian-poet-writes-farsi-about-life-a/\">fled to the U.S.\u003c/a> after \u003ca href=\"http://www.pbs.org/newshour/updates/middle_east-jan-june10-timeline/\">Ayatollah Khomeini\u003c/a> established theocratic rule in Iran in 1979, an experience that appears in Naficy’s poetry. His poem, “Allowance,” begins with the lines: “When creeping out of his tight skin / He suffers pain / And the world becomes small for him.”\u003c/p>\n\u003cp>“I was struck by how I was the very, very lucky beneficiary of this sort of gorgeousness and beauty,” Akbar said. “And how my person would be diminished from a lack of access to these sort of voices.”\u003c/p>\n\u003cp>Akbar often shares poets from a range of backgrounds on his Twitter account and at \u003ca href=\"https://www.divedapper.com/about/\">Divedapper\u003c/a>, a contemporary poetry site he founded and edits. He said he has always felt compelled to share the poetry he loves with others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This seemed particularly important to him on Monday, after a \u003ca href=\"http://www.pbs.org/newshour/rundown/fallout-grows-trumps-new-immigration-crackdown/\">weekend of protests\u003c/a> over the ban. He hoped that in sharing the poetry it would channel the rage people felt “toward a kind of love, and gratefulness” for that writing, he said.\u003c/p>\n\u003cp>The ban also has personal resonance for Akbar, who was born in Tehran and moved to the U.S. when he was two and a half years old. Though English is his primary spoken language, he said “there is a part of Iran that is hardwired into me.”\u003c/p>\n\u003cfigure id=\"attachment_11293628\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003cimg class=\"wp-image-11293628\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg\" alt=\"Kaveh Akbar\" width=\"267\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg 683w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-375x562.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-520x780.jpg 520w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003cfigcaption class=\"wp-caption-text\">Kaveh Akbar \u003ccite>(B. A. Van Sise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akbar, who now teaches poetry in Florida, and whose \u003ca href=\"http://kavehakbar.com/Books\">debut full-length collection\u003c/a> is coming out this Fall, sometimes \u003ca href=\"http://www.narrativemagazine.com/issues/poems-week-2015-2016/poem-week/do-you-speak-persian-kaveh-akbar\">writes about the difficulty\u003c/a> of straddling different worlds and languages, and holding on to the culture of his origin country.\u003c/p>\n\u003cp>He believes that at its core, poetry is about sharing an experience with readers they might not have otherwise had.\u003c/p>\n\u003cp>“When you read a poem by a poet who is living in Syria, you are granted access to an experience that is absolutely nothing like your experience living in Duluth or Montpelier,” he said, and with that access often comes empathy. “So I think that engaging in that work is one of the most empathetic things we can do right now.”\u003c/p>\n\u003cp>Read the poetry Akbar shared below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//storify.com/newshour/poets/embed?border=false\" width=\"100%\" height=\"750\" frameborder=\"no\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, Tehran-born poet Kaveh Akbar began tweeting out poetry written by poets from the seven countries — Iran, Libya, Yemen, Sudan, Somalia, Iraq and Syria — impacted by President Donald Trump’s executive order that \u003ca href=\"http://www.pbs.org/newshour/bb/trumps-immigration-order-tangle-legal-issues/\">temporarily bans immigrants\u003c/a> from those countries.\u003c/p>\n\u003cp>The poetry Akbar shared includes work from \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/khaled-mattawa\">Khaled Mattawa\u003c/a>, a Libyan poet born in Benghazi who emigrated to the U.S. as a teenager, \u003ca href=\"http://www.narrativemagazine.com/authors/ladan-osman\">Ladan Osman\u003c/a>, who was born in Somalia and raised in Columbus, Ohio, and \u003ca href=\"http://safia-mafia.com/bio\">Safia Elhillo\u003c/a>, a poet born in the U.S. to Sudanese parents, but who didn’t move to the U.S. until 2000.\u003c/p>\n\u003cp>Akbar said he was inspired to tweet Monday morning while reading the poetry of Persian poet Majid Naficy, and wondering what his life would be like without having read Naficy’s work. Naficy, who was born and raised in Iran, \u003ca href=\"http://www.scpr.org/news/2012/03/13/31608/los-angeles-iranian-poet-writes-farsi-about-life-a/\">fled to the U.S.\u003c/a> after \u003ca href=\"http://www.pbs.org/newshour/updates/middle_east-jan-june10-timeline/\">Ayatollah Khomeini\u003c/a> established theocratic rule in Iran in 1979, an experience that appears in Naficy’s poetry. His poem, “Allowance,” begins with the lines: “When creeping out of his tight skin / He suffers pain / And the world becomes small for him.”\u003c/p>\n\u003cp>“I was struck by how I was the very, very lucky beneficiary of this sort of gorgeousness and beauty,” Akbar said. “And how my person would be diminished from a lack of access to these sort of voices.”\u003c/p>\n\u003cp>Akbar often shares poets from a range of backgrounds on his Twitter account and at \u003ca href=\"https://www.divedapper.com/about/\">Divedapper\u003c/a>, a contemporary poetry site he founded and edits. He said he has always felt compelled to share the poetry he loves with others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This seemed particularly important to him on Monday, after a \u003ca href=\"http://www.pbs.org/newshour/rundown/fallout-grows-trumps-new-immigration-crackdown/\">weekend of protests\u003c/a> over the ban. He hoped that in sharing the poetry it would channel the rage people felt “toward a kind of love, and gratefulness” for that writing, he said.\u003c/p>\n\u003cp>The ban also has personal resonance for Akbar, who was born in Tehran and moved to the U.S. when he was two and a half years old. Though English is his primary spoken language, he said “there is a part of Iran that is hardwired into me.”\u003c/p>\n\u003cfigure id=\"attachment_11293628\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003cimg class=\"wp-image-11293628\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg\" alt=\"Kaveh Akbar\" width=\"267\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg 683w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-375x562.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-520x780.jpg 520w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003cfigcaption class=\"wp-caption-text\">Kaveh Akbar \u003ccite>(B. A. Van Sise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akbar, who now teaches poetry in Florida, and whose \u003ca href=\"http://kavehakbar.com/Books\">debut full-length collection\u003c/a> is coming out this Fall, sometimes \u003ca href=\"http://www.narrativemagazine.com/issues/poems-week-2015-2016/poem-week/do-you-speak-persian-kaveh-akbar\">writes about the difficulty\u003c/a> of straddling different worlds and languages, and holding on to the culture of his origin country.\u003c/p>\n\u003cp>He believes that at its core, poetry is about sharing an experience with readers they might not have otherwise had.\u003c/p>\n\u003cp>“When you read a poem by a poet who is living in Syria, you are granted access to an experience that is absolutely nothing like your experience living in Duluth or Montpelier,” he said, and with that access often comes empathy. “So I think that engaging in that work is one of the most empathetic things we can do right now.”\u003c/p>\n\u003cp>Read the poetry Akbar shared below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//storify.com/newshour/poets/embed?border=false\" width=\"100%\" height=\"750\" frameborder=\"no\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "You, Too, Will Love Big Brother: A Life Of Reading And Rereading '1984'",
"title": "You, Too, Will Love Big Brother: A Life Of Reading And Rereading '1984'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It was a bright hot day in June. Or possibly July. And the clocks almost certainly weren't striking thirteen, because they don't do that in this country.\u003c/p>\n\u003cp>But it WAS the summer of 1984. I was 9 years old, and my father was handing me a beat-up paperback with an anonymous-looking white and green cover; his old college copy of George Orwell's \u003cem>1984\u003c/em>. \"Here,\" he said. \"I think you're ready for this.\" My dad has always had a weirdly inflated sense of my intellectual abilities.\u003c/p>\n\u003cp>And I was captivated, instantly. I have this pet theory that some books, the ones you encounter as a child and read over and over again, somehow work themselves into your mental DNA so that everything you encounter later in life contains ghostly references to whatever that original text was — tubes of saccharine tablets in the grocery store, mystery meat in the high school lunch room, red scarves, glass paperweights, cold April days, rats, the number 101 in any context; so many things have that tingle of association.\u003c/p>\n\u003cp>Not that I understood even vaguely what the hell was going on in \u003cem>1984\u003c/em> the first time I read it. But I was sucked down deep into Orwell's strange gray world, so different from candy-colored '80s America. To a 9-year-old stuffed full of fantasy novels, Orwell's world-building ability was the big draw; the sights and sounds and — unfortunately sometimes — smells of Airstrip One were alien but vividly real. (Though the less said here about the scene in the holding cell with Parsons and the lavatory pan, the better.)\u003c/p>\n\u003cp>And that's the thing: I was so caught by that world that I revisited it again and again, at least once a year, all the way through college. Every time I re-read it, something new would unfold itself from the pages for me — first, the tragedy of Winston and Julia, and the way that love is sometimes just naivete.\u003c/p>\n\u003caside class=\"pullquote alignright\">I invite you to pull up a chair (in that little alcove the telescreen can't see), pour yourself a glass of oily ersatz Victory Gin, and dive in.\u003c/aside>\n\u003cp>Then, when I was 12, my dad the former political science professor explained totalitarianism to me — I was mostly impressed with myself for being able to pronounce the word, never mind understanding the concept, but it added a new dimension to what had become my favorite book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the next re-reading, I began to understand the way language shapes thought, and how Orwell's villainous Inner Party is determined to eradicate concepts like freedom by removing the ability to speak about them — powerful ideas for a budding writer.\u003c/p>\n\u003cp>And finally somewhere in my mid-teens, I found myself reading the 'Goldstein's Book' chapters instead of skipping them as too complicated, and the whole structure of a society built on constant warfare clicked into place; here were the ideas driving this world I was so fascinated with, and they made scary sense.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjective \"Orwellian\" gets tossed around with abandon these days. It's become such a cliche that the intensity of the original experience, the layers of thought and meaning, can get lost in the noise — so I invite you to pull up a chair (in that little alcove the telescreen can't see), pour yourself a glass of oily ersatz Victory Gin, and dive in. You, too, will find yourself rolling down that glorious corridor. You, too, will love Big Brother.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You%2C+Too%2C+Will+Love+Big+Brother%3A+A+Life+Of+Reading+And+Rereading+%271984%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "George Orwell's dystopian classic is dominating the news these days. NPR Books editor Petra Mayer says it's one of those books that burrows deep in your mind.",
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"title": "You, Too, Will Love Big Brother: A Life Of Reading And Rereading '1984' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a bright hot day in June. Or possibly July. And the clocks almost certainly weren't striking thirteen, because they don't do that in this country.\u003c/p>\n\u003cp>But it WAS the summer of 1984. I was 9 years old, and my father was handing me a beat-up paperback with an anonymous-looking white and green cover; his old college copy of George Orwell's \u003cem>1984\u003c/em>. \"Here,\" he said. \"I think you're ready for this.\" My dad has always had a weirdly inflated sense of my intellectual abilities.\u003c/p>\n\u003cp>And I was captivated, instantly. I have this pet theory that some books, the ones you encounter as a child and read over and over again, somehow work themselves into your mental DNA so that everything you encounter later in life contains ghostly references to whatever that original text was — tubes of saccharine tablets in the grocery store, mystery meat in the high school lunch room, red scarves, glass paperweights, cold April days, rats, the number 101 in any context; so many things have that tingle of association.\u003c/p>\n\u003cp>Not that I understood even vaguely what the hell was going on in \u003cem>1984\u003c/em> the first time I read it. But I was sucked down deep into Orwell's strange gray world, so different from candy-colored '80s America. To a 9-year-old stuffed full of fantasy novels, Orwell's world-building ability was the big draw; the sights and sounds and — unfortunately sometimes — smells of Airstrip One were alien but vividly real. (Though the less said here about the scene in the holding cell with Parsons and the lavatory pan, the better.)\u003c/p>\n\u003cp>And that's the thing: I was so caught by that world that I revisited it again and again, at least once a year, all the way through college. Every time I re-read it, something new would unfold itself from the pages for me — first, the tragedy of Winston and Julia, and the way that love is sometimes just naivete.\u003c/p>\n\u003caside class=\"pullquote alignright\">I invite you to pull up a chair (in that little alcove the telescreen can't see), pour yourself a glass of oily ersatz Victory Gin, and dive in.\u003c/aside>\n\u003cp>Then, when I was 12, my dad the former political science professor explained totalitarianism to me — I was mostly impressed with myself for being able to pronounce the word, never mind understanding the concept, but it added a new dimension to what had become my favorite book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the next re-reading, I began to understand the way language shapes thought, and how Orwell's villainous Inner Party is determined to eradicate concepts like freedom by removing the ability to speak about them — powerful ideas for a budding writer.\u003c/p>\n\u003cp>And finally somewhere in my mid-teens, I found myself reading the 'Goldstein's Book' chapters instead of skipping them as too complicated, and the whole structure of a society built on constant warfare clicked into place; here were the ideas driving this world I was so fascinated with, and they made scary sense.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjective \"Orwellian\" gets tossed around with abandon these days. It's become such a cliche that the intensity of the original experience, the layers of thought and meaning, can get lost in the noise — so I invite you to pull up a chair (in that little alcove the telescreen can't see), pour yourself a glass of oily ersatz Victory Gin, and dive in. You, too, will find yourself rolling down that glorious corridor. You, too, will love Big Brother.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You%2C+Too%2C+Will+Love+Big+Brother%3A+A+Life+Of+Reading+And+Rereading+%271984%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Backstage Heroes is a column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The death of an independent bookstore is hard to un-see. Standing inside the echoing skeleton of Modern Times Books on 24th Street in late December of 2016, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/mission-bookstore-modern-times-to-close-after-45-years-in-operation/\" target=\"_blank\" rel=\"noopener\">after the business had officially closed\u003c/a>, the empty space seems to amplify current certainties, and questions: I know who’s been elected President; I know hate crimes are on the rise; I know the incoming political machine has requested lists of names — which scientists worked on climate change? Who in the State Department encouraged gender equality?\u003c/p>\n\u003cp>The empty bookshelves of Modern Times, taller than any bookshelves I’ve ever had to fully reckon with, might as well be shouting about the future and its many challenges. Basically, I’m freaked out.\u003c/p>\n\u003cp>Ruth Mahaney, a Modern Times collective member for 35 years — the democratically run bookstore never had a boss — isn’t freaked out. Even though she’s been sitting in the depressing, mostly empty storefront for weeks now, trying to get rid of the last of the furniture and books, piece by piece, she’s still in practical mode, ever an on-the-fly organizer. (Later, I use my own van to take a desk—the desk over which Modern Times sold books for who knows how many years—to Community Thrift, and even so, I have to sell it a little, giving it a thump, saying “It’s really solid!” before they’ll agree to take it.)\u003c/p>\n\u003cfigure id=\"attachment_12673219\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12673219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg\" alt=\"Modern Times in, well, happier times. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Modern Times in, well, happier times. \u003ccite>(Courtesy Modern Times bookstore.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything left at the bookstore is like that: too big to carry, too tall to fit in a regular car, and if no one takes it, Mahaney herself will have to pay for it to be hauled to the dump. She is still, to this bitter end, concerned with keeping as much as possible out of the public landfill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we talk, the bookstore’s double doors are wide open, and conversation, bus noise, and music from passing cars floats through. Every so often, somebody stops at the doorway and shouts in.\u003c/p>\n\u003cp>Man: Hi, are you getting rid of stuff?\u003cbr>\nMahaney: Yeah, everything you see is free. Haul it off on your skateboard!\u003c/p>\n\u003cp>“I was the one who was here the longest,” Mahaney tells me of the 45-year-old Modern Times. To give an idea of how much has changed since she first laid eyes on the place, here are some numbers to make you howl in pain: “I moved to San Francisco in September of 1971 and found a three-bedroom apartment for $150 a month, over on 14th near Sanchez.”\u003c/p>\n\u003cp>Walking around the neighborhood, she stumbled across “these people who had a big sign on the ground, and they were painting it.” This was Modern Times, and she became a customer of the new bookstore, which began (and, we can say now, ended) as a project of what Mahaney calls “movement people,” or “the left.”\u003c/p>\n\u003cp>“What does that mean?” I ask, and I don’t think she likes the question very much. I have the impression I’ve asked a fish to describe water. But it’s only a moment before she ticks off some specifics, not without pride: “It was one of the first bookstores to have a women’s section, and a gay section, and it was very involved in the struggles in Latin America to overthrow dictators and support progressive movements everywhere.”\u003c/p>\n\u003cp>It was also a dropoff spot for the Weather Underground, a radical activist group operating in secret, in the early days — Modern Times collective members were once instructed to go to the payphone booth in Dolores Park, under which was taped a package containing the manuscript of one of the group’s then-famous manifestos. Dorothy Allison had her first reading at the 888 Valencia site, Mahaney says. Alice Walker had her first reading at the 17th and Sanchez store, long before she published \u003cem>The Color Purple\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12673220\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12673220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\" alt=\"What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-520x390.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011. \u003ccite>(Pete Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ruth Mahaney’s careful haircut, cozy sweater, and “we got this” smile give her the look of a tough grandma, or the feminist professor who always wins the classroom argument with the guy who says “but men are stronger!” In fact, she \u003cem>is\u003c/em> that professor; she teaches LGBT history and culture just up the street at City College. (I intuit the argument-winning part, but trust me.)\u003c/p>\n\u003cp>The bookstore has certainly played no small part in her expertise on local history: Modern Times used to be “the place that people would call when there was a demonstration,” she says. “They’d ask where is it, where’s it starting? And in those days, we knew.”\u003c/p>\n\u003cp>One of those protests happened in 1991, a few days after the Rodney King verdict exonerating the LAPD officers that the whole country had watched beating King on television; it was one of the first citizen-reported stories of police brutality to go viral. Mahaney’s story begins with peaceful gathering of neighbors, then takes a sudden turn to looting Union Square, and ends with a declaration of Martial Law and 6 o’clock curfew, after which anyone outdoors would be subject to arrest.\u003c/p>\n\u003cp>“I was in hysterics about it,” Mahaney says, surprising me by laughing. “Because later, they announced that anyone out after 6 o’clock would be subject to arrest unless they were going to an expensive restaurant. The Chamber of Commerce got upset, like ‘Hello, this is how we make our money!’ But people going to cheap restaurants were still subject to arrest! This poor guy got arrested when he was going to get his pizza from a pizza place nearby his house. So that night at about 4 o’clock—” And then we’re interrupted by a woman standing in the doorway of Modern Times, looking shellshocked by its empty appearance.\u003c/p>\n\u003cp>Woman: Hi. I’m so sorry.\u003cbr>\nMahaney: Hi. Me too.\u003cbr>\nWoman: I’ll miss you.\u003cbr>\nMahaney: Well. Thank you.\u003cbr>\nWoman: Thank you for being here.\u003cbr>\nMahaney: Thanks!\u003c/p>\n\u003cp>I don’t know the extent of the loss Ruth Mahaney must feel, either emotionally or financially — she was in charge of paying the bills for Modern Times, so she knows exactly what happened — but I’m struck by her incredibly buoyant approach. She anticipates more demonstrations, but also notes she doesn’t walk as easily as she once did. She’ll still be out in the streets fighting injustice, she says, again surprising me by laughing, right in the face of this empty husk of a half-century’s dream, and the sound of her laugh echoes through it. I may be freaked out, but Mahaney’s concerns are brilliantly, bravely practical.\u003c/p>\n\u003cp>“There may be limits,” she says, “on how much running from the police I can do!”\u003c/p>\n\u003cp>[ad floatright]\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=\"Q.Logo.Break\" 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>\u003cem>Backstage Heroes is a column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The death of an independent bookstore is hard to un-see. Standing inside the echoing skeleton of Modern Times Books on 24th Street in late December of 2016, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/mission-bookstore-modern-times-to-close-after-45-years-in-operation/\" target=\"_blank\" rel=\"noopener\">after the business had officially closed\u003c/a>, the empty space seems to amplify current certainties, and questions: I know who’s been elected President; I know hate crimes are on the rise; I know the incoming political machine has requested lists of names — which scientists worked on climate change? Who in the State Department encouraged gender equality?\u003c/p>\n\u003cp>The empty bookshelves of Modern Times, taller than any bookshelves I’ve ever had to fully reckon with, might as well be shouting about the future and its many challenges. Basically, I’m freaked out.\u003c/p>\n\u003cp>Ruth Mahaney, a Modern Times collective member for 35 years — the democratically run bookstore never had a boss — isn’t freaked out. Even though she’s been sitting in the depressing, mostly empty storefront for weeks now, trying to get rid of the last of the furniture and books, piece by piece, she’s still in practical mode, ever an on-the-fly organizer. (Later, I use my own van to take a desk—the desk over which Modern Times sold books for who knows how many years—to Community Thrift, and even so, I have to sell it a little, giving it a thump, saying “It’s really solid!” before they’ll agree to take it.)\u003c/p>\n\u003cfigure id=\"attachment_12673219\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12673219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg\" alt=\"Modern Times in, well, happier times. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Modern Times in, well, happier times. \u003ccite>(Courtesy Modern Times bookstore.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything left at the bookstore is like that: too big to carry, too tall to fit in a regular car, and if no one takes it, Mahaney herself will have to pay for it to be hauled to the dump. She is still, to this bitter end, concerned with keeping as much as possible out of the public landfill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we talk, the bookstore’s double doors are wide open, and conversation, bus noise, and music from passing cars floats through. Every so often, somebody stops at the doorway and shouts in.\u003c/p>\n\u003cp>Man: Hi, are you getting rid of stuff?\u003cbr>\nMahaney: Yeah, everything you see is free. Haul it off on your skateboard!\u003c/p>\n\u003cp>“I was the one who was here the longest,” Mahaney tells me of the 45-year-old Modern Times. To give an idea of how much has changed since she first laid eyes on the place, here are some numbers to make you howl in pain: “I moved to San Francisco in September of 1971 and found a three-bedroom apartment for $150 a month, over on 14th near Sanchez.”\u003c/p>\n\u003cp>Walking around the neighborhood, she stumbled across “these people who had a big sign on the ground, and they were painting it.” This was Modern Times, and she became a customer of the new bookstore, which began (and, we can say now, ended) as a project of what Mahaney calls “movement people,” or “the left.”\u003c/p>\n\u003cp>“What does that mean?” I ask, and I don’t think she likes the question very much. I have the impression I’ve asked a fish to describe water. But it’s only a moment before she ticks off some specifics, not without pride: “It was one of the first bookstores to have a women’s section, and a gay section, and it was very involved in the struggles in Latin America to overthrow dictators and support progressive movements everywhere.”\u003c/p>\n\u003cp>It was also a dropoff spot for the Weather Underground, a radical activist group operating in secret, in the early days — Modern Times collective members were once instructed to go to the payphone booth in Dolores Park, under which was taped a package containing the manuscript of one of the group’s then-famous manifestos. Dorothy Allison had her first reading at the 888 Valencia site, Mahaney says. Alice Walker had her first reading at the 17th and Sanchez store, long before she published \u003cem>The Color Purple\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12673220\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12673220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\" alt=\"What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-520x390.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011. \u003ccite>(Pete Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ruth Mahaney’s careful haircut, cozy sweater, and “we got this” smile give her the look of a tough grandma, or the feminist professor who always wins the classroom argument with the guy who says “but men are stronger!” In fact, she \u003cem>is\u003c/em> that professor; she teaches LGBT history and culture just up the street at City College. (I intuit the argument-winning part, but trust me.)\u003c/p>\n\u003cp>The bookstore has certainly played no small part in her expertise on local history: Modern Times used to be “the place that people would call when there was a demonstration,” she says. “They’d ask where is it, where’s it starting? And in those days, we knew.”\u003c/p>\n\u003cp>One of those protests happened in 1991, a few days after the Rodney King verdict exonerating the LAPD officers that the whole country had watched beating King on television; it was one of the first citizen-reported stories of police brutality to go viral. Mahaney’s story begins with peaceful gathering of neighbors, then takes a sudden turn to looting Union Square, and ends with a declaration of Martial Law and 6 o’clock curfew, after which anyone outdoors would be subject to arrest.\u003c/p>\n\u003cp>“I was in hysterics about it,” Mahaney says, surprising me by laughing. “Because later, they announced that anyone out after 6 o’clock would be subject to arrest unless they were going to an expensive restaurant. The Chamber of Commerce got upset, like ‘Hello, this is how we make our money!’ But people going to cheap restaurants were still subject to arrest! This poor guy got arrested when he was going to get his pizza from a pizza place nearby his house. So that night at about 4 o’clock—” And then we’re interrupted by a woman standing in the doorway of Modern Times, looking shellshocked by its empty appearance.\u003c/p>\n\u003cp>Woman: Hi. I’m so sorry.\u003cbr>\nMahaney: Hi. Me too.\u003cbr>\nWoman: I’ll miss you.\u003cbr>\nMahaney: Well. Thank you.\u003cbr>\nWoman: Thank you for being here.\u003cbr>\nMahaney: Thanks!\u003c/p>\n\u003cp>I don’t know the extent of the loss Ruth Mahaney must feel, either emotionally or financially — she was in charge of paying the bills for Modern Times, so she knows exactly what happened — but I’m struck by her incredibly buoyant approach. She anticipates more demonstrations, but also notes she doesn’t walk as easily as she once did. She’ll still be out in the streets fighting injustice, she says, again surprising me by laughing, right in the face of this empty husk of a half-century’s dream, and the sound of her laugh echoes through it. I may be freaked out, but Mahaney’s concerns are brilliantly, bravely practical.\u003c/p>\n\u003cp>“There may be limits,” she says, “on how much running from the police I can do!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It is the dawn of the presidential inauguration and I am writing. \u003c/p>\n\u003cp>Even as helicopters thrum over my roof, and my phone dings every few seconds, with friends telling me they have begun watching the inauguration and are already in tears, even as a person grunts in frustration below my window, even as I peek to the live footage to find out what is there that is so terrible and I see that it is Donald Trump — slumped in his seat, makeup caked on his face, striking a pose between slovenly and demure which he must have decided days ago was presidential. Even as all this unfolds, I am writing.\u003c/p>\n\u003cp>It is 8:40am and in just twenty minutes this essay will go from being written during Obama’s presidency to Trump’s. \u003c/p>\n\u003cp>What can I tell you in 20 minutes?\u003c/p>\n\u003cfigure id=\"attachment_12676612\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Literature1-800x1200.jpg\" alt=\"Zahra Noorkbakhsh speaks at 'No Shadow Without Light,' Jan. 18, 2017.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12676612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorkbakhsh speaks at ‘No Shadow Without Light,’ Jan. 18, 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I can tell you that five days ago, on Martin Luther King Jr.’s birthday, I went to the Starline Social Club to see and participate in the Bay Area readings of \u003cem>Writers Resist\u003c/em>. I can tell you that in the first half of the night, D.A. Powell said, “If Donald Trump were a page of writing, we would tear him out for not being worthy of what we ought to be.” And Solmaz Sharif said, “Violence against bodies is premeditated in a violence against language,” and launched into her title poem “\u003ca href=\"https://pen.org/look/\" target=\"_blank\" rel=\"noopener\">Look\u003c/a>,” telling us, “It matters what we call a thing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can tell you that three days ago I went to the San Francisco Public Library for Litquake’s reading, \u003cem>No Shadow Without Light: Writers Respond to Trump\u003c/em>. I can tell you that the city’s poet laureate Alejandro Murguía closed the night by reading a poem inspired by rumors that Trump would not touch the Bible during his inauguration so that the book would not burst into flames. That Murguía lit the poem on fire, saying this was his way of delivering the poem to the President-elect. Long after Murguía left the stage, the auditorium and even the lobby smelled like burning.\u003c/p>\n\u003cp>I can tell you about Shakespeare. Shakespeare liked the performance of \u003cem>Macbeth\u003c/em> to begin even before his actors took the stage. \u003cem>Macbeth\u003c/em>, a tragedy about seeking political power for its own sake. Before the audience entered, stagehands burnt gunpowder at the wings and the sulfurous scent traveled into the empty theater, lying in wait. Remember the Witches, who foretold the great tragedy to come, singing, “Fair is foul, and foul is fair.” Remember Macbeth’s line, “If chance will have me king, why, chance may crown me.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“America, ignore the window and look at your lap,” Solmaz Sharif read at \u003cem>Writers Resist\u003c/em>. “Even your dinner napkins are on fire.”\u003c/p>\n\u003cp>This essay is now being written under a Trump presidency. The age of Trump has now begun. My phone is not dinging now, and I can still hear the roar of helicopters.\u003c/p>\n\u003cp>What should our literature do now? It is minute two in the Trump presidency. \u003c/p>\n\u003cp>What beautiful things shall we write now in the during and the after? I do believe that all across America writers are gathering now with the mixed emotions of the doomed, giddy and somber, with the instruments of their inspiration, ready to write. \u003c/p>\n\u003cp>But if our literature is to be great, in times of oppression writers must make an extra effort to keep above the fray. Everything is connected for us — our bodies to our minds to our literature. \u003c/p>\n\u003cp>Writers I know have been preparing for this. \u003c/p>\n\u003cfigure id=\"attachment_12676613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Literature2-800x533.jpg\" alt=\"Poet devorah major at 'No Shadow Without Light,' Jan. 18, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12676613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet devorah major at ‘No Shadow Without Light,’ Jan. 18, 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trying to voice our concerns, trying to read the fiction novels on our list, trying to read the newspapers, trying not to fall into the cyclone of perpetual refresh of social feeds, trying to eat mindfully, trying to be kind even to the self-interested, trying to vacuum every Sunday, trying to picture people we admire and how they would act, choosing thick books that help us escape, trying to organize, trying to keep fresh milk in the fridge, trying to be aware of our privilege, trying not to boil the coffee, trying to stop confusing the weekdays, trying to memorize poetry, trying to call our mothers regularly, trying to put our head down and do the work, and when work is over, trying to lift our eyes and not look away and do the work.\u003c/p>\n\u003cp>Not looking away is literature’s responsibility now, as is listening, as is continuing to define and defend our language in the face of the missives that come in one hundred and forty characters at a time and in news bytes, and are designed to flatten our understanding of each other and our sense of reality.\u003c/p>\n\u003cp>It is minute 20 of the Trump presidency. \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=\"Q.Logo.Break\" 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>It is the dawn of the presidential inauguration and I am writing. \u003c/p>\n\u003cp>Even as helicopters thrum over my roof, and my phone dings every few seconds, with friends telling me they have begun watching the inauguration and are already in tears, even as a person grunts in frustration below my window, even as I peek to the live footage to find out what is there that is so terrible and I see that it is Donald Trump — slumped in his seat, makeup caked on his face, striking a pose between slovenly and demure which he must have decided days ago was presidential. Even as all this unfolds, I am writing.\u003c/p>\n\u003cp>It is 8:40am and in just twenty minutes this essay will go from being written during Obama’s presidency to Trump’s. \u003c/p>\n\u003cp>What can I tell you in 20 minutes?\u003c/p>\n\u003cfigure id=\"attachment_12676612\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Literature1-800x1200.jpg\" alt=\"Zahra Noorkbakhsh speaks at 'No Shadow Without Light,' Jan. 18, 2017.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12676612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature1-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorkbakhsh speaks at ‘No Shadow Without Light,’ Jan. 18, 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I can tell you that five days ago, on Martin Luther King Jr.’s birthday, I went to the Starline Social Club to see and participate in the Bay Area readings of \u003cem>Writers Resist\u003c/em>. I can tell you that in the first half of the night, D.A. Powell said, “If Donald Trump were a page of writing, we would tear him out for not being worthy of what we ought to be.” And Solmaz Sharif said, “Violence against bodies is premeditated in a violence against language,” and launched into her title poem “\u003ca href=\"https://pen.org/look/\" target=\"_blank\" rel=\"noopener\">Look\u003c/a>,” telling us, “It matters what we call a thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I can tell you that three days ago I went to the San Francisco Public Library for Litquake’s reading, \u003cem>No Shadow Without Light: Writers Respond to Trump\u003c/em>. I can tell you that the city’s poet laureate Alejandro Murguía closed the night by reading a poem inspired by rumors that Trump would not touch the Bible during his inauguration so that the book would not burst into flames. That Murguía lit the poem on fire, saying this was his way of delivering the poem to the President-elect. Long after Murguía left the stage, the auditorium and even the lobby smelled like burning.\u003c/p>\n\u003cp>I can tell you about Shakespeare. Shakespeare liked the performance of \u003cem>Macbeth\u003c/em> to begin even before his actors took the stage. \u003cem>Macbeth\u003c/em>, a tragedy about seeking political power for its own sake. Before the audience entered, stagehands burnt gunpowder at the wings and the sulfurous scent traveled into the empty theater, lying in wait. Remember the Witches, who foretold the great tragedy to come, singing, “Fair is foul, and foul is fair.” Remember Macbeth’s line, “If chance will have me king, why, chance may crown me.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“America, ignore the window and look at your lap,” Solmaz Sharif read at \u003cem>Writers Resist\u003c/em>. “Even your dinner napkins are on fire.”\u003c/p>\n\u003cp>This essay is now being written under a Trump presidency. The age of Trump has now begun. My phone is not dinging now, and I can still hear the roar of helicopters.\u003c/p>\n\u003cp>What should our literature do now? It is minute two in the Trump presidency. \u003c/p>\n\u003cp>What beautiful things shall we write now in the during and the after? I do believe that all across America writers are gathering now with the mixed emotions of the doomed, giddy and somber, with the instruments of their inspiration, ready to write. \u003c/p>\n\u003cp>But if our literature is to be great, in times of oppression writers must make an extra effort to keep above the fray. Everything is connected for us — our bodies to our minds to our literature. \u003c/p>\n\u003cp>Writers I know have been preparing for this. \u003c/p>\n\u003cfigure id=\"attachment_12676613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Literature2-800x533.jpg\" alt=\"Poet devorah major at 'No Shadow Without Light,' Jan. 18, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12676613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Literature2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet devorah major at ‘No Shadow Without Light,’ Jan. 18, 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trying to voice our concerns, trying to read the fiction novels on our list, trying to read the newspapers, trying not to fall into the cyclone of perpetual refresh of social feeds, trying to eat mindfully, trying to be kind even to the self-interested, trying to vacuum every Sunday, trying to picture people we admire and how they would act, choosing thick books that help us escape, trying to organize, trying to keep fresh milk in the fridge, trying to be aware of our privilege, trying not to boil the coffee, trying to stop confusing the weekdays, trying to memorize poetry, trying to call our mothers regularly, trying to put our head down and do the work, and when work is over, trying to lift our eyes and not look away and do the work.\u003c/p>\n\u003cp>Not looking away is literature’s responsibility now, as is listening, as is continuing to define and defend our language in the face of the missives that come in one hundred and forty characters at a time and in news bytes, and are designed to flatten our understanding of each other and our sense of reality.\u003c/p>\n\u003cp>It is minute 20 of the Trump presidency. \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=\"Q.Logo.Break\" 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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"content": "\u003cp>Thanks to the election of Donald Trump, Dog Eared Books in San Francisco has a whole new section. It’s right up front and filled with books about social justice.\u003c/p>\n\u003cp>Dan Weiss, head buyer of new books for the store, created the section the day after the election. It has books about rural white America, like Arlie Russell Hochschild’s “Strangers in Their Own Land,” and ones about activism, like Angela Davis’ “Freedom Is a Constant Struggle.” Other bookstores, like City Lights and Alley Cat, have created similar areas and have similar books.\u003c/p>\n\u003cp>“It’s not a selfless gesture,” Weiss said. “We’re making money on it as a store. I don’t want to make us sound like heroes, because we’re not. But it feels good to make this information more available.”\u003c/p>\n\u003cfigure id=\"attachment_11275499\" class=\"wp-caption aligncenter\" style=\"max-width: 498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11275499\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/IMG_1073-800x600.jpg\" alt=\"Store manager Ryan Smith (left) and Dan Weiss (right) in front of the book section Weiss created in response to Donald Trump's election.\" width=\"498\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-520x390.jpg 520w\" sizes=\"(max-width: 498px) 100vw, 498px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Smith (left) and Dan Weiss (right) of Dog Eared Books in front of the book section Weiss created in response to Donald Trump’s election. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weiss said he also wanted to feature books that give some political and social insights into what is happening in America. People told him again and again about one particular book, “The Origins of Totalitarianism,” by Hannah Arendt. He ordered it, and the book immediately sold. Copies have been flying off the shelves ever since.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303344352″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Surging Sales\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other books have seen a spike in sales after Trump’s election. Titles about the white working class and rural America have done particularly well — books like “White Trash” by Nancy Isenberg and “Hillbilly Elegy” by J.D. Vance. “Hillbilly Elegy” started selling three times as fast after the election, according to the book’s publisher. As of Jan. 18, it was once again on top of the New York Times hardcover \u003ca href=\"http://www.nytimes.com/books/best-sellers/hardcover-nonfiction/?_r=0\" target=\"_blank\" rel=\"noopener\">nonfiction best-seller list\u003c/a>.\u003c/p>\n\u003cp>But these books are new and intended for a popular audience. They were already selling well before the election. “The Origins of Totalitarianism,” not so much. Weiss said Dog Eared Books usually sold just a few copies a year and often bought the book on publisher overstock or remainder.\u003c/p>\n\u003cp>“The Origins of Totalitarianism” is a dense tome of political theory published in 1951. In over 500 pages, author Arendt details the elements in society that led to the rise of Stalinism and Nazism. The book is not typically a hot commodity. But by mid-December, many Bay Area bookstores were sold out. Even Amazon briefly ran out of stock.\u003c/p>\n\u003cp>Jim Milliot, editorial director of the trade magazine Publishers Weekly, said demand for Arendt’s book started to rise right after Trump’s election.\u003c/p>\n\u003cp>Milliot said about 50 copies of “The Origins of Totalitarianism” normally sell nationally each week, according to data from Nielsen BookScan. When sales of the book peaked in December, it was selling at 16 times that rate.\u003c/p>\n\u003cp>Milliot said these are very good numbers for a decades-old book of political theory. He added that the surge in demand was not some holiday bump — December 2015 saw no surge in sales. Milliot said this isn’t the kind of book someone would normally give as a Christmas present.\u003c/p>\n\u003cp>\u003cstrong>Shocked and Heartened\u003c/strong>\u003c/p>\n\u003cp>Roger Berkowitz, founder of the \u003ca href=\"http://hac.bard.edu/\" target=\"_blank\" rel=\"noopener\">Hannah Arendt Center at Bard College\u003c/a>, is both shocked and heartened by the sales numbers.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The amount of interest in [this book] is sort of shocking.’ \u003ccite>Roger Berkowitz, head of Hannah Arendt Center\u003c/cite>\u003c/aside>\n\u003cp>Berkowitz said he’s never seen so much interest in Arendt’s work. There have been articles about her writings in the \u003ca href=\"https://www.nytimes.com/2016/12/21/opinion/books-for-the-trump-era.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/news/monkey-cage/wp/2016/12/17/how-hannah-arendts-classic-work/?utm_term=.a2b70f22b8d3\" target=\"_blank\" rel=\"noopener\">the Washington Post\u003c/a>, \u003ca href=\"http://www.nybooks.com/daily/2016/11/27/trump-realism-vs-moral-politics-choice-we-face/\" target=\"_blank\" rel=\"noopener\">New York Review of Books\u003c/a> and a host of other publications. Berkowitz is starting \u003ca href=\"http://hac.bard.edu/membership/vrg/\" target=\"_blank\" rel=\"noopener\">a virtual reading group\u003c/a> open to the public on Friday to tackle “The Origins of Totalitarianism,” and people are signing up at an unprecedented rate.\u003c/p>\n\u003cp>Berkowitz says it makes sense that people are turning to Arendt now, because the right-wing populism and dissatisfaction with government sweeping through Europe and the U.S. is reminiscent of what happened in the 1920s and ’30s in Nazi Germany and Communist Russia.\u003c/p>\n\u003cp>Arendt identified three major social problems back then, which Berkowitz said are still relevant today: rootlessness, loneliness and homelessness — not lacking a physical house, but the larger sense of being disconnected from a place where you feel at home. Berkowitz said these modern ills are all slightly different, but “their overarching impact is the same, which is that we live in a world in which people don’t feel as if their lives have purposes or meaning.”\u003c/p>\n\u003cp>Arendt wrote about how these conditions open the door for totalitarianism, a political system in which the state has complete power and establishes a single ideology that people follow en masse. Arendt investigated how, once that kind of mass movement begins, individuals no longer accept rational arguments that contradict their ideology. She wrote that they will sacrifice even their own well-being to preserve a movement that has become the central thing that gives their lives meaning.\u003c/p>\n\u003cp>\u003cstrong>The Burden of Our Times\u003c/strong>\u003c/p>\n\u003cp>Trump started a movement with some unsettling characteristics, Berkowitz said — like how the campaign handled facts — but that Trump is no totalitarian. He said we should not exaggerate the comparison between now and the 1920s and 1930s.\u003c/p>\n\u003cp>“Arendt would be the first that point out that we are not living in a totalitarian era right now,” Berkowitz said, but “that doesn’t mean that one can’t emerge.”\u003c/p>\n\u003cp>Berkowitz said some of the interest in this book today undoubtedly, and perhaps unfortunately, comes from the title, “The Origins of Totalitarianism,” which may seem to promise answers to readers.\u003c/p>\n\u003cp>Berkowitz said Hannah Arendt actually did not like the title, which came from the publisher. She didn’t think you could pinpoint the origins of totalitarianism because of the messy complexity of the world.\u003c/p>\n\u003cp>Berkowitz said the book gives readers the analytical tools to see the elements in society that increase the potential for totalitarianism, like loneliness and the isolation or “atomization” of individuals. Arendt originally wanted to call the book “The Burden of Our Times.”\u003c/p>\n\u003cp>\u003cstrong>Difficult Books for Difficult Times\u003c/strong>\u003c/p>\n\u003cp>At Dog Eared Books, Dan Weiss said readers are feeling uncertainty about the future, and they’re searching for a way to understand it. That’s one reason they’re buying challenging books.\u003c/p>\n\u003cp>“People are feeling more commitment, I think, to read things that are difficult right now than they would have before,” Weiss said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But some customers are coming in because they want to steer clear of the real world altogether. Since the election, Weiss said, the store has sold quite a few science fiction novels.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanks to the election of Donald Trump, Dog Eared Books in San Francisco has a whole new section. It’s right up front and filled with books about social justice.\u003c/p>\n\u003cp>Dan Weiss, head buyer of new books for the store, created the section the day after the election. It has books about rural white America, like Arlie Russell Hochschild’s “Strangers in Their Own Land,” and ones about activism, like Angela Davis’ “Freedom Is a Constant Struggle.” Other bookstores, like City Lights and Alley Cat, have created similar areas and have similar books.\u003c/p>\n\u003cp>“It’s not a selfless gesture,” Weiss said. “We’re making money on it as a store. I don’t want to make us sound like heroes, because we’re not. But it feels good to make this information more available.”\u003c/p>\n\u003cfigure id=\"attachment_11275499\" class=\"wp-caption aligncenter\" style=\"max-width: 498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11275499\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/IMG_1073-800x600.jpg\" alt=\"Store manager Ryan Smith (left) and Dan Weiss (right) in front of the book section Weiss created in response to Donald Trump's election.\" width=\"498\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/IMG_1073-520x390.jpg 520w\" sizes=\"(max-width: 498px) 100vw, 498px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Smith (left) and Dan Weiss (right) of Dog Eared Books in front of the book section Weiss created in response to Donald Trump’s election. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weiss said he also wanted to feature books that give some political and social insights into what is happening in America. People told him again and again about one particular book, “The Origins of Totalitarianism,” by Hannah Arendt. He ordered it, and the book immediately sold. Copies have been flying off the shelves ever since.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/303344352″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/303344352″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Surging Sales\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other books have seen a spike in sales after Trump’s election. Titles about the white working class and rural America have done particularly well — books like “White Trash” by Nancy Isenberg and “Hillbilly Elegy” by J.D. Vance. “Hillbilly Elegy” started selling three times as fast after the election, according to the book’s publisher. As of Jan. 18, it was once again on top of the New York Times hardcover \u003ca href=\"http://www.nytimes.com/books/best-sellers/hardcover-nonfiction/?_r=0\" target=\"_blank\" rel=\"noopener\">nonfiction best-seller list\u003c/a>.\u003c/p>\n\u003cp>But these books are new and intended for a popular audience. They were already selling well before the election. “The Origins of Totalitarianism,” not so much. Weiss said Dog Eared Books usually sold just a few copies a year and often bought the book on publisher overstock or remainder.\u003c/p>\n\u003cp>“The Origins of Totalitarianism” is a dense tome of political theory published in 1951. In over 500 pages, author Arendt details the elements in society that led to the rise of Stalinism and Nazism. The book is not typically a hot commodity. But by mid-December, many Bay Area bookstores were sold out. Even Amazon briefly ran out of stock.\u003c/p>\n\u003cp>Jim Milliot, editorial director of the trade magazine Publishers Weekly, said demand for Arendt’s book started to rise right after Trump’s election.\u003c/p>\n\u003cp>Milliot said about 50 copies of “The Origins of Totalitarianism” normally sell nationally each week, according to data from Nielsen BookScan. When sales of the book peaked in December, it was selling at 16 times that rate.\u003c/p>\n\u003cp>Milliot said these are very good numbers for a decades-old book of political theory. He added that the surge in demand was not some holiday bump — December 2015 saw no surge in sales. Milliot said this isn’t the kind of book someone would normally give as a Christmas present.\u003c/p>\n\u003cp>\u003cstrong>Shocked and Heartened\u003c/strong>\u003c/p>\n\u003cp>Roger Berkowitz, founder of the \u003ca href=\"http://hac.bard.edu/\" target=\"_blank\" rel=\"noopener\">Hannah Arendt Center at Bard College\u003c/a>, is both shocked and heartened by the sales numbers.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The amount of interest in [this book] is sort of shocking.’ \u003ccite>Roger Berkowitz, head of Hannah Arendt Center\u003c/cite>\u003c/aside>\n\u003cp>Berkowitz said he’s never seen so much interest in Arendt’s work. There have been articles about her writings in the \u003ca href=\"https://www.nytimes.com/2016/12/21/opinion/books-for-the-trump-era.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/news/monkey-cage/wp/2016/12/17/how-hannah-arendts-classic-work/?utm_term=.a2b70f22b8d3\" target=\"_blank\" rel=\"noopener\">the Washington Post\u003c/a>, \u003ca href=\"http://www.nybooks.com/daily/2016/11/27/trump-realism-vs-moral-politics-choice-we-face/\" target=\"_blank\" rel=\"noopener\">New York Review of Books\u003c/a> and a host of other publications. Berkowitz is starting \u003ca href=\"http://hac.bard.edu/membership/vrg/\" target=\"_blank\" rel=\"noopener\">a virtual reading group\u003c/a> open to the public on Friday to tackle “The Origins of Totalitarianism,” and people are signing up at an unprecedented rate.\u003c/p>\n\u003cp>Berkowitz says it makes sense that people are turning to Arendt now, because the right-wing populism and dissatisfaction with government sweeping through Europe and the U.S. is reminiscent of what happened in the 1920s and ’30s in Nazi Germany and Communist Russia.\u003c/p>\n\u003cp>Arendt identified three major social problems back then, which Berkowitz said are still relevant today: rootlessness, loneliness and homelessness — not lacking a physical house, but the larger sense of being disconnected from a place where you feel at home. Berkowitz said these modern ills are all slightly different, but “their overarching impact is the same, which is that we live in a world in which people don’t feel as if their lives have purposes or meaning.”\u003c/p>\n\u003cp>Arendt wrote about how these conditions open the door for totalitarianism, a political system in which the state has complete power and establishes a single ideology that people follow en masse. Arendt investigated how, once that kind of mass movement begins, individuals no longer accept rational arguments that contradict their ideology. She wrote that they will sacrifice even their own well-being to preserve a movement that has become the central thing that gives their lives meaning.\u003c/p>\n\u003cp>\u003cstrong>The Burden of Our Times\u003c/strong>\u003c/p>\n\u003cp>Trump started a movement with some unsettling characteristics, Berkowitz said — like how the campaign handled facts — but that Trump is no totalitarian. He said we should not exaggerate the comparison between now and the 1920s and 1930s.\u003c/p>\n\u003cp>“Arendt would be the first that point out that we are not living in a totalitarian era right now,” Berkowitz said, but “that doesn’t mean that one can’t emerge.”\u003c/p>\n\u003cp>Berkowitz said some of the interest in this book today undoubtedly, and perhaps unfortunately, comes from the title, “The Origins of Totalitarianism,” which may seem to promise answers to readers.\u003c/p>\n\u003cp>Berkowitz said Hannah Arendt actually did not like the title, which came from the publisher. She didn’t think you could pinpoint the origins of totalitarianism because of the messy complexity of the world.\u003c/p>\n\u003cp>Berkowitz said the book gives readers the analytical tools to see the elements in society that increase the potential for totalitarianism, like loneliness and the isolation or “atomization” of individuals. Arendt originally wanted to call the book “The Burden of Our Times.”\u003c/p>\n\u003cp>\u003cstrong>Difficult Books for Difficult Times\u003c/strong>\u003c/p>\n\u003cp>At Dog Eared Books, Dan Weiss said readers are feeling uncertainty about the future, and they’re searching for a way to understand it. That’s one reason they’re buying challenging books.\u003c/p>\n\u003cp>“People are feeling more commitment, I think, to read things that are difficult right now than they would have before,” Weiss said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But some customers are coming in because they want to steer clear of the real world altogether. Since the election, Weiss said, the store has sold quite a few science fiction novels.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIjjB2KLCJQ\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiXy25ejFzU\u003c/p>\n\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hL28CrEaOsE\u003c/p>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">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/aIjjB2KLCJQ'\n title='//www.youtube.com/embed/aIjjB2KLCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">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/jiXy25ejFzU'\n title='//www.youtube.com/embed/jiXy25ejFzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">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/hL28CrEaOsE'\n title='//www.youtube.com/embed/hL28CrEaOsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>A community writing workshop in San Diego has just published the new collection \u003ca href=\"http://www.cityworkspress.org/books.html\">“Reclaiming our Stories.”\u003c/a> It features first-person narratives from 19 emerging writers, many of them current or former community college students who have struggled with homelessness, gangs or childhood trauma. The project grew out of an effort at Pillars of the Community, an organization dedicated to helping those affected by the criminal justice system. The California Report’s Sasha Khokha spoke with two of the book’s contributors, who also read from their work.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/301966017″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Beto Vasquez was once a high school dropout, and has overcome homelessness, incarceration and addiction, and managed to change the trajectory of his life. Beto recently graduated from UCSD, obtaining a master’s degree in biology. He ultimately plans to fulfill a doctoral degree and pursue a career as a community college administrator. He says his life has been a journey “from cells to cells,” that is, from living in them to studying them. He is an educational advocate for marginalized groups and a great proponent of diversity in STEM fields.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/301970997″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Wilnisha “Tru7h” Sutton was raised in San Diego and is currently focused on her music career and activism. She’s paid a high price for her past misdemeanor charges: She recently lost a job as a teacher’s aide because her background check didn’t clear within the three-day time frame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Beto, you were one of the first to join the community storytelling workshops about a year and a half ago. What drew you to the idea of learning to write your own story?\u003c/strong>\u003c/p>\n\u003cp>Being a lifelong learner and trying so many things that didn’t work out, I’ve just been on this trend of challenging myself. Learning how to be comfortable being uncomfortable. The writing group really provided me an opportunity to step out of my comfort zone, and ended up being really therapeutic for me.\u003c/p>\n\u003cp>\u003cstrong>You spent most of your life incarcerated, and now, you’ve pursued your master’s in biology at UC San Diego. The story you wrote explores how you turned your life around, and includes an encounter you had in the research lab. What does it mean to you to put this kind of story down on the page, to see it in print?\u003c/strong>\u003c/p>\n\u003cp>Being able to share such a minute instance in my life, such a small detail, with other folks, is huge. Sometimes it’s just our own insecurities, those few small moments that we’ve had that can make or break us. Overcoming the obstacles that I’ve overcome, being able to totally change the trajectory of my life, can hopefully serve as an example to people who already doubt themselves, who’ve been told they’re never going to be anything.\u003c/p>\n\u003cp>\u003cstrong>Tru7h, as a teenager in San Diego, you got caught up with a man who was a pimp. What was it like to revisit those painful moments and share them in a writing workshop with people you didn’t know?\u003c/strong>\u003c/p>\n\u003cp>It was very tough, to see my mistakes right in front of me. Actually, I’ve changed a lot, but at the same time, I guess I had to really deal with it head-on. To search myself, and to forgive myself, and that I love myself. It was tough, but at the same time, it was beautiful.\u003c/p>\n\u003cp>\u003cstrong>When I think of San Diego, I think beaches, SeaWorld, the U.S.-Mexico border. How do you think these ideas challenge the idea most Californians have of your city?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: People think we’re just living the life out here because of our weather. But it’s a struggle. The cost of living is very high. In Southeast San Diego, a lot of us are struggling just to make ends meet.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: For people who just have this image of San Diego as being 70 degrees all year round and everything’s perfect, we need to put a little more humanity into that. We have a large homeless population here because of that great weather, but they’re not being served. We have pockets of gentrification, where people are being displaced. But we also have our fair share of folks who care, who have the resilience and tenacity to take it a step forward to do something about it. This book is just the beginning.\u003c/p>\n\u003cp>\u003cstrong>What’s the most surprising thing you learned from listening to or reading the other stories in this book? There’s a big range, from a Muslim woman who was homeless as a child in San Diego, to a teen who watched his brother get arrested by a SWAT team\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: For me, it was just the struggle for what a lot of people are dealing with in our community. Southeast San Diego, the area we live in, our people have been through a lot. But they’re survivors. They’re willing to put it on paper, and be free.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: Growing up in a rough neighborhood, growing up as a male, growing up with privilege that you’re sometimes not aware of. It’s really tricky being able to step outside of that, taking in what the hardships are that other people that don’t look like you, or perhaps that even grew up in the same neighborhoods as you. That’s really what this book is doing: allowing us the opportunity to crack that open, normalizing situations, normalizing lifestyles, normalizing making mistakes.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: It also brought us closer as a community. When we see each other now, it’s like, OK, now, it’s my brother, my sister. I know a little bit of your story, your struggle. I could trust these people with my story, my secrets, and yet you still love me, you’re still here for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A community writing workshop in San Diego has just published the new collection \u003ca href=\"http://www.cityworkspress.org/books.html\">“Reclaiming our Stories.”\u003c/a> It features first-person narratives from 19 emerging writers, many of them current or former community college students who have struggled with homelessness, gangs or childhood trauma. The project grew out of an effort at Pillars of the Community, an organization dedicated to helping those affected by the criminal justice system. The California Report’s Sasha Khokha spoke with two of the book’s contributors, who also read from their work.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/301966017″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/301966017″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Beto Vasquez was once a high school dropout, and has overcome homelessness, incarceration and addiction, and managed to change the trajectory of his life. Beto recently graduated from UCSD, obtaining a master’s degree in biology. He ultimately plans to fulfill a doctoral degree and pursue a career as a community college administrator. He says his life has been a journey “from cells to cells,” that is, from living in them to studying them. He is an educational advocate for marginalized groups and a great proponent of diversity in STEM fields.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/301970997″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/301970997″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Wilnisha “Tru7h” Sutton was raised in San Diego and is currently focused on her music career and activism. She’s paid a high price for her past misdemeanor charges: She recently lost a job as a teacher’s aide because her background check didn’t clear within the three-day time frame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Beto, you were one of the first to join the community storytelling workshops about a year and a half ago. What drew you to the idea of learning to write your own story?\u003c/strong>\u003c/p>\n\u003cp>Being a lifelong learner and trying so many things that didn’t work out, I’ve just been on this trend of challenging myself. Learning how to be comfortable being uncomfortable. The writing group really provided me an opportunity to step out of my comfort zone, and ended up being really therapeutic for me.\u003c/p>\n\u003cp>\u003cstrong>You spent most of your life incarcerated, and now, you’ve pursued your master’s in biology at UC San Diego. The story you wrote explores how you turned your life around, and includes an encounter you had in the research lab. What does it mean to you to put this kind of story down on the page, to see it in print?\u003c/strong>\u003c/p>\n\u003cp>Being able to share such a minute instance in my life, such a small detail, with other folks, is huge. Sometimes it’s just our own insecurities, those few small moments that we’ve had that can make or break us. Overcoming the obstacles that I’ve overcome, being able to totally change the trajectory of my life, can hopefully serve as an example to people who already doubt themselves, who’ve been told they’re never going to be anything.\u003c/p>\n\u003cp>\u003cstrong>Tru7h, as a teenager in San Diego, you got caught up with a man who was a pimp. What was it like to revisit those painful moments and share them in a writing workshop with people you didn’t know?\u003c/strong>\u003c/p>\n\u003cp>It was very tough, to see my mistakes right in front of me. Actually, I’ve changed a lot, but at the same time, I guess I had to really deal with it head-on. To search myself, and to forgive myself, and that I love myself. It was tough, but at the same time, it was beautiful.\u003c/p>\n\u003cp>\u003cstrong>When I think of San Diego, I think beaches, SeaWorld, the U.S.-Mexico border. How do you think these ideas challenge the idea most Californians have of your city?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: People think we’re just living the life out here because of our weather. But it’s a struggle. The cost of living is very high. In Southeast San Diego, a lot of us are struggling just to make ends meet.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: For people who just have this image of San Diego as being 70 degrees all year round and everything’s perfect, we need to put a little more humanity into that. We have a large homeless population here because of that great weather, but they’re not being served. We have pockets of gentrification, where people are being displaced. But we also have our fair share of folks who care, who have the resilience and tenacity to take it a step forward to do something about it. This book is just the beginning.\u003c/p>\n\u003cp>\u003cstrong>What’s the most surprising thing you learned from listening to or reading the other stories in this book? There’s a big range, from a Muslim woman who was homeless as a child in San Diego, to a teen who watched his brother get arrested by a SWAT team\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: For me, it was just the struggle for what a lot of people are dealing with in our community. Southeast San Diego, the area we live in, our people have been through a lot. But they’re survivors. They’re willing to put it on paper, and be free.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: Growing up in a rough neighborhood, growing up as a male, growing up with privilege that you’re sometimes not aware of. It’s really tricky being able to step outside of that, taking in what the hardships are that other people that don’t look like you, or perhaps that even grew up in the same neighborhoods as you. That’s really what this book is doing: allowing us the opportunity to crack that open, normalizing situations, normalizing lifestyles, normalizing making mistakes.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: It also brought us closer as a community. When we see each other now, it’s like, OK, now, it’s my brother, my sister. I know a little bit of your story, your struggle. I could trust these people with my story, my secrets, and yet you still love me, you’re still here for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the strong possibility of a big storm over the weekend and with flood watches in place from near the Oregon border down to Bakersfield, our thoughts turn to … history. More specifically, to some of the great accounts we’ve seen of disasters and near-disasters resulting from big winter storms. Here are three selections, ranging from William Brewer’s account of the historic rains and floods of 1861-62 to two more recent stories, from John McPhee and Marc Reisner, that touch on the impact of big winter storms in the 1970s and 1980s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>William Brewer\u003c/strong> was field leader of the Whitney Survey, which traveled throughout California from 1860 through 1864 to document the state’s geological and other resources. Brewer’s letters and journal entries were collected and published in 1930 as “\u003ca href=\"https://books.google.com/books?id=WJKazBEhw2EC\" target=\"_blank\" rel=\"noopener noreferrer\">Up and Down California\u003c/a>.” From San Francisco in January 1862, Brewer recorded the big news of the day: a nearly nonstop deluge that came amid what still stands as the rainiest winter in much of California. Six weeks later, he visited Sacramento, which had suffered devastating damage in the flood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/01/19/january-19-1862-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">January 19, 1862\u003c/a>\u003cbr>\nSan Francisco\u003c/strong>\u003c/p>\n\u003cp>[dropcap]‘T[/dropcap]he rains continue, and since I last wrote the floods have been far worse than before. Sacramento and many other towns and cities have again been overflowed, and after the waters had abated somewhat they are again up. That doomed city is in all probability again under water today.\u003c/p>\n\u003cfigure id=\"attachment_11255512\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\" alt=\"Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \" width=\"598\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-520x350.jpg 520w\" sizes=\"auto, (max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \u003ccite>(U)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The amount of rain\u003c/strong> that has fallen is unprecedented in the history of the state. In this city accurate observations have been kept since July, 1853. For the years since, ending with July 1 each year, the amount of rain is known. In New York state—central New York—the average amount is under thirty-eight inches, often not over thirty-three inches, sometimes as low as twenty-eight inches. This includes the melted snow. In this city it has been for the eight years closing last July, 21 3/4 inches, the lowest amount 19 3/4 inches, the highest 23 3/4. Yet this year, since November 6, when the first shower came, to January 18, it is thirty-two and three-quarters inches and it is still raining! But this is not all. Generally twice, sometimes three times, as much falls in the mining districts on the slopes of the Sierra. This year at Sonora, in Tuolumne County, between November 11, 1861, and January 14, 1862, seventy-two inches (six feet) of water has fallen, and in numbers of places over five feet! And that in a period of two months. As much rain as falls in Ithaca in two years has fallen in some places in this state in two months.1\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The great central valley\u003c/strong> of the state is under water—the Sacramento and San Joaquin valleys—a region 250 to 300 miles long and an average of at least twenty miles wide, a district of five thousand or six thousand square miles, or probably three to three and a half millions of acres! Although much of it is not cultivated, yet a part of it is the garden of the state. Thousands of farms are entirely under water—cattle starving and drowning. …\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/03/07/march-7-1862-sacramento/\" target=\"_blank\" rel=\"noopener noreferrer\">March 7, 1862\u003c/a>\u003cbr>\nSacramento\u003c/strong>\u003c/p>\n\u003cp>[dropcap]‘E[/dropcap]arly in the morning I went to a hotel in Sacramento and got my breakfast and brushed up for business. That dispatched, I had some time to look at the city. Such a desolate scene I hope never to see again. Most of the city is still under water, and has been for three months. A part is out of the water, that is, the streets are above water, but every low place is full—cellars and yards are full, houses and walls wet, everything uncomfortable. Over much of the city boats are still the only means of getting about. No description that I can write will give you any adequate conception of the discomfort and wretchedness this must give rise to. I took a boat and two boys, and we rowed about for an hour or two. Houses, stores, stables, everything, were surrounded by water. Yards were ponds enclosed by dilapidated, muddy, slimy fences; household furniture, chairs, tables, sofas, the fragments of houses, were floating in the muddy waters or lodged in nooks and corners—I saw three sofas floating in different yards. The basements of the better class of houses were half full of water, and through the windows one could see chairs, tables, bedsteads, etc., afloat. Through the windows of a schoolhouse I saw the benches and desks afloat.\u003c/p>\n\u003cp>\u003cstrong>It is with the poorer classes\u003c/strong> that this is the worst. Many of the one-story houses are entirely uninhabitable; others, where the floors are above the water are, at best, most wretched places in which to live. The new Capitol is far out in the water—the Governor’s house stands as in a lake—churches, public buildings, private buildings, everything, are wet or in the water. Not a road leading from the city is passable, business is at a dead standstill, everything looks forlorn and wretched. Many houses have partially toppled over; some have been carried from their foundations, several streets (now avenues of water) are blocked up with houses that have floated in them, dead animals lie about here and there—a dreadful picture. I don’t think the city will ever rise from the shock, I don’t see how it can. Yet it has a brighter side. No people can so stand calamity as this people. They are used to it. Everyone is familiar with the history of fortunes quickly made and as quickly lost. It seems here more than elsewhere the natural order of things. I might say, indeed, that the recklessness of the state blunts the keener feelings and takes the edge from this calamity.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Marc Reisner\u003c/strong> published “\u003ca href=\"https://books.google.com/books?id=frvKDY0rpToC\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac Desert\u003c/a>,” his critical history of water policy in California and the West, in the 1980s. A revised edition came out in 1993, and it included an afterword in which Reisner related the awesome power of a series of big, wet Pacific storms that hit California in February 1986.\u003c/em>\u003c/p>\n\u003cp>[dropcap]‘I[/dropcap] had always had a mordant wish to watch a dam collapse, and this seemed like the best opportunity I might get in my life. I arrived at Oroville Dam just as the storm was beginning to break up. (It took me hours longer than usual to get there, because shallow lakes had formed across Interstate 680, creating instant new refuges for mallards and pintails.) In the previous week and a half, the Feather River watershed had unofficially recorded fifty-five inches of precipitation, most of it as rain, which melted several feet of snow lying on the ground. Tampa gets that much rain in an average year. The spillway at Oroville is a big concrete channel that loops around the right abutment of the immense earthen dam. It was dumping a hundred and fifty thousands cubic feet of water per second, a couple of rivers the size of the Tennessee. That much water in that confined space — the spillway is about as wide as a basketball court — is in a hurry-up mood. My guess is that it was moving thirty or forty miles per hour. Small trees and shrubs lining the spillway fence were bent double under the force of the vortex winds created by so much mass in a rush. A crow, sailing arrogantly a few feet overhead, suddenly executed some frantic maneuvers to avoid being sucked in himself; he too had never seen anything like this before. Where the spillway poured the river back into the river below the dam — it didn’t so much pour in as fly in — a dense plume of mist mushroomed eighty stories high, split by three arching rainbows.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/RQpo3rAvntk\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A dam did actually burst\u003c/strong> during the flood, though I didn’t see it happen. It was a temporary cofferdam built at the prospective site of Auburn Dam, whose construction had been mired in lawsuits and debate for years. The cofferdam held back about a hundred thousand acre-feet of water–thirty-two billion gallons–that merged, almost instantaneously, with a river already swollen to ten times its normal size. The flood-on-a-flood headed into Folsom Lake, which sits twenty miles above Sacramento and has a capacity of about a million acre-feet. Folsom Dam would have to spill the whole reservoir, 320 billion gallons of water, in three or four days in order to absorb the mythic flood pouring in. If it did not, the dam itself would be jeopardized, and if Folsom ended up like Teton Dam [a structure in Idaho that failed catastrophically in 1976] then a lot of Sacramento would float under the Golden Gate Bridge. When I arrived, a whole crowd of disaster buffs was already there, held at bay by dozens of highway patrol. I managed to sneak briefly onto the dam crest anyway; it trembled as a bank might tremble during a hurricane. The spillway at Folsom, a concrete and rock dam, was built into its center; it’s really a man-made, two-hundred-foot waterfall. At the time, it was dumping much more water than Niagara Falls. You couldn’t have heard a jet taking off five hundred feet away; that’s the kind of noise a million pounds of water makes–a million pounds a \u003cem>second\u003c/em>–as it tumbles a couple of hundred feet and crashes into a canyon river bed. (If Folsom was going to be destroyed, it would probably be a consequence of the falling river chewing out the bedrock on which the dam was built.) The waterfall reversed direction about eighty yards downriver and rose up in a towering, backfalling hydraulic wave that raced back and crashed into the dam’s downstream face, as if it wanted a second chance to knock it to smithereens. …\u003c/p>\n\u003cp>\u003cstrong>The Department of Water Resources\u003c/strong> later estimated that ten million acre-feet of runoff–enough for the city of San Francisco for forty years–had poured out the Golden Gate in two weeks. The crew of a freighter miles out to sea that was plowing through huge wave off the Gate said the wash coming across the bow tasted almost like Evian.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>In the 1970s and ’80s, The New Yorker’s \u003cstrong>John McPhee\u003c/strong> wrote a long series of minutely researched and reported feature articles on humanity’s attempt to tame natural forces. The articles, collected and published in a single volume as “\u003ca href=\"https://books.google.com/books?id=qQMFOctR7AoC&dq=the+control+of+nature&source=gbs_navlinks_s\" target=\"_blank\" rel=\"noopener noreferrer\">The Control of Nature\u003c/a>,” included “Los Angeles Against the Mountains.” His two-part L.A. installment focused on attempts to mitigate the effects of alternating fires and floods along the front of the San Gabriel Mountains — an area prone to both kinds of disasters. He opens the article with a 1978 episode involving Bob and Jackie Genofile, who lived with their teenage children, Scott and Kimberlee, on the slopes of the San Gabriels.\u003c/em>\u003c/p>\n\u003cp>[dropcap]‘T[/dropcap]he water was now spreading over the street. It descended in heavy sheets. As the young Genofiles and their mother glimpsed it in the all but total darkness, the scene was suddenly illuminated by a blue electrical flash. In the blue light they saw a massive blackness, moving. It was not a landslide, not a mudslide, not a rock avalanche; nor by any means was it the front of a conventional flood. In Jackie’s words, “It was just one big black thing coming at us, rolling, rolling with a lot of water in front of it, pushing the water, this big black thing. It was just one big black hill coming toward us.”\u003c/p>\n\u003cp>\u003cstrong>In geology,\u003c/strong> it would be known as a debris flow. Debris flows amass in stream valleys and more or less resemble fresh concrete. They consist of water mixed with a good deal of solid material, most of which is above sand size. Some of it is Chevrolet size. Boulders bigger than cars ride long distances in debris flows. Boulders grouped like fish eggs pour downhill in debris flows. The dark material coming toward the Genofiles was not only full of boulders; it was so full of automobiles it was like bread dough mixed with raisins. On its way down Pine Cone Road, it plucked up cars from driveways and the street. When it crashed into the Genofiles house, the shattering of safety glass made terrific explosive sounds. A door burst open. Mud and bould poured into the hall. We’re going to go, Jackie thought. Oh, my God, what a hell of a way for the four of us to die together.\u003c/p>\n\u003cfigure id=\"attachment_11255514\" class=\"wp-caption alignleft\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255514\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\" alt=\"The Genofile home in Glendale, California, after debris flow.\" width=\"514\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-375x259.jpg 375w\" sizes=\"auto, (max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Genofile home in Glendale, California, after debris flow. \u003ccite>(\u003ca href=\"http://www.cvhistory.org/meetings/oldmeetings/oct09meeting.htm\" target=\"_blank\">Historical Society of the Crescenta Valley\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The parents’ bedroom\u003c/strong> was on the far side of the house. Bob Genofile was in there kicking through white satin draperies at the panelled glass, smashing it to provide an outlet for water, when the three others ran in to join him. The walls of the house neither moved nor shook. As a general contractor, Bob had build dams, department stores, hospitals, six schools, seven churches and this house. It was made of concrete block with steel reinforcement, sixteen inches on center. His wife had said it was stronger than any dam in California. His crew had called it “the fort.” In those days, twenty years before, the Genofiles’ acre was close by the edge of the mountain brush, but a developer had come along since then and knocked down thousands of trees and put Pine Cone Road up the slope. Now Bob Genofile was thinking, I hope the roof holds. I hope the roof is strong enough to hold. Debris was flowing over it. He told Scott to shut the bedroom door. No sooner was the door closed than it was battered down and fell into the room. Mud, rock, water poured in. It pushed everybody against the far wall. “Jump on the bed,” Bob said. The bed began to rise. Kneeling on it–on a gold velvet spread–they could soon press their palms against the ceiling. The bed also moved toward the glass wall. The two teen-agers got off, to try to control the motion, and they were pinned between the bed’s brass railing and the wall. Boulders went up against the railing, pressed it into their legs, and held them fast. Bob dived into the muck to try to move the boulders, but he failed. The debris flow, entering through windows as well as doors, continued to rise. Escape was still possible for the parents but not for the children. The parents looked at each other and did not stir. Each reached for and held one of the children. Their mother felt suddenly resigned, sure that her son and daughter would die and she and her husband would quickly follow. The house became buried to the eaves. Boulders sat on the roof. Thirteen automobiles were packed around the building, including five in the pool. A din of rocks kept banging against them. The stuck horn of a buried car was blaring. The family in the darkness in their fixed tableau watched one another by the light of a directional signal, endlessly blinking. The house had filled up in six minutes, and the mud stopped rising near the children’s chins.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the strong possibility of a big storm over the weekend and with flood watches in place from near the Oregon border down to Bakersfield, our thoughts turn to … history. More specifically, to some of the great accounts we’ve seen of disasters and near-disasters resulting from big winter storms. Here are three selections, ranging from William Brewer’s account of the historic rains and floods of 1861-62 to two more recent stories, from John McPhee and Marc Reisner, that touch on the impact of big winter storms in the 1970s and 1980s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>William Brewer\u003c/strong> was field leader of the Whitney Survey, which traveled throughout California from 1860 through 1864 to document the state’s geological and other resources. Brewer’s letters and journal entries were collected and published in 1930 as “\u003ca href=\"https://books.google.com/books?id=WJKazBEhw2EC\" target=\"_blank\" rel=\"noopener noreferrer\">Up and Down California\u003c/a>.” From San Francisco in January 1862, Brewer recorded the big news of the day: a nearly nonstop deluge that came amid what still stands as the rainiest winter in much of California. Six weeks later, he visited Sacramento, which had suffered devastating damage in the flood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/01/19/january-19-1862-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">January 19, 1862\u003c/a>\u003cbr>\nSan Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘T\u003c/span>\u003c/p>\u003cp>he rains continue, and since I last wrote the floods have been far worse than before. Sacramento and many other towns and cities have again been overflowed, and after the waters had abated somewhat they are again up. That doomed city is in all probability again under water today.\u003c/p>\n\u003cfigure id=\"attachment_11255512\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\" alt=\"Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \" width=\"598\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-520x350.jpg 520w\" sizes=\"auto, (max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \u003ccite>(U)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The amount of rain\u003c/strong> that has fallen is unprecedented in the history of the state. In this city accurate observations have been kept since July, 1853. For the years since, ending with July 1 each year, the amount of rain is known. In New York state—central New York—the average amount is under thirty-eight inches, often not over thirty-three inches, sometimes as low as twenty-eight inches. This includes the melted snow. In this city it has been for the eight years closing last July, 21 3/4 inches, the lowest amount 19 3/4 inches, the highest 23 3/4. Yet this year, since November 6, when the first shower came, to January 18, it is thirty-two and three-quarters inches and it is still raining! But this is not all. Generally twice, sometimes three times, as much falls in the mining districts on the slopes of the Sierra. This year at Sonora, in Tuolumne County, between November 11, 1861, and January 14, 1862, seventy-two inches (six feet) of water has fallen, and in numbers of places over five feet! And that in a period of two months. As much rain as falls in Ithaca in two years has fallen in some places in this state in two months.1\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The great central valley\u003c/strong> of the state is under water—the Sacramento and San Joaquin valleys—a region 250 to 300 miles long and an average of at least twenty miles wide, a district of five thousand or six thousand square miles, or probably three to three and a half millions of acres! Although much of it is not cultivated, yet a part of it is the garden of the state. Thousands of farms are entirely under water—cattle starving and drowning. …\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/03/07/march-7-1862-sacramento/\" target=\"_blank\" rel=\"noopener noreferrer\">March 7, 1862\u003c/a>\u003cbr>\nSacramento\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘E\u003c/span>\u003c/p>\u003cp>arly in the morning I went to a hotel in Sacramento and got my breakfast and brushed up for business. That dispatched, I had some time to look at the city. Such a desolate scene I hope never to see again. Most of the city is still under water, and has been for three months. A part is out of the water, that is, the streets are above water, but every low place is full—cellars and yards are full, houses and walls wet, everything uncomfortable. Over much of the city boats are still the only means of getting about. No description that I can write will give you any adequate conception of the discomfort and wretchedness this must give rise to. I took a boat and two boys, and we rowed about for an hour or two. Houses, stores, stables, everything, were surrounded by water. Yards were ponds enclosed by dilapidated, muddy, slimy fences; household furniture, chairs, tables, sofas, the fragments of houses, were floating in the muddy waters or lodged in nooks and corners—I saw three sofas floating in different yards. The basements of the better class of houses were half full of water, and through the windows one could see chairs, tables, bedsteads, etc., afloat. Through the windows of a schoolhouse I saw the benches and desks afloat.\u003c/p>\n\u003cp>\u003cstrong>It is with the poorer classes\u003c/strong> that this is the worst. Many of the one-story houses are entirely uninhabitable; others, where the floors are above the water are, at best, most wretched places in which to live. The new Capitol is far out in the water—the Governor’s house stands as in a lake—churches, public buildings, private buildings, everything, are wet or in the water. Not a road leading from the city is passable, business is at a dead standstill, everything looks forlorn and wretched. Many houses have partially toppled over; some have been carried from their foundations, several streets (now avenues of water) are blocked up with houses that have floated in them, dead animals lie about here and there—a dreadful picture. I don’t think the city will ever rise from the shock, I don’t see how it can. Yet it has a brighter side. No people can so stand calamity as this people. They are used to it. Everyone is familiar with the history of fortunes quickly made and as quickly lost. It seems here more than elsewhere the natural order of things. I might say, indeed, that the recklessness of the state blunts the keener feelings and takes the edge from this calamity.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Marc Reisner\u003c/strong> published “\u003ca href=\"https://books.google.com/books?id=frvKDY0rpToC\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac Desert\u003c/a>,” his critical history of water policy in California and the West, in the 1980s. A revised edition came out in 1993, and it included an afterword in which Reisner related the awesome power of a series of big, wet Pacific storms that hit California in February 1986.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘I\u003c/span>\u003c/p>\u003cp> had always had a mordant wish to watch a dam collapse, and this seemed like the best opportunity I might get in my life. I arrived at Oroville Dam just as the storm was beginning to break up. (It took me hours longer than usual to get there, because shallow lakes had formed across Interstate 680, creating instant new refuges for mallards and pintails.) In the previous week and a half, the Feather River watershed had unofficially recorded fifty-five inches of precipitation, most of it as rain, which melted several feet of snow lying on the ground. Tampa gets that much rain in an average year. The spillway at Oroville is a big concrete channel that loops around the right abutment of the immense earthen dam. It was dumping a hundred and fifty thousands cubic feet of water per second, a couple of rivers the size of the Tennessee. That much water in that confined space — the spillway is about as wide as a basketball court — is in a hurry-up mood. My guess is that it was moving thirty or forty miles per hour. Small trees and shrubs lining the spillway fence were bent double under the force of the vortex winds created by so much mass in a rush. A crow, sailing arrogantly a few feet overhead, suddenly executed some frantic maneuvers to avoid being sucked in himself; he too had never seen anything like this before. Where the spillway poured the river back into the river below the dam — it didn’t so much pour in as fly in — a dense plume of mist mushroomed eighty stories high, split by three arching rainbows.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/RQpo3rAvntk\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A dam did actually burst\u003c/strong> during the flood, though I didn’t see it happen. It was a temporary cofferdam built at the prospective site of Auburn Dam, whose construction had been mired in lawsuits and debate for years. The cofferdam held back about a hundred thousand acre-feet of water–thirty-two billion gallons–that merged, almost instantaneously, with a river already swollen to ten times its normal size. The flood-on-a-flood headed into Folsom Lake, which sits twenty miles above Sacramento and has a capacity of about a million acre-feet. Folsom Dam would have to spill the whole reservoir, 320 billion gallons of water, in three or four days in order to absorb the mythic flood pouring in. If it did not, the dam itself would be jeopardized, and if Folsom ended up like Teton Dam [a structure in Idaho that failed catastrophically in 1976] then a lot of Sacramento would float under the Golden Gate Bridge. When I arrived, a whole crowd of disaster buffs was already there, held at bay by dozens of highway patrol. I managed to sneak briefly onto the dam crest anyway; it trembled as a bank might tremble during a hurricane. The spillway at Folsom, a concrete and rock dam, was built into its center; it’s really a man-made, two-hundred-foot waterfall. At the time, it was dumping much more water than Niagara Falls. You couldn’t have heard a jet taking off five hundred feet away; that’s the kind of noise a million pounds of water makes–a million pounds a \u003cem>second\u003c/em>–as it tumbles a couple of hundred feet and crashes into a canyon river bed. (If Folsom was going to be destroyed, it would probably be a consequence of the falling river chewing out the bedrock on which the dam was built.) The waterfall reversed direction about eighty yards downriver and rose up in a towering, backfalling hydraulic wave that raced back and crashed into the dam’s downstream face, as if it wanted a second chance to knock it to smithereens. …\u003c/p>\n\u003cp>\u003cstrong>The Department of Water Resources\u003c/strong> later estimated that ten million acre-feet of runoff–enough for the city of San Francisco for forty years–had poured out the Golden Gate in two weeks. The crew of a freighter miles out to sea that was plowing through huge wave off the Gate said the wash coming across the bow tasted almost like Evian.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>In the 1970s and ’80s, The New Yorker’s \u003cstrong>John McPhee\u003c/strong> wrote a long series of minutely researched and reported feature articles on humanity’s attempt to tame natural forces. The articles, collected and published in a single volume as “\u003ca href=\"https://books.google.com/books?id=qQMFOctR7AoC&dq=the+control+of+nature&source=gbs_navlinks_s\" target=\"_blank\" rel=\"noopener noreferrer\">The Control of Nature\u003c/a>,” included “Los Angeles Against the Mountains.” His two-part L.A. installment focused on attempts to mitigate the effects of alternating fires and floods along the front of the San Gabriel Mountains — an area prone to both kinds of disasters. He opens the article with a 1978 episode involving Bob and Jackie Genofile, who lived with their teenage children, Scott and Kimberlee, on the slopes of the San Gabriels.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘T\u003c/span>\u003c/p>\u003cp>he water was now spreading over the street. It descended in heavy sheets. As the young Genofiles and their mother glimpsed it in the all but total darkness, the scene was suddenly illuminated by a blue electrical flash. In the blue light they saw a massive blackness, moving. It was not a landslide, not a mudslide, not a rock avalanche; nor by any means was it the front of a conventional flood. In Jackie’s words, “It was just one big black thing coming at us, rolling, rolling with a lot of water in front of it, pushing the water, this big black thing. It was just one big black hill coming toward us.”\u003c/p>\n\u003cp>\u003cstrong>In geology,\u003c/strong> it would be known as a debris flow. Debris flows amass in stream valleys and more or less resemble fresh concrete. They consist of water mixed with a good deal of solid material, most of which is above sand size. Some of it is Chevrolet size. Boulders bigger than cars ride long distances in debris flows. Boulders grouped like fish eggs pour downhill in debris flows. The dark material coming toward the Genofiles was not only full of boulders; it was so full of automobiles it was like bread dough mixed with raisins. On its way down Pine Cone Road, it plucked up cars from driveways and the street. When it crashed into the Genofiles house, the shattering of safety glass made terrific explosive sounds. A door burst open. Mud and bould poured into the hall. We’re going to go, Jackie thought. Oh, my God, what a hell of a way for the four of us to die together.\u003c/p>\n\u003cfigure id=\"attachment_11255514\" class=\"wp-caption alignleft\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255514\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\" alt=\"The Genofile home in Glendale, California, after debris flow.\" width=\"514\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-375x259.jpg 375w\" sizes=\"auto, (max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Genofile home in Glendale, California, after debris flow. \u003ccite>(\u003ca href=\"http://www.cvhistory.org/meetings/oldmeetings/oct09meeting.htm\" target=\"_blank\">Historical Society of the Crescenta Valley\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The parents’ bedroom\u003c/strong> was on the far side of the house. Bob Genofile was in there kicking through white satin draperies at the panelled glass, smashing it to provide an outlet for water, when the three others ran in to join him. The walls of the house neither moved nor shook. As a general contractor, Bob had build dams, department stores, hospitals, six schools, seven churches and this house. It was made of concrete block with steel reinforcement, sixteen inches on center. His wife had said it was stronger than any dam in California. His crew had called it “the fort.” In those days, twenty years before, the Genofiles’ acre was close by the edge of the mountain brush, but a developer had come along since then and knocked down thousands of trees and put Pine Cone Road up the slope. Now Bob Genofile was thinking, I hope the roof holds. I hope the roof is strong enough to hold. Debris was flowing over it. He told Scott to shut the bedroom door. No sooner was the door closed than it was battered down and fell into the room. Mud, rock, water poured in. It pushed everybody against the far wall. “Jump on the bed,” Bob said. The bed began to rise. Kneeling on it–on a gold velvet spread–they could soon press their palms against the ceiling. The bed also moved toward the glass wall. The two teen-agers got off, to try to control the motion, and they were pinned between the bed’s brass railing and the wall. Boulders went up against the railing, pressed it into their legs, and held them fast. Bob dived into the muck to try to move the boulders, but he failed. The debris flow, entering through windows as well as doors, continued to rise. Escape was still possible for the parents but not for the children. The parents looked at each other and did not stir. Each reached for and held one of the children. Their mother felt suddenly resigned, sure that her son and daughter would die and she and her husband would quickly follow. The house became buried to the eaves. Boulders sat on the roof. Thirteen automobiles were packed around the building, including five in the pool. A din of rocks kept banging against them. The stuck horn of a buried car was blaring. The family in the darkness in their fixed tableau watched one another by the light of a directional signal, endlessly blinking. The house had filled up in six minutes, and the mud stopped rising near the children’s chins.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
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"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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