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"content": "\u003cp>Pioneers and fools are deficient in judgment and sense, but brimming with vision. This is what I learned as I stayed up reading a collection of John Muir’s “most thrilling experiences”— as the back cover of \u003ca href=\"http://www.yosemiteconservancystore.com/prod-235-1-22-34/the-wild-muir-22-of-john-muir-s-greatest-adventures.htm\">\u003cem>Th\u003c/em>\u003cem>e Wild Muir\u003c/em>\u003c/a> assures me. They are in fact adventures that by sheer miracle did not end in death.\u003c/p>\n\u003cp>I am only a third of the book in, but Muir has already rushed two grizzlies (on \u003cem>two\u003c/em> separate occasions) and inched sideways for 30 feet like a tightrope walker on a three-inch cliff ledge, just so that he could espy a \u003cem>different\u003c/em> \u003cem>view\u003c/em> of the Yosemite Falls. Following this last exploit Muir wrote that “looking down into Yosemite, the death song of Yosemite Creek, and its flight over the vast cliff” was enjoyment enough “to kill if that were possible.” Or die, as the case may be.\u003c/p>\n\u003cfigure id=\"attachment_12935461\" class=\"wp-caption alignright\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935461 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/muir.jpg\" alt=\"John Muir\" width=\"1000\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-800x712.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-768x684.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-960x854.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-240x214.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-375x334.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-520x463.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">John Muir. 1902. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>If the fictional characters in Jim Shepard’s new short story collection \u003cem>The World to Come\u003c/em> had any driving ethos, this would be it: \u003cem>Enjoyment enough to kill if that were possible — or die as the case may be\u003c/em>. With stories that take place anywhere from Crete 1300 B.C. to the contemporary United States, \u003cem>The World to Come\u003c/em> is a book peopled by the fateful desire of the pioneering spirit and that high-risk, high-gain situation, where the unreachable may be grasped.\u003c/p>\n\u003cp>As with his other work, Shepard’s storytelling powers seem to lie with pulling you along scenes in which even the language seems to be smirking up at you. There you are, making your way past words like \u003cem>kablooie\u003c/em>—when suddenly, in just a turn of phrase, sometimes a word, you find yourself treading an indefinite, beautiful depth of human longing, or the unfixable, wrenching self-knowledge of failure.\u003c/p>\n\u003cp>These short stories are so evenly masterful, it’s hard to pick a favorite. As it happens, most of them are based on real-life events—the failed Franklin expedition to the Arctic in 1845, for example, the first offshore Navy platform, the WWII suicide mission of the small British submarine \u003cem>Telemachus, \u003c/em>the Montgolfier brothers and their invention of hot air balloons. Even so, Shepard allows for a wide interpretation of risk, training his eye on stunning disasters as well as quiet dramas—the two frontier wives who yearn for each other in this book’s title story is infinitely touching.\u003c/p>\n\u003cfigure id=\"attachment_12935462\" class=\"wp-caption alignright\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935462 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg\" alt=\"Montgolfier Hot Air Baloon\" width=\"1756\" height=\"1991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-800x907.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-768x871.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1020x1157.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1180x1338.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-960x1088.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-240x272.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-375x425.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-520x590.jpg 520w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">The first manned hot-air balloon, designed by the Montgolfier brothers, takes tethered off at the garden of the Reveillon workshop, Paris, on October 19, 1783. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most beautifully imagined story is \u003cem>The Ocean of Air\u003c/em>. Told from the point of view of Joseph-Michel Montgolfier, whose large imagination prototyped the first hot air balloon, this is a story of an inventor left behind. Joseph-Michel stays at home drowning in debt as his older brother goes to Paris to conduct the business of their invention. The language is at most beautiful as Joseph-Michel grasps with creative intemperance at the confines of our world: “I often have fancied that man in his relation to the sky resembled marine organisms confined to the ocean’s floor, and that in order to discover the true conditions of the atmosphere it would be necessary to observe them from considerable heights. We live in the depths of an ocean of air.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Is there anything more exhilarating than carrying on alone out on the edge of a doomed world?” asks another character in another story.\u003c/p>\n\u003cp>Is there, indeed?\u003c/p>\n\u003cp>\u003cem>The World to Come\u003c/em> is wholly imagined, spectacularly heartbreaking, and dismally entertaining. If John Muir were alive, he would have loved this book.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12935470 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jim Shepard reads at the Booksmith on Haight on Monday, March 27, at 7:30pm. More details \u003ca href=\"http://www.booksmith.com/event/jim-shepard-world-come\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pioneers and fools are deficient in judgment and sense, but brimming with vision. This is what I learned as I stayed up reading a collection of John Muir’s “most thrilling experiences”— as the back cover of \u003ca href=\"http://www.yosemiteconservancystore.com/prod-235-1-22-34/the-wild-muir-22-of-john-muir-s-greatest-adventures.htm\">\u003cem>Th\u003c/em>\u003cem>e Wild Muir\u003c/em>\u003c/a> assures me. They are in fact adventures that by sheer miracle did not end in death.\u003c/p>\n\u003cp>I am only a third of the book in, but Muir has already rushed two grizzlies (on \u003cem>two\u003c/em> separate occasions) and inched sideways for 30 feet like a tightrope walker on a three-inch cliff ledge, just so that he could espy a \u003cem>different\u003c/em> \u003cem>view\u003c/em> of the Yosemite Falls. Following this last exploit Muir wrote that “looking down into Yosemite, the death song of Yosemite Creek, and its flight over the vast cliff” was enjoyment enough “to kill if that were possible.” Or die, as the case may be.\u003c/p>\n\u003cfigure id=\"attachment_12935461\" class=\"wp-caption alignright\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935461 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/muir.jpg\" alt=\"John Muir\" width=\"1000\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-800x712.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-768x684.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-960x854.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-240x214.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-375x334.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/muir-520x463.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">John Muir. 1902. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>If the fictional characters in Jim Shepard’s new short story collection \u003cem>The World to Come\u003c/em> had any driving ethos, this would be it: \u003cem>Enjoyment enough to kill if that were possible — or die as the case may be\u003c/em>. With stories that take place anywhere from Crete 1300 B.C. to the contemporary United States, \u003cem>The World to Come\u003c/em> is a book peopled by the fateful desire of the pioneering spirit and that high-risk, high-gain situation, where the unreachable may be grasped.\u003c/p>\n\u003cp>As with his other work, Shepard’s storytelling powers seem to lie with pulling you along scenes in which even the language seems to be smirking up at you. There you are, making your way past words like \u003cem>kablooie\u003c/em>—when suddenly, in just a turn of phrase, sometimes a word, you find yourself treading an indefinite, beautiful depth of human longing, or the unfixable, wrenching self-knowledge of failure.\u003c/p>\n\u003cp>These short stories are so evenly masterful, it’s hard to pick a favorite. As it happens, most of them are based on real-life events—the failed Franklin expedition to the Arctic in 1845, for example, the first offshore Navy platform, the WWII suicide mission of the small British submarine \u003cem>Telemachus, \u003c/em>the Montgolfier brothers and their invention of hot air balloons. Even so, Shepard allows for a wide interpretation of risk, training his eye on stunning disasters as well as quiet dramas—the two frontier wives who yearn for each other in this book’s title story is infinitely touching.\u003c/p>\n\u003cfigure id=\"attachment_12935462\" class=\"wp-caption alignright\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12935462 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg\" alt=\"Montgolfier Hot Air Baloon\" width=\"1756\" height=\"1991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-800x907.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-768x871.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1020x1157.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-1180x1338.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-960x1088.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-240x272.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-375x425.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Montgolfier_brothers_flight-e1490154050104-520x590.jpg 520w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">The first manned hot-air balloon, designed by the Montgolfier brothers, takes tethered off at the garden of the Reveillon workshop, Paris, on October 19, 1783. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the most beautifully imagined story is \u003cem>The Ocean of Air\u003c/em>. Told from the point of view of Joseph-Michel Montgolfier, whose large imagination prototyped the first hot air balloon, this is a story of an inventor left behind. Joseph-Michel stays at home drowning in debt as his older brother goes to Paris to conduct the business of their invention. The language is at most beautiful as Joseph-Michel grasps with creative intemperance at the confines of our world: “I often have fancied that man in his relation to the sky resembled marine organisms confined to the ocean’s floor, and that in order to discover the true conditions of the atmosphere it would be necessary to observe them from considerable heights. We live in the depths of an ocean of air.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Is there anything more exhilarating than carrying on alone out on the edge of a doomed world?” asks another character in another story.\u003c/p>\n\u003cp>Is there, indeed?\u003c/p>\n\u003cp>\u003cem>The World to Come\u003c/em> is wholly imagined, spectacularly heartbreaking, and dismally entertaining. If John Muir were alive, he would have loved this book.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12935470 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jim Shepard reads at the Booksmith on Haight on Monday, March 27, at 7:30pm. More details \u003ca href=\"http://www.booksmith.com/event/jim-shepard-world-come\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the Bay Area’s leading poets, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/joanne-kyger\" target=\"_blank\" rel=\"noopener\">Joanne Kyger\u003c/a>, died this week at the age of 82.\u003c/p>\n\u003cp>Kyger, who died at her Bolinas home, was among the last surviving poets from the beat era. She was also a prominent member of \u003ca href=\"https://www.poets.org/poetsorg/text/brief-guide-san-francisco-renaissance\" target=\"_blank\" rel=\"noopener\">the San Francisco Renaissance.\u003c/a>\u003c/p>\n\u003cp>“She was one of the few women to be able to achieve prominence in what was a very male dominated group of writers,” said Garrett Caples, Kyger’s editor at \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100025950\" target=\"_blank\" rel=\"noopener\">City Lights Books.\u003c/a> which published its most recent collection of Kyger’s poetry in 2014. “That may be why recognition came a little later to Joanne than her male colleagues.”\u003c/p>\n\u003cp>Kyger was deeply influenced in her early writings by Bay Area poets Jack Spicer, Robert Duncan and members of the San Francisco Renaissance. She was briefly married to beat writer Gary Snyder.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iugexLH2osY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kyger published more than 20 collections of poetry, including \u003cem>The Tapestry and the Web\u003c/em> (1965), \u003cem>All This Every Day\u003c/em> (1975), \u003cem>The Wonderful Focus of You\u003c/em> (1979), \u003cem>As Ever: Selected Poems\u003c/em> (2002), and \u003cem>About Now: Collected Poems\u003c/em> (2007).\u003c/p>\n\u003cp>“We have lost one of the major poets of this country. Joanne is not just a good regional poet, even though she is embraced by the West Coast, she is an international poet,” Michael Rothenberg said in a phone interview. \u003ca href=\"http://www.bigbridge.org/BB18/Michael_Rothenberg.html\" target=\"_blank\" rel=\"noopener\">Rothenberg\u003c/a> was a close friend of Kyger’s and edited \u003cem>As Ever\u003c/em>.\u003c/p>\n\u003cp>Rothenberg said Kyger has two new books coming out later this year, a new collection of selected poems, and the reissue of \u003ca href=\"https://www.amazon.com/Strange-Big-Moon-Journals-1960-1964/dp/1556433379\" target=\"_blank\" rel=\"noopener\">\u003cem>Strange Big Moon: Japan and India Journals 1960-1964\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Rothenberg said she always told other poets in need of inspiration to keep a daily record of their thoughts in a journal, and he said Kyger kept them throughout her career.\u003c/p>\n\u003cp>“She worked out of journals. That was a key in terms of her composition style. It was kind of a meditation,” he said.\u003c/p>\n\u003cp>“She was very much a poet of daily life and of nature,” Caples said. “And she used those as a vehicle to get in touch with more metaphysical questions.”\u003c/p>\n\u003cp>Caples said there’s no replacing Kyger in American literature. “The place of poetry has shifted so much in our culture versus when the beats were in their heyday,” he said. “So she’s the last in the group of poets thought of as not simply as poets but also commentators on world affairs.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gll-oHAFqLQ\u003c/p>\n\u003cp>Here’s a poem from Kyger’s collection \u003cem>About Now: Collected Poems (2007):\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>“The Crystal in Tamalpais”\u003c/p>\n\u003cp>In Tamalpais is a big crystal. An acquaintance told\u003cbr>\nme the story. A Miwok was giving his grandfather’s medicine\u003cbr>\nbag to the Kroeber Museum in Berkeley. He said this man\u003cbr>\ntook him over the mountain Tamalpais, at a certain time\u003cbr>\nin the year. I believe it was about the time of the\u003cbr>\nWinter Solstice, because then the tides are really low.\u003cbr>\nThey stopped and gathered a certain plant on the way over\u003cbr>\nthe mountain. On their way to the Bolinas Beach clam patch,\u003cbr>\nwhere there is a big rock way out there.\u003c/p>\n\u003cp>Go out to\u003cbr>\nthe rock. Take out of the medicine bag the crystal\u003cbr>\nthat matches the crystal in Tamalpais. And\u003cbr>\nif your heart is not true\u003cbr>\nif your heart is not true\u003cbr>\nwhen you tap the rock in the clam patch\u003cbr>\na little piece of it will fly off\u003cbr>\nand strike you in the heart\u003cbr>\nand strike you dead.\u003c/p>\n\u003cp>And that’s the first story I ever heard about Bolinas.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the Bay Area’s leading poets, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/joanne-kyger\" target=\"_blank\" rel=\"noopener\">Joanne Kyger\u003c/a>, died this week at the age of 82.\u003c/p>\n\u003cp>Kyger, who died at her Bolinas home, was among the last surviving poets from the beat era. She was also a prominent member of \u003ca href=\"https://www.poets.org/poetsorg/text/brief-guide-san-francisco-renaissance\" target=\"_blank\" rel=\"noopener\">the San Francisco Renaissance.\u003c/a>\u003c/p>\n\u003cp>“She was one of the few women to be able to achieve prominence in what was a very male dominated group of writers,” said Garrett Caples, Kyger’s editor at \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100025950\" target=\"_blank\" rel=\"noopener\">City Lights Books.\u003c/a> which published its most recent collection of Kyger’s poetry in 2014. “That may be why recognition came a little later to Joanne than her male colleagues.”\u003c/p>\n\u003cp>Kyger was deeply influenced in her early writings by Bay Area poets Jack Spicer, Robert Duncan and members of the San Francisco Renaissance. She was briefly married to beat writer Gary Snyder.\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/iugexLH2osY'\n title='//www.youtube.com/embed/iugexLH2osY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kyger published more than 20 collections of poetry, including \u003cem>The Tapestry and the Web\u003c/em> (1965), \u003cem>All This Every Day\u003c/em> (1975), \u003cem>The Wonderful Focus of You\u003c/em> (1979), \u003cem>As Ever: Selected Poems\u003c/em> (2002), and \u003cem>About Now: Collected Poems\u003c/em> (2007).\u003c/p>\n\u003cp>“We have lost one of the major poets of this country. Joanne is not just a good regional poet, even though she is embraced by the West Coast, she is an international poet,” Michael Rothenberg said in a phone interview. \u003ca href=\"http://www.bigbridge.org/BB18/Michael_Rothenberg.html\" target=\"_blank\" rel=\"noopener\">Rothenberg\u003c/a> was a close friend of Kyger’s and edited \u003cem>As Ever\u003c/em>.\u003c/p>\n\u003cp>Rothenberg said Kyger has two new books coming out later this year, a new collection of selected poems, and the reissue of \u003ca href=\"https://www.amazon.com/Strange-Big-Moon-Journals-1960-1964/dp/1556433379\" target=\"_blank\" rel=\"noopener\">\u003cem>Strange Big Moon: Japan and India Journals 1960-1964\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Rothenberg said she always told other poets in need of inspiration to keep a daily record of their thoughts in a journal, and he said Kyger kept them throughout her career.\u003c/p>\n\u003cp>“She worked out of journals. That was a key in terms of her composition style. It was kind of a meditation,” he said.\u003c/p>\n\u003cp>“She was very much a poet of daily life and of nature,” Caples said. “And she used those as a vehicle to get in touch with more metaphysical questions.”\u003c/p>\n\u003cp>Caples said there’s no replacing Kyger in American literature. “The place of poetry has shifted so much in our culture versus when the beats were in their heyday,” he said. “So she’s the last in the group of poets thought of as not simply as poets but also commentators on world affairs.”\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/gll-oHAFqLQ'\n title='//www.youtube.com/embed/gll-oHAFqLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s a poem from Kyger’s collection \u003cem>About Now: Collected Poems (2007):\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>“The Crystal in Tamalpais”\u003c/p>\n\u003cp>In Tamalpais is a big crystal. An acquaintance told\u003cbr>\nme the story. A Miwok was giving his grandfather’s medicine\u003cbr>\nbag to the Kroeber Museum in Berkeley. He said this man\u003cbr>\ntook him over the mountain Tamalpais, at a certain time\u003cbr>\nin the year. I believe it was about the time of the\u003cbr>\nWinter Solstice, because then the tides are really low.\u003cbr>\nThey stopped and gathered a certain plant on the way over\u003cbr>\nthe mountain. On their way to the Bolinas Beach clam patch,\u003cbr>\nwhere there is a big rock way out there.\u003c/p>\n\u003cp>Go out to\u003cbr>\nthe rock. Take out of the medicine bag the crystal\u003cbr>\nthat matches the crystal in Tamalpais. And\u003cbr>\nif your heart is not true\u003cbr>\nif your heart is not true\u003cbr>\nwhen you tap the rock in the clam patch\u003cbr>\na little piece of it will fly off\u003cbr>\nand strike you in the heart\u003cbr>\nand strike you dead.\u003c/p>\n\u003cp>And that’s the first story I ever heard about Bolinas.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Gong Show' Host Chuck Barris Dies; Game Show Creator was 87",
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"content": "\u003cp>Chuck Barris not only hosted \u003cem>The Gong Show\u003c/em>, but he is responsible for creating such iconic TV game shows as \u003cem>The Dating Game\u003c/em> and \u003cem>The Newlywed Game\u003c/em>.\u003c/p>\n\u003cp>Barris died of natural causes Tuesday at his home in Palisades, N.Y., according to publicist Paul Shefrin.\u003c/p>\n\u003cp>On Barris’ gambit into game shows, \u003ca href=\"http://variety.com/2017/tv/news/chuck-barris-dead-dies-gong-show-host-1202013790/\" target=\"_blank\" rel=\"noopener\">Variety reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“He formed Chuck Barris Productions in 1965 and created \u003cem>The Dating Game\u003c/em>, hosted by Jim Lange, which introduced swinging 1960s double entendres to the formerly staid game show genre and ran for 11 out of the next 15 years. In 1966 he launched \u003cem>The Newlywed Game\u003c/em>, hosted by Bob Eubanks, which ran for 19 years; Game Show Network still airs a version of the show.\u003c/p>\n\u003cp>“Barris finally made it in front of the camera when he began hosting \u003cem>The Gong Show\u003c/em> in 1976. Though it only ran two years on NBC and four years in syndication, the show is still remembered for its wacky spoof of the talent show format. He introduced the amateur contestants dressed in colorful clothing with odd props, with judges Jamie Farr, Jaye P. Morgan and Arte Johnson adding to the goofy atmosphere. Other offbeat characters on the show included “Gene Gene the Dancing Machine” and Murray Langston, the “Unknown Comic,” who wore a paper bag over his head.\u003c/p>\n\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=Oh04k5YonjU\u003c/p>\n\u003cp>In 1962, before his time in game shows, Barris wrote a popular pop song called “Palisades Park.” The tribute to the old amusement park in New Jersey was a hit for singer Freddy Cannon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barris, a Philadelphia native, also put pen to paper in 1984 for his autobiography: \u003cem>Confessions of a Dangerous Mind: An Unauthorized Biography\u003c/em>.\u003c/p>\n\u003cp>In it, he claimed to be an assassin for the CIA. The book was turned into a movie in 2002 and was a first-time directing gig for George Clooney.\u003c/p>\n\u003cp>As far as the CIA assassin claim goes, The Associated Press reports:\u003c/p>\n\u003cp>“It sounds like he has been standing too close to the gong all those years,” quipped CIA spokesman Tom Crispell. “Chuck Barris has never been employed by the CIA and the allegation that he was a hired assassin is absurd,” Crispell added.\u003c/p>\n\u003cp>Perhaps the closest Barris got to working for the CIA was when he was hired by a TV network. According to \u003ca href=\"http://www.hollywoodreporter.com/news/chuck-barris-dead-gong-show-929310\">The Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“After working various odd jobs, including traveling around the country selling teleprompters, Barris moved to New York and became an NBC page. He went through a management training program and took a sales job, but then the network fired everyone in the department.\u003c/p>\n\u003cp>“He then was hired by ABC, which offered him the dubious assignment of tailing Dick Clark, the young and popular host of TV’s American Bandstand, at Philadelphia station WFIL-TV. Barris’ task was to ascertain whether Clark was involved in the illegal practice of payola.\u003c/p>\n\u003cp>“It was so ridiculous. If I left at 6 o’clock, what’s to say he couldn’t be doing anything nefarious after 6 o’clock?” Barris said.\u003c/p>\n\u003cp>“Still, he wrote daily memos detailing the goings-on at American Bandstand for about a year, and his notes were presented before a House of Representatives subcommittee in Washington. Ultimately, Clark was absolved of any wrongdoing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Chuck Barris, who critics called “The King of Schlock” or “The Baron of Bad Taste” was 87. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Gong+Show%27+Host+Chuck+Barris+Dies%3B+Game+Show+Creator+Was+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chuck Barris not only hosted \u003cem>The Gong Show\u003c/em>, but he is responsible for creating such iconic TV game shows as \u003cem>The Dating Game\u003c/em> and \u003cem>The Newlywed Game\u003c/em>.\u003c/p>\n\u003cp>Barris died of natural causes Tuesday at his home in Palisades, N.Y., according to publicist Paul Shefrin.\u003c/p>\n\u003cp>On Barris’ gambit into game shows, \u003ca href=\"http://variety.com/2017/tv/news/chuck-barris-dead-dies-gong-show-host-1202013790/\" target=\"_blank\" rel=\"noopener\">Variety reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“He formed Chuck Barris Productions in 1965 and created \u003cem>The Dating Game\u003c/em>, hosted by Jim Lange, which introduced swinging 1960s double entendres to the formerly staid game show genre and ran for 11 out of the next 15 years. In 1966 he launched \u003cem>The Newlywed Game\u003c/em>, hosted by Bob Eubanks, which ran for 19 years; Game Show Network still airs a version of the show.\u003c/p>\n\u003cp>“Barris finally made it in front of the camera when he began hosting \u003cem>The Gong Show\u003c/em> in 1976. Though it only ran two years on NBC and four years in syndication, the show is still remembered for its wacky spoof of the talent show format. He introduced the amateur contestants dressed in colorful clothing with odd props, with judges Jamie Farr, Jaye P. Morgan and Arte Johnson adding to the goofy atmosphere. Other offbeat characters on the show included “Gene Gene the Dancing Machine” and Murray Langston, the “Unknown Comic,” who wore a paper bag over his head.\u003c/p>\n\u003c/blockquote>\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/Oh04k5YonjU'\n title='//www.youtube.com/embed/Oh04k5YonjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1962, before his time in game shows, Barris wrote a popular pop song called “Palisades Park.” The tribute to the old amusement park in New Jersey was a hit for singer Freddy Cannon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Barris, a Philadelphia native, also put pen to paper in 1984 for his autobiography: \u003cem>Confessions of a Dangerous Mind: An Unauthorized Biography\u003c/em>.\u003c/p>\n\u003cp>In it, he claimed to be an assassin for the CIA. The book was turned into a movie in 2002 and was a first-time directing gig for George Clooney.\u003c/p>\n\u003cp>As far as the CIA assassin claim goes, The Associated Press reports:\u003c/p>\n\u003cp>“It sounds like he has been standing too close to the gong all those years,” quipped CIA spokesman Tom Crispell. “Chuck Barris has never been employed by the CIA and the allegation that he was a hired assassin is absurd,” Crispell added.\u003c/p>\n\u003cp>Perhaps the closest Barris got to working for the CIA was when he was hired by a TV network. According to \u003ca href=\"http://www.hollywoodreporter.com/news/chuck-barris-dead-gong-show-929310\">The Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“After working various odd jobs, including traveling around the country selling teleprompters, Barris moved to New York and became an NBC page. He went through a management training program and took a sales job, but then the network fired everyone in the department.\u003c/p>\n\u003cp>“He then was hired by ABC, which offered him the dubious assignment of tailing Dick Clark, the young and popular host of TV’s American Bandstand, at Philadelphia station WFIL-TV. Barris’ task was to ascertain whether Clark was involved in the illegal practice of payola.\u003c/p>\n\u003cp>“It was so ridiculous. If I left at 6 o’clock, what’s to say he couldn’t be doing anything nefarious after 6 o’clock?” Barris said.\u003c/p>\n\u003cp>“Still, he wrote daily memos detailing the goings-on at American Bandstand for about a year, and his notes were presented before a House of Representatives subcommittee in Washington. Ultimately, Clark was absolved of any wrongdoing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Chuck Barris, who critics called “The King of Schlock” or “The Baron of Bad Taste” was 87. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Gong+Show%27+Host+Chuck+Barris+Dies%3B+Game+Show+Creator+Was+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Draw The Line Illustrates the Simplicity, Beauty of Taking Action",
"headTitle": "Draw The Line Illustrates the Simplicity, Beauty of Taking Action | KQED",
"content": "\u003cp>Can comic artists change the world? Well, you could ask Daniel Clowes how his \u003ca href=\"https://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">boycott of the Grand Prix d’Angouleme\u003c/a> turned out. Or you could take action yourself and see what happens.\u003c/p>\n\u003cp>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a> is propelled by the notion that if you want to become politically active, nothing’s stopping you. The website provides 365 concrete actions for any budding activist, even those with little free time or money. Many are basic and easy, such as a \u003ca href=\"https://drawthelinecomics.com/2017/02/05/the-cheap-stuff-actions-you-can-take-with-just-a-small-budget/\" target=\"_blank\" rel=\"noopener\">starting a collection for food banks\u003c/a> and reporting fake news on social media. Some of the suggestions are even geared towards kids. All are accompanied by illustrations from comic artists all over the world. \u003c/p>\n\u003cp>Wanting to take action herself, the idea behind Draw The Line came to British comic publisher Myfanwy Nixon while on a jog. As soon as she returned home, she jumped on the computer and began reaching out to artists. Within hours, she had around 140 artists lined up and was soliciting ideas for actions to illustrate \u003ca href=\"https://www.facebook.com/mockduck/posts/10153774168531735?pnref=story\" target=\"_blank\" rel=\"noopener\">on social media\u003c/a>.\u003c/p>\n\u003cp>Initially Nixon planned to print a small pamphlet featuring all 365 actions, but she now hopes to have them printed in something more substantial and with wide distribution.\u003c/p>\n\u003cp>\u003ci>Here are a few examples of the illustrations on Draw The Line:\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12916823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/118_christine_wong-800x626.jpg\" alt='\"Click the Triangle\" by Christine Wong, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Click the Triangle” by Christine Wong, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-800x626.jpg\" alt='\"Be Playful\" by Maria Bjorklund, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Be Playful” by Maria Bjorklund, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/080_david_baillie-800x626.jpg\" alt='\"Put It Live\" by David Baillie, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Put It Live” by David Baillie, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/041_dave_mckean-800x626.jpg\" alt='\"Give Mindfully\" by Dave McKean, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Give Mindfully” by Dave McKean, 2017\u003c/figcaption>\u003c/figure>\n\u003cp>See more at \u003cem>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can comic artists change the world? Well, you could ask Daniel Clowes how his \u003ca href=\"https://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">boycott of the Grand Prix d’Angouleme\u003c/a> turned out. Or you could take action yourself and see what happens.\u003c/p>\n\u003cp>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a> is propelled by the notion that if you want to become politically active, nothing’s stopping you. The website provides 365 concrete actions for any budding activist, even those with little free time or money. Many are basic and easy, such as a \u003ca href=\"https://drawthelinecomics.com/2017/02/05/the-cheap-stuff-actions-you-can-take-with-just-a-small-budget/\" target=\"_blank\" rel=\"noopener\">starting a collection for food banks\u003c/a> and reporting fake news on social media. Some of the suggestions are even geared towards kids. All are accompanied by illustrations from comic artists all over the world. \u003c/p>\n\u003cp>Wanting to take action herself, the idea behind Draw The Line came to British comic publisher Myfanwy Nixon while on a jog. As soon as she returned home, she jumped on the computer and began reaching out to artists. Within hours, she had around 140 artists lined up and was soliciting ideas for actions to illustrate \u003ca href=\"https://www.facebook.com/mockduck/posts/10153774168531735?pnref=story\" target=\"_blank\" rel=\"noopener\">on social media\u003c/a>.\u003c/p>\n\u003cp>Initially Nixon planned to print a small pamphlet featuring all 365 actions, but she now hopes to have them printed in something more substantial and with wide distribution.\u003c/p>\n\u003cp>\u003ci>Here are a few examples of the illustrations on Draw The Line:\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12916823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/118_christine_wong-800x626.jpg\" alt='\"Click the Triangle\" by Christine Wong, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Click the Triangle” by Christine Wong, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-800x626.jpg\" alt='\"Be Playful\" by Maria Bjorklund, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Be Playful” by Maria Bjorklund, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/080_david_baillie-800x626.jpg\" alt='\"Put It Live\" by David Baillie, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Put It Live” by David Baillie, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/041_dave_mckean-800x626.jpg\" alt='\"Give Mindfully\" by Dave McKean, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Give Mindfully” by Dave McKean, 2017\u003c/figcaption>\u003c/figure>\n\u003cp>See more at \u003cem>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Derek Walcott, Who Wrote of Caribbean Beauty and Bondage, Dies at 87",
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"content": "\u003cp>Derek Walcott’s work explored the beauty of his Caribbean homeland and its brutal colonial history. The prolific, Nobel Prize-winning poet and playwright died Friday at his home in St. Lucia. He was 87.\u003c/p>\n\u003cp>Walcott wrote dozens of books of poetry and plays, among them his epic poem \u003ca href=\"http://www.npr.org/books/titles/511637767/omeros\" target=\"_blank\" rel=\"noopener\">Omeros\u003c/a> and his Obie-winning drama, \u003ca href=\"http://www.npr.org/books/titles/511656297/dream-on-monkey-mountain-and-other-plays\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream on Monkey Mountain.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>For most of his life, Walcott taught poetry at universities in the United States, England and Canada — but his work never strayed far from St. Lucia, the island in the West Indies where he was born.\u003c/p>\n\u003cp>In 1984, when he was teaching at Boston University, Walcott said that a book-length poem like \u003ca href=\"http://www.npr.org/books/titles/511606714/midsummer\" target=\"_blank\" rel=\"noopener\">Midsummer\u003c/a> was a natural extension of the language all around him.\u003c/p>\n\u003cp>“You would get some fantastic syntactical phenomena,” he said in an interview, “You would hear people talking in Barbados in the exact melody as a minor character in Shakespeare. Because here you have a thing that was not immured and preserved and mummified, but a voluble language, very active, very swift, very sharp. And that is going on still in all the languages of the Caribbean. So that you didn’t make yourself a poet — you entered a situation in which there was poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walcott’s father was a poet and a painter. He died when Derek was an infant. His mother was a school teacher who recited Shakespeare to him. He borrowed $200 to publish his first book of poetry when he was 19 and sold it on street corners. Then he attended the University College of the West Indies on a scholarship.\u003c/p>\n\u003cp>“When I went to college — when I read Shakespeare, or Dickens, or Scott I just felt that as a citizen of England, a British citizen, this was as much my heritage as any schoolboy’s,” he said. “That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.”\u003c/p>\n\u003cp>David Biespiel, a literary critic and author of a book on poetry called \u003cem>A Long High Whistle,\u003c/em> says Walcott represented “an elegant West Indies murmur against history’s violent colonial narrative of bondage.”\u003c/p>\n\u003cp>“His poems expose the discrepancy between blooming flowers and sparkling waters with these island economies built on the history of sugar plantations and slavery and forced labor,” Biespiel says. “It’s kind of grandeur mixed in with imprisonment.”\u003c/p>\n\u003cp>In all of his work, Walcott fused his classical education with the language and history of the Caribbean. The result, Biespiel says, was poetry of the highest order. “I think people will be reading Derek Walcott as long as we’ve been reading John Milton.”\u003c/p>\n\u003cp>Walcott said his energy to write came from being part of a generation of Caribbean writers who were the first to describe the world beyond their doorsteps.\u003c/p>\n\u003cp>“I go back to St. Lucia and the exhilaration I feel is not simply the exhilaration of homecoming and of nostalgia,” he said. “It is almost an irritation of feeling: \u003cem>Well, you never got it right. Now you have another chance. Maybe you can try and look harder.\u003c/em>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many would say Derek Walcott did get it right. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Derek+Walcott%2C+Who+Wrote+Of+Caribbean+Beauty+And+Bondage%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Derek Walcott’s work explored the beauty of his Caribbean homeland and its brutal colonial history. The prolific, Nobel Prize-winning poet and playwright died Friday at his home in St. Lucia. He was 87.\u003c/p>\n\u003cp>Walcott wrote dozens of books of poetry and plays, among them his epic poem \u003ca href=\"http://www.npr.org/books/titles/511637767/omeros\" target=\"_blank\" rel=\"noopener\">Omeros\u003c/a> and his Obie-winning drama, \u003ca href=\"http://www.npr.org/books/titles/511656297/dream-on-monkey-mountain-and-other-plays\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream on Monkey Mountain.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>For most of his life, Walcott taught poetry at universities in the United States, England and Canada — but his work never strayed far from St. Lucia, the island in the West Indies where he was born.\u003c/p>\n\u003cp>In 1984, when he was teaching at Boston University, Walcott said that a book-length poem like \u003ca href=\"http://www.npr.org/books/titles/511606714/midsummer\" target=\"_blank\" rel=\"noopener\">Midsummer\u003c/a> was a natural extension of the language all around him.\u003c/p>\n\u003cp>“You would get some fantastic syntactical phenomena,” he said in an interview, “You would hear people talking in Barbados in the exact melody as a minor character in Shakespeare. Because here you have a thing that was not immured and preserved and mummified, but a voluble language, very active, very swift, very sharp. And that is going on still in all the languages of the Caribbean. So that you didn’t make yourself a poet — you entered a situation in which there was poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Walcott’s father was a poet and a painter. He died when Derek was an infant. His mother was a school teacher who recited Shakespeare to him. He borrowed $200 to publish his first book of poetry when he was 19 and sold it on street corners. Then he attended the University College of the West Indies on a scholarship.\u003c/p>\n\u003cp>“When I went to college — when I read Shakespeare, or Dickens, or Scott I just felt that as a citizen of England, a British citizen, this was as much my heritage as any schoolboy’s,” he said. “That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.”\u003c/p>\n\u003cp>David Biespiel, a literary critic and author of a book on poetry called \u003cem>A Long High Whistle,\u003c/em> says Walcott represented “an elegant West Indies murmur against history’s violent colonial narrative of bondage.”\u003c/p>\n\u003cp>“His poems expose the discrepancy between blooming flowers and sparkling waters with these island economies built on the history of sugar plantations and slavery and forced labor,” Biespiel says. “It’s kind of grandeur mixed in with imprisonment.”\u003c/p>\n\u003cp>In all of his work, Walcott fused his classical education with the language and history of the Caribbean. The result, Biespiel says, was poetry of the highest order. “I think people will be reading Derek Walcott as long as we’ve been reading John Milton.”\u003c/p>\n\u003cp>Walcott said his energy to write came from being part of a generation of Caribbean writers who were the first to describe the world beyond their doorsteps.\u003c/p>\n\u003cp>“I go back to St. Lucia and the exhilaration I feel is not simply the exhilaration of homecoming and of nostalgia,” he said. “It is almost an irritation of feeling: \u003cem>Well, you never got it right. Now you have another chance. Maybe you can try and look harder.\u003c/em>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many would say Derek Walcott did get it right. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Derek+Walcott%2C+Who+Wrote+Of+Caribbean+Beauty+And+Bondage%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "maya-angelou-encounters-experiences-and-inspiration",
"title": "Maya Angelou: Encounters, Experiences and Inspiration",
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"content": "\u003cp>While a sophomore in high school, one of my best friends sent me a letter. It contained just two sentences:\u003c/p>\n\u003cblockquote>\u003cp>You have got to hear a song called “Grandma’s Hands,” by Bill Withers, and you’ve got to read \u003cem>I Know Why the Caged Bird Sings\u003c/em>, by Maya Angelou. \u003c/p>\u003c/blockquote>\n\u003cp>At the time I was working at Hakim’s Bookstore in Philadelphia, so I immediately got a copy of the book. I was struck by just how much I related to this little Black girl. I felt I \u003cem>knew\u003c/em> her. I cared about her story. It was so affirming. This began my love affair with the writings of Maya Angelou. I read everything she wrote, voraciously. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I met Dr. Angelou several years later, in 1981, when she was a featured writer in a Black Literary series at Philadelphia’s Afro-American Historical and Cultural Museum. Eleanor Traylor had put together an amazing roster of great writers, including James Baldwin, Gwendolyn Brooks, John O. Killens, Amiri Baraka and Sonia Sanchez. I brought my little paperback copy of her book of poetry, \u003cem>And Still I Rise\u003c/em>. She signed it for me, leaving what I’ve since learned was her trademark: “Joy!” \u003c/p>\n\u003cp>The next time I saw Dr. Angelou, I was in the live audience during a televised appearance she made on the Maury Povich show in Philadelphia. There were two guests that day. The first, one, a vicious racist, is no longer living, so I won’t mention the name, but after he left, what followed was an amazing example of Dr. Angelou’s wisdom and brilliance. \u003c/p>\n\u003cfigure id=\"attachment_12904519\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800.jpg\" alt=\"Lindo's copy of 'And Still I Rise,' signed by Maya Angelou\" width=\"800\" height=\"1067\" class=\"size-full wp-image-12904519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lindo’s copy of ‘And Still I Rise,’ signed by Maya Angelou \u003ccite>(Courtesy: Nashormeh N.R. Lindo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the segment was over, she came out and diffused the tension in the studio with a quote from the Afro-Roman playwright Publius Terentius Afer, also known as Terence: “I am human, and nothing of that which is human is alien to me.” She had nothing more to say about the previous guest. My friends and I were in awe at her calm, dignified demeanor. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ten years after Dr. Angelou signed my book, we met again. This time, it was at the Schomburg Center for Research in Black Culture. It was during this time that \u003ca href=\"https://lens.blogs.nytimes.com/2014/12/18/a-dance-of-rivers/\" target=\"_blank\" rel=\"noopener\">the famous photograph of she and Amiri Baraka dancing\u003c/a> was taken by \u003cem>New York Times\u003c/em> photographer Chester Higgins. I was standing there, just to the left of the camera’s lens. The festivities were in honor of Langston Hughes’ birthday and was the one of several times she visited the Schomburg while I was there. \u003c/p>\n\u003cp>Once, I was sent to the airport to meet her. During her visit, I became her unofficial assistant and “Girl Friday.” She asked me if I had any of her books in my office she could use for her reading. Of course I did — the very book she’d autographed for me a decade earlier. Then she asked me to hold her purse while she did her reading, so I accompanied her backstage at the center’s theater. \u003c/p>\n\u003cp>Noel Pointer was performing, playing his violin with unbelievable passion. Dr. Angelou and I were standing in the wings, dancing and shouting our encouragement to him. I remember thinking, “Wow! I’m standing here, jamming with Maya Angelou!” At the end of his performance, we just looked at each other, and gave each other a high five, shaking our heads in wonder. Brother Noel Pointer passed away shortly after that awesome performance, but it is etched in my memory forever. \u003c/p>\n\u003cfigure id=\"attachment_12904670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800.jpg\" alt=\"Maya Angelou in the house\" width=\"800\" height=\"700\" class=\"size-full wp-image-12904670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-768x672.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-240x210.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-375x328.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-520x455.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Angelou in the house. \u003ccite>(Courtesy: Ivonne Broadnax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since moving to the Bay Area, I had that little book bound again because I had read it to the point of fragility. In the spring of 2016, when Belva Davis asked my husband to read at a program honoring Dr. Angelou at the Museum of the African Diaspora, I gave him my newly bound book. I noticed the date she’d signed my book. It was on Nov. 18, my husband’s birthday. Kismet? Perhaps. \u003c/p>\n\u003cp>Given the current political climate, I find myself wondering, “What would Dr. Maya say?” Then I think of her response to hate with a quote from Terence. I remember her beautiful poem, recited at President Bill Clinton’s Inauguration: \u003c/p>\n\u003cblockquote>\u003cp>On the Pulse of the Morning, with its clarion call for unity, peace, justice and harmony. \u003c/p>\u003c/blockquote>\n\u003cp>I often think about \u003ci>And Still I Rise\u003c/i>, which I have read numerous times both privately and publicly, and I feel hopeful, “like Hope springing high.” I remember that we can still rise, above all of the madness we see unfolding, rise above the “bitter twisted lies,” and rise above the fear and mistrust being fomented in America today. \u003c/p>\n\u003cp>I guess she’s already said what she would say: Get to work, create, and rise, rise, rise above it all.\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_.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\n",
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"title": "Maya Angelou: Encounters, Experiences and Inspiration | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While a sophomore in high school, one of my best friends sent me a letter. It contained just two sentences:\u003c/p>\n\u003cblockquote>\u003cp>You have got to hear a song called “Grandma’s Hands,” by Bill Withers, and you’ve got to read \u003cem>I Know Why the Caged Bird Sings\u003c/em>, by Maya Angelou. \u003c/p>\u003c/blockquote>\n\u003cp>At the time I was working at Hakim’s Bookstore in Philadelphia, so I immediately got a copy of the book. I was struck by just how much I related to this little Black girl. I felt I \u003cem>knew\u003c/em> her. I cared about her story. It was so affirming. This began my love affair with the writings of Maya Angelou. I read everything she wrote, voraciously. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I met Dr. Angelou several years later, in 1981, when she was a featured writer in a Black Literary series at Philadelphia’s Afro-American Historical and Cultural Museum. Eleanor Traylor had put together an amazing roster of great writers, including James Baldwin, Gwendolyn Brooks, John O. Killens, Amiri Baraka and Sonia Sanchez. I brought my little paperback copy of her book of poetry, \u003cem>And Still I Rise\u003c/em>. She signed it for me, leaving what I’ve since learned was her trademark: “Joy!” \u003c/p>\n\u003cp>The next time I saw Dr. Angelou, I was in the live audience during a televised appearance she made on the Maury Povich show in Philadelphia. There were two guests that day. The first, one, a vicious racist, is no longer living, so I won’t mention the name, but after he left, what followed was an amazing example of Dr. Angelou’s wisdom and brilliance. \u003c/p>\n\u003cfigure id=\"attachment_12904519\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800.jpg\" alt=\"Lindo's copy of 'And Still I Rise,' signed by Maya Angelou\" width=\"800\" height=\"1067\" class=\"size-full wp-image-12904519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/signed-pageMaya.800-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lindo’s copy of ‘And Still I Rise,’ signed by Maya Angelou \u003ccite>(Courtesy: Nashormeh N.R. Lindo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the segment was over, she came out and diffused the tension in the studio with a quote from the Afro-Roman playwright Publius Terentius Afer, also known as Terence: “I am human, and nothing of that which is human is alien to me.” She had nothing more to say about the previous guest. My friends and I were in awe at her calm, dignified demeanor. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ten years after Dr. Angelou signed my book, we met again. This time, it was at the Schomburg Center for Research in Black Culture. It was during this time that \u003ca href=\"https://lens.blogs.nytimes.com/2014/12/18/a-dance-of-rivers/\" target=\"_blank\" rel=\"noopener\">the famous photograph of she and Amiri Baraka dancing\u003c/a> was taken by \u003cem>New York Times\u003c/em> photographer Chester Higgins. I was standing there, just to the left of the camera’s lens. The festivities were in honor of Langston Hughes’ birthday and was the one of several times she visited the Schomburg while I was there. \u003c/p>\n\u003cp>Once, I was sent to the airport to meet her. During her visit, I became her unofficial assistant and “Girl Friday.” She asked me if I had any of her books in my office she could use for her reading. Of course I did — the very book she’d autographed for me a decade earlier. Then she asked me to hold her purse while she did her reading, so I accompanied her backstage at the center’s theater. \u003c/p>\n\u003cp>Noel Pointer was performing, playing his violin with unbelievable passion. Dr. Angelou and I were standing in the wings, dancing and shouting our encouragement to him. I remember thinking, “Wow! I’m standing here, jamming with Maya Angelou!” At the end of his performance, we just looked at each other, and gave each other a high five, shaking our heads in wonder. Brother Noel Pointer passed away shortly after that awesome performance, but it is etched in my memory forever. \u003c/p>\n\u003cfigure id=\"attachment_12904670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800.jpg\" alt=\"Maya Angelou in the house\" width=\"800\" height=\"700\" class=\"size-full wp-image-12904670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-768x672.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-240x210.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-375x328.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Maya-and-yellow-fridge.800-520x455.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Angelou in the house. \u003ccite>(Courtesy: Ivonne Broadnax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since moving to the Bay Area, I had that little book bound again because I had read it to the point of fragility. In the spring of 2016, when Belva Davis asked my husband to read at a program honoring Dr. Angelou at the Museum of the African Diaspora, I gave him my newly bound book. I noticed the date she’d signed my book. It was on Nov. 18, my husband’s birthday. Kismet? Perhaps. \u003c/p>\n\u003cp>Given the current political climate, I find myself wondering, “What would Dr. Maya say?” Then I think of her response to hate with a quote from Terence. I remember her beautiful poem, recited at President Bill Clinton’s Inauguration: \u003c/p>\n\u003cblockquote>\u003cp>On the Pulse of the Morning, with its clarion call for unity, peace, justice and harmony. \u003c/p>\u003c/blockquote>\n\u003cp>I often think about \u003ci>And Still I Rise\u003c/i>, which I have read numerous times both privately and publicly, and I feel hopeful, “like Hope springing high.” I remember that we can still rise, above all of the madness we see unfolding, rise above the “bitter twisted lies,” and rise above the fear and mistrust being fomented in America today. \u003c/p>\n\u003cp>I guess she’s already said what she would say: Get to work, create, and rise, rise, rise above it all.\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_.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\n\u003c/div>\u003c/p>",
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"slug": "transience-and-migration-is-human-moshin-hamids-exit-west",
"title": "Transience and Migration is Human: Moshin Hamid's 'Exit West'",
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"headTitle": "Transience and Migration is Human: Moshin Hamid’s ‘Exit West’ | KQED",
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"content": "\u003cp class=\"graf graf--p\">There is a leap of faith involved in leaving one’s home country, as every immigrant knows—and there is a surge of magical thinking when leaving becomes necessary but the possibilities to leave dwindle.\u003c/p>\n\u003cp class=\"graf graf--p\">In Colombia, when that country’s violence lapped at my family’s door and our efforts to leave through official channels dried up, instead of losing hope, my family and I came to believe that if we washed every wall of our house with the intention to prepare it for new owners, then our house would understand we were no longer its dwellers. We had no scheduled meetings with immigration officers, and so we communicated with the plaster and brick of our house, telling \u003cem class=\"markup--em markup--p-em\">it \u003c/em>that we were leaving, believing that this would open a door for our exit.\u003c/p>\n\u003cp>This magical thinking is one of the reasons I love Moshin Hamid’s new novel, \u003cem>Exit West\u003c/em>, where—not unlike current events—migrants are unwanted the world over and every continent has its festering of nativist crime.\u003c/p>\n\u003cp>But in this fictional world, portals appear. Doors that previously led to closets, to bathrooms, to terraces, lead suddenly into foreign countries. Sometimes the doors lead to countries that are better off, sometimes worse off.\u003c/p>\n\u003cp class=\"graf graf--p\">At the center of this are two lovers, Nadia and Saeed, citizens of an unnamed country fallen to civil war. As their city loses electricity, as helicopters fly overhead and skirmishes lead to public executions, Nadia and Saeed fall in love. Rumors of portals are met with derision, until the young couple goes through one. They come to a refugee camp in Greece, then find a door that leads into an uninhabited mansion in London that is so filled with small wonders the couple assumes they must be inside an upscale hotel. In what’s perhaps the most memorable writing in the book, Nadia takes a shower:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"graf graf--p\">The heat was superb too, and she turned it up as high as she could stand, the heat going all the way into her bones, chilled from months of outdoor cold, and the bathroom filled up with steam like a forest in the mountains, scented with pine and lavender from the soaps she had found, a kind of heaven, with towels so plush and fine that when she at last emerged she felt like a princess using them, or at least like the daughter of a dictator who was willing to kill without mercy in order for his children to pamper themselves with cotton such as this, to feel this exquisite sensation on their naked stomachs and thighs, towels that felt as if they had never been used before and might never be used again.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_12875567\" class=\"wp-caption aligncenter\" style=\"max-width: 1539px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12875567 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer.jpg\" alt=\"Humans lived a purely nomadic life. Seen here a Kali'na hunter with a woman gatherer. Wikimedia Commons.\" width=\"1539\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer.jpg 1539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-520x394.jpg 520w\" sizes=\"(max-width: 1539px) 100vw, 1539px\">\u003cfigcaption class=\"wp-caption-text\">Humans once lived a purely nomadic life. Seen here is a Kali’na hunter with a woman gatherer. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp class=\"graf graf--p\" style=\"text-align: left\">Hamid weaves a wondrous web in \u003cem>Exit West \u003c/em>pitting extravagance against destitution—thereby forcing an examination of the nature of borders and the hostility toward newcomers. In an interview with Lithub, Hamid \u003ca href=\"http://lithub.com/the-first-post-brexit-novel-mohsin-hamids-exit-west/\">expressed\u003c/a> his thoughts on the political paralysis in America and Europe toward migrants, saying it stemmed from a denial that mass migration (with climate change and rising sea levels) is likely to be our future, but pointing out that it has also been our past. \u003cem>Exit West \u003c/em>seems to ask, is it not human nature to be transient? “For one moment we are pottering about our errands as usual,” Hamid writes, “and the next we are dying, and our eternally impending ending does not put a stop to our transient beginnings and middles until the instant when it does.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"graf graf--p\" style=\"text-align: left\">Most of my family is still constantly moving—my parents have moved to countries near and far chasing after work. We are master packers and we seldom buy nice furniture because perhaps one day we will move. And in each new dwelling we take on, we always wash the walls, and do so as well when we leave, so as to be in communion with the firm spaces that will long outlast our transience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10905230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Moshin Hamid celebrates the publication of Exit West at Book Passage in the Ferry Building in San Francisco on Thursday, March 16, at 6 pm. \u003ca href=\"http://www.bookpassage.com/event/mohsin-hamid-exit-west-san-francisco\">Details here\u003c/a>. Hamid also reads at the Jewish Community Center of San Francisco earlier that day at 3 pm. \u003ca href=\"https://www.jccsf.org/arts-ideas/mohsin-hamid/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"graf graf--p\">There is a leap of faith involved in leaving one’s home country, as every immigrant knows—and there is a surge of magical thinking when leaving becomes necessary but the possibilities to leave dwindle.\u003c/p>\n\u003cp class=\"graf graf--p\">In Colombia, when that country’s violence lapped at my family’s door and our efforts to leave through official channels dried up, instead of losing hope, my family and I came to believe that if we washed every wall of our house with the intention to prepare it for new owners, then our house would understand we were no longer its dwellers. We had no scheduled meetings with immigration officers, and so we communicated with the plaster and brick of our house, telling \u003cem class=\"markup--em markup--p-em\">it \u003c/em>that we were leaving, believing that this would open a door for our exit.\u003c/p>\n\u003cp>This magical thinking is one of the reasons I love Moshin Hamid’s new novel, \u003cem>Exit West\u003c/em>, where—not unlike current events—migrants are unwanted the world over and every continent has its festering of nativist crime.\u003c/p>\n\u003cp>But in this fictional world, portals appear. Doors that previously led to closets, to bathrooms, to terraces, lead suddenly into foreign countries. Sometimes the doors lead to countries that are better off, sometimes worse off.\u003c/p>\n\u003cp class=\"graf graf--p\">At the center of this are two lovers, Nadia and Saeed, citizens of an unnamed country fallen to civil war. As their city loses electricity, as helicopters fly overhead and skirmishes lead to public executions, Nadia and Saeed fall in love. Rumors of portals are met with derision, until the young couple goes through one. They come to a refugee camp in Greece, then find a door that leads into an uninhabited mansion in London that is so filled with small wonders the couple assumes they must be inside an upscale hotel. In what’s perhaps the most memorable writing in the book, Nadia takes a shower:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"graf graf--p\">The heat was superb too, and she turned it up as high as she could stand, the heat going all the way into her bones, chilled from months of outdoor cold, and the bathroom filled up with steam like a forest in the mountains, scented with pine and lavender from the soaps she had found, a kind of heaven, with towels so plush and fine that when she at last emerged she felt like a princess using them, or at least like the daughter of a dictator who was willing to kill without mercy in order for his children to pamper themselves with cotton such as this, to feel this exquisite sensation on their naked stomachs and thighs, towels that felt as if they had never been used before and might never be used again.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_12875567\" class=\"wp-caption aligncenter\" style=\"max-width: 1539px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12875567 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer.jpg\" alt=\"Humans lived a purely nomadic life. Seen here a Kali'na hunter with a woman gatherer. Wikimedia Commons.\" width=\"1539\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer.jpg 1539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Kalina_hunter_gatherer-520x394.jpg 520w\" sizes=\"(max-width: 1539px) 100vw, 1539px\">\u003cfigcaption class=\"wp-caption-text\">Humans once lived a purely nomadic life. Seen here is a Kali’na hunter with a woman gatherer. (Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp class=\"graf graf--p\" style=\"text-align: left\">Hamid weaves a wondrous web in \u003cem>Exit West \u003c/em>pitting extravagance against destitution—thereby forcing an examination of the nature of borders and the hostility toward newcomers. In an interview with Lithub, Hamid \u003ca href=\"http://lithub.com/the-first-post-brexit-novel-mohsin-hamids-exit-west/\">expressed\u003c/a> his thoughts on the political paralysis in America and Europe toward migrants, saying it stemmed from a denial that mass migration (with climate change and rising sea levels) is likely to be our future, but pointing out that it has also been our past. \u003cem>Exit West \u003c/em>seems to ask, is it not human nature to be transient? “For one moment we are pottering about our errands as usual,” Hamid writes, “and the next we are dying, and our eternally impending ending does not put a stop to our transient beginnings and middles until the instant when it does.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"graf graf--p\" style=\"text-align: left\">Most of my family is still constantly moving—my parents have moved to countries near and far chasing after work. We are master packers and we seldom buy nice furniture because perhaps one day we will move. And in each new dwelling we take on, we always wash the walls, and do so as well when we leave, so as to be in communion with the firm spaces that will long outlast our transience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10905230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Moshin Hamid celebrates the publication of Exit West at Book Passage in the Ferry Building in San Francisco on Thursday, March 16, at 6 pm. \u003ca href=\"http://www.bookpassage.com/event/mohsin-hamid-exit-west-san-francisco\">Details here\u003c/a>. Hamid also reads at the Jewish Community Center of San Francisco earlier that day at 3 pm. \u003ca href=\"https://www.jccsf.org/arts-ideas/mohsin-hamid/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In reading and in life, I steer clear of anything that stinks of rose petals. I like telenovelas, but only to make fun of. I roll my eyes at Disney. I avoid romantic comedies like the plague. “I like things to be a little tragic,” I once told a lover as we parted ways. And I do.\u003c/p>\n\u003cp>\u003cem>Abandon Me \u003c/em>by Melissa Febos, a meditation on the underpinnings of love and attraction, is some such tragic book, but it is also a searing examination of the self by putting our desire to love under a scalpel. In \u003cem>Abandon Me \u003c/em>love is longed for, looked for, unrequited, requited, and then lost in all the traditional ways, yet at every corner there is ash and bones and mirrors and startling specters that surprise both Febos and her lover, a married poet.\u003c/p>\n\u003cfigure id=\"attachment_12805406\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg\" alt=\"Melissa Febos.\" width=\"400\" height=\"600\" class=\"size-full wp-image-12805406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Febos. \u003ccite>(Photo: Deborah Feingold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every story begins with an unraveling,” Febos writes. “This story starts with a kiss. Her mouth the soft nail on which my life snagged, and tore open.”\u003c/p>\n\u003cp>Febos’ first memoir, \u003cem>Whip Smart\u003c/em>, explored the author’s drug addiction and work as a dominatrix, but \u003cem>Abandon Me \u003c/em>is a journey to dissecting hunger, which is another of Febos’ words for love:\u003c/p>\n\u003cblockquote>\u003cp>Tenderness toward the object of our desire becomes an expression of love partly, I think, because it so defies the nature of want, whose instinct is often less to cuddle than to crush. My want was more gnash than kiss, more eat than embrace. I cared for my lover, but that kind of desire precludes many kinds of love. Hunger is selfish. I wanted her happiness. I also wanted to unzip my body and pull her into it, or crawl into hers. It is no accident that we go to the pulse. Lust is an urge to consume and perhaps there is no true expression of it that does not imply destruction. I can’t say. But even my tenderness for kittens includes an impulse to put them in my mouth.\u003c/p>\u003c/blockquote>\n\u003cp>There is something pioneering about the way Melissa Febos talks about love, connecting it to all its binary shadows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the paths forged by Eve Ensler and the futurist Mina Loy, Febos routes a new pathway. My favorite Ensler quote — \u003cem class=\"markup--em markup--p-em\">That we find freedom, aliveness, and power not from what contains, locates, or protects us, but from what dissolves, reveals, and expands us\u003c/em> — could easily have been dropped at any place in this book.\u003c/p>\n\u003cfigure id=\"attachment_12805002\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glaspalast_Mu%CC%88nchen_1891_074b.jpg\" alt=\"'Victory of love,' an illustration by Léon Bazille Perrault. \" width=\"462\" height=\"683\" class=\"size-full wp-image-12805002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-240x355.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-375x554.jpg 375w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003cfigcaption class=\"wp-caption-text\">‘Victory of love,’ an illustration by Léon Bazille Perrault. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Febos is a reader, a lover of stories. The adoptive daughter of a sea captain, Febos spent many hours in waiting of him. As an adult, she chose an unavailable woman she could wait for. She likens their relationship to the myth of Andromeda, who is stripped naked and chained to a rock so that her city may be spared from the wrath of the sea monster Cetus. Andromeda’s mother offended Poseidon, god of the oceans, and thus Andromeda paid for her mother’s transgression. “Like Andromeda, I knew already that fastening in me,” Febos writes, “but not which of us was rock or goddess or monster or rescue.”\u003c/p>\n\u003cp>While at times the author’s scattered attention to dictionary definitions and symbols are mentioned so quickly as to be off-putting, this book as a treatise on the siren call that leads us to re-stage events that have wounded us, so that we can produce a different ending, is absolutely luminous. The writing is crisp and unsettling. And Febos’ view of love denudes all romanticism from it, which is as refreshing as it does ring true: “And when you love, when you become the home for someone else’s heart, you are like a house with a prisoner in the cellar. Your beloved hears the thump of that cellar door.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>Melissa Febos appears in conversation with Mallory Ortberg at Green Apple Books on Ninth Avenue in San Francisco on Thursday, March 16, at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-melissa-febos-conversation-mallory-ortberg\">Details here\u003c/a>. Febos also reads at Diesel Bookstore in Oakland on Wednesday, March 15, at 7pm. \u003ca href=\"http://www.dieselbookstore.com/event/melissa-febos-discusses-and-signs-abandon-me\">Deatils here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In reading and in life, I steer clear of anything that stinks of rose petals. I like telenovelas, but only to make fun of. I roll my eyes at Disney. I avoid romantic comedies like the plague. “I like things to be a little tragic,” I once told a lover as we parted ways. And I do.\u003c/p>\n\u003cp>\u003cem>Abandon Me \u003c/em>by Melissa Febos, a meditation on the underpinnings of love and attraction, is some such tragic book, but it is also a searing examination of the self by putting our desire to love under a scalpel. In \u003cem>Abandon Me \u003c/em>love is longed for, looked for, unrequited, requited, and then lost in all the traditional ways, yet at every corner there is ash and bones and mirrors and startling specters that surprise both Febos and her lover, a married poet.\u003c/p>\n\u003cfigure id=\"attachment_12805406\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg\" alt=\"Melissa Febos.\" width=\"400\" height=\"600\" class=\"size-full wp-image-12805406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Melissa-Febos-by-Deborah-Feingold-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Febos. \u003ccite>(Photo: Deborah Feingold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every story begins with an unraveling,” Febos writes. “This story starts with a kiss. Her mouth the soft nail on which my life snagged, and tore open.”\u003c/p>\n\u003cp>Febos’ first memoir, \u003cem>Whip Smart\u003c/em>, explored the author’s drug addiction and work as a dominatrix, but \u003cem>Abandon Me \u003c/em>is a journey to dissecting hunger, which is another of Febos’ words for love:\u003c/p>\n\u003cblockquote>\u003cp>Tenderness toward the object of our desire becomes an expression of love partly, I think, because it so defies the nature of want, whose instinct is often less to cuddle than to crush. My want was more gnash than kiss, more eat than embrace. I cared for my lover, but that kind of desire precludes many kinds of love. Hunger is selfish. I wanted her happiness. I also wanted to unzip my body and pull her into it, or crawl into hers. It is no accident that we go to the pulse. Lust is an urge to consume and perhaps there is no true expression of it that does not imply destruction. I can’t say. But even my tenderness for kittens includes an impulse to put them in my mouth.\u003c/p>\u003c/blockquote>\n\u003cp>There is something pioneering about the way Melissa Febos talks about love, connecting it to all its binary shadows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the paths forged by Eve Ensler and the futurist Mina Loy, Febos routes a new pathway. My favorite Ensler quote — \u003cem class=\"markup--em markup--p-em\">That we find freedom, aliveness, and power not from what contains, locates, or protects us, but from what dissolves, reveals, and expands us\u003c/em> — could easily have been dropped at any place in this book.\u003c/p>\n\u003cfigure id=\"attachment_12805002\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glaspalast_Mu%CC%88nchen_1891_074b.jpg\" alt=\"'Victory of love,' an illustration by Léon Bazille Perrault. \" width=\"462\" height=\"683\" class=\"size-full wp-image-12805002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-240x355.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glaspalast_München_1891_074b-375x554.jpg 375w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003cfigcaption class=\"wp-caption-text\">‘Victory of love,’ an illustration by Léon Bazille Perrault. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Febos is a reader, a lover of stories. The adoptive daughter of a sea captain, Febos spent many hours in waiting of him. As an adult, she chose an unavailable woman she could wait for. She likens their relationship to the myth of Andromeda, who is stripped naked and chained to a rock so that her city may be spared from the wrath of the sea monster Cetus. Andromeda’s mother offended Poseidon, god of the oceans, and thus Andromeda paid for her mother’s transgression. “Like Andromeda, I knew already that fastening in me,” Febos writes, “but not which of us was rock or goddess or monster or rescue.”\u003c/p>\n\u003cp>While at times the author’s scattered attention to dictionary definitions and symbols are mentioned so quickly as to be off-putting, this book as a treatise on the siren call that leads us to re-stage events that have wounded us, so that we can produce a different ending, is absolutely luminous. The writing is crisp and unsettling. And Febos’ view of love denudes all romanticism from it, which is as refreshing as it does ring true: “And when you love, when you become the home for someone else’s heart, you are like a house with a prisoner in the cellar. Your beloved hears the thump of that cellar door.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>Melissa Febos appears in conversation with Mallory Ortberg at Green Apple Books on Ninth Avenue in San Francisco on Thursday, March 16, at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-melissa-febos-conversation-mallory-ortberg\">Details here\u003c/a>. Febos also reads at Diesel Bookstore in Oakland on Wednesday, March 15, at 7pm. \u003ca href=\"http://www.dieselbookstore.com/event/melissa-febos-discusses-and-signs-abandon-me\">Deatils here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grad Student Discovers a Lost Novel Written by Walt Whitman",
"headTitle": "Grad Student Discovers a Lost Novel Written by Walt Whitman | KQED",
"content": "\u003cp>\u003cstrong>Updated at 4:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A literary treasure buried for more than a century has been unearthed by Zachary Turpin, a grad student at the University of Houston.\u003c/p>\n\u003cp>It’s a work of short fiction: a 36,000-word novella published anonymously, in six parts, in a New York newspaper in 1852. The discursive nature of the manuscript’s full title — \u003cem>Life and Adventures of Jack Engle: An Auto-Biography; In Which The Reader Will Find Some Familiar Characters —\u003c/em> places it squarely in its literary era, as does its subtitle, \u003cem>A Story of New York at the Present Time\u003c/em>.\u003c/p>\n\u003cp>The find was announced on Monday as the full book was \u003ca href=\"http://ir.uiowa.edu/wwqr/vol34/iss3/3/\">published online\u003c/a> in the literary journal \u003cem>Walt Whitman Quarterly Review;\u003c/em> the University of Iowa Press is releasing it in book form.\u003c/p>\n\u003cp>What’s notable about the novella is its author — the beloved American poet Walt Whitman — and its place in Whitman’s literary career. Just three years after \u003cem>Jack Engle\u003c/em> saw print, Whitman would publish the work that would enshrine him in the American canon: \u003cem>Leaves of Grass\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to Monday’s announcement, it was believed Whitman spent the early 1850s at work on that magnum opus, publishing little of note.\u003c/p>\n\u003cp>In 1842, Whitman had published another work of fiction, a harrowing “temperance novel” about a stouthearted young man whose life is nearly destroyed by alcohol. Whitman distanced himself from that early work and never publicly acknowledged authorship of \u003cem>Jack Engle.\u003c/em>\u003c/p>\n\u003cp>Turpin spoke to NPR about his discovery, made when he was scouring a vast online database of 19th century newspapers for names found in Whitman’s notebooks.\u003c/p>\n\u003cp>“It was wild,” he told \u003cem>All Things Considered\u003c/em>‘s Ari Shapiro. “The literary research that I do isn’t as glamorous as you might think. I was actually in a guest bedroom at my in-laws’, putting together a Pack-and-Play, and I got an email. …\u003c/p>\n\u003cp>“What I’m looking for are these very unique character names Whitman had written out — Wigglesworth, Smytthe … and the first thing I see on the page are those names. … It was surreal.”\u003c/p>\n\u003cp>Turpin describes the book as, among other things, Dickensian. “It’s also a sentimental novel; it’s also city mystery novel. It’s multifaceted, let’s put it that way.”\u003c/p>\n\u003cp>As for how \u003cem>Jack Engle\u003c/em> intersects \u003cem>Leaves of Grass\u003c/em>, Turpin says, “They’re apples and oranges. You have certain passages like [those excerpted below] that are remarkably similar, that presages … \u003cem>Leaves of Grass,\u003c/em> which he was probably writing simultaneously. … There are also elements that are wildly different — chases across New York and romances and scheming, mustache-twisting villains are not the stuff of \u003cem>Leaves of Grass,\u003c/em> but these are the stuff of Whitman’s long and storied fiction career, and career as a journalist.”\u003c/p>\n\u003cp>As for what Turpin thinks of the the work itself, he says, “I’m really blown away by this book. … It’s all things to all men. It’s weird, it’s wild, it’s beautiful and hilarious, and turns on a dime in ways that are both great and terrible. It’s truly phenomenal, and I think something that everyone will enjoy picking up.”\u003c/p>\n\u003cp>It’s the second time in as many years Turpin has made such a discovery. Previously, he found another Whitman manuscript, a series of articles offering tips for a healthy and vigorous lifestyle, in another newspaper.\u003c/p>\n\u003cp>Asked if historians should respect Whitman’s wish for his early work to “be dropped in oblivion,” Turpin says, “I respect that … on the other hand, Whitman’s greatest wish was to be the greatest and most famous poet in America.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>In this excerpt, the narrator stops into the graveyard of Manhattan’s Trinity Church and muses about mortality. Turpin and other Whitman scholars believe this section offers a glimpse of the poet engaging with some of the same language and themes that would define \u003cem>Leaves of Grass:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“Truly, life is sweet to the young man.—Such bounding and swelling capacities for joy reside within him, and such ambitious yearnings. Health and unfettered spirits are his staff and mantle. He learns unthinkingly to love—that glorious privilege of youth! Out of the tiny fractions of his experience, he builds beautiful imaginings, and confidently looks for the future to realize them. And then he is so sure of those future years. …\u003c/p>\n\u003cp>“Out there in the fashionable thoroughfare, how bustling was life, and how jauntily it wandered close along the side of those warnings of its inevitable end. How gay that throng along the walk! Light laughs come from them, and jolly talk — those groups of well-dressed young men — those merry boys returning from school — clerks going home from their labors — and many a form, too, of female grace and elegance.\u003c/p>\n\u003cp>“Could it be that coffins, six feet below where I stood, enclosed the ashes of like young men, whose vestments, during life, had engrossed the same anxious care — and schoolboys and beautiful women; for they too were buried here, as well as the aged and infirm.\u003c/p>\n\u003cp>“But onward rolled the broad, bright current, and troubled themselves not yet with gloomy thoughts; and that showed more philosophy in them perhaps than such sentimental meditations as any the reader has been perusing.”\u003c/p>\n\u003c/blockquote>\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=Grad+Student+Discovers+A+Lost+Novel+Written+By+Walt+Whitman++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A literary treasure buried for more than a century has been unearthed by Zachary Turpin, a grad student at the University of Houston.\u003c/p>\n\u003cp>It’s a work of short fiction: a 36,000-word novella published anonymously, in six parts, in a New York newspaper in 1852. The discursive nature of the manuscript’s full title — \u003cem>Life and Adventures of Jack Engle: An Auto-Biography; In Which The Reader Will Find Some Familiar Characters —\u003c/em> places it squarely in its literary era, as does its subtitle, \u003cem>A Story of New York at the Present Time\u003c/em>.\u003c/p>\n\u003cp>The find was announced on Monday as the full book was \u003ca href=\"http://ir.uiowa.edu/wwqr/vol34/iss3/3/\">published online\u003c/a> in the literary journal \u003cem>Walt Whitman Quarterly Review;\u003c/em> the University of Iowa Press is releasing it in book form.\u003c/p>\n\u003cp>What’s notable about the novella is its author — the beloved American poet Walt Whitman — and its place in Whitman’s literary career. Just three years after \u003cem>Jack Engle\u003c/em> saw print, Whitman would publish the work that would enshrine him in the American canon: \u003cem>Leaves of Grass\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to Monday’s announcement, it was believed Whitman spent the early 1850s at work on that magnum opus, publishing little of note.\u003c/p>\n\u003cp>In 1842, Whitman had published another work of fiction, a harrowing “temperance novel” about a stouthearted young man whose life is nearly destroyed by alcohol. Whitman distanced himself from that early work and never publicly acknowledged authorship of \u003cem>Jack Engle.\u003c/em>\u003c/p>\n\u003cp>Turpin spoke to NPR about his discovery, made when he was scouring a vast online database of 19th century newspapers for names found in Whitman’s notebooks.\u003c/p>\n\u003cp>“It was wild,” he told \u003cem>All Things Considered\u003c/em>‘s Ari Shapiro. “The literary research that I do isn’t as glamorous as you might think. I was actually in a guest bedroom at my in-laws’, putting together a Pack-and-Play, and I got an email. …\u003c/p>\n\u003cp>“What I’m looking for are these very unique character names Whitman had written out — Wigglesworth, Smytthe … and the first thing I see on the page are those names. … It was surreal.”\u003c/p>\n\u003cp>Turpin describes the book as, among other things, Dickensian. “It’s also a sentimental novel; it’s also city mystery novel. It’s multifaceted, let’s put it that way.”\u003c/p>\n\u003cp>As for how \u003cem>Jack Engle\u003c/em> intersects \u003cem>Leaves of Grass\u003c/em>, Turpin says, “They’re apples and oranges. You have certain passages like [those excerpted below] that are remarkably similar, that presages … \u003cem>Leaves of Grass,\u003c/em> which he was probably writing simultaneously. … There are also elements that are wildly different — chases across New York and romances and scheming, mustache-twisting villains are not the stuff of \u003cem>Leaves of Grass,\u003c/em> but these are the stuff of Whitman’s long and storied fiction career, and career as a journalist.”\u003c/p>\n\u003cp>As for what Turpin thinks of the the work itself, he says, “I’m really blown away by this book. … It’s all things to all men. It’s weird, it’s wild, it’s beautiful and hilarious, and turns on a dime in ways that are both great and terrible. It’s truly phenomenal, and I think something that everyone will enjoy picking up.”\u003c/p>\n\u003cp>It’s the second time in as many years Turpin has made such a discovery. Previously, he found another Whitman manuscript, a series of articles offering tips for a healthy and vigorous lifestyle, in another newspaper.\u003c/p>\n\u003cp>Asked if historians should respect Whitman’s wish for his early work to “be dropped in oblivion,” Turpin says, “I respect that … on the other hand, Whitman’s greatest wish was to be the greatest and most famous poet in America.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>In this excerpt, the narrator stops into the graveyard of Manhattan’s Trinity Church and muses about mortality. Turpin and other Whitman scholars believe this section offers a glimpse of the poet engaging with some of the same language and themes that would define \u003cem>Leaves of Grass:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“Truly, life is sweet to the young man.—Such bounding and swelling capacities for joy reside within him, and such ambitious yearnings. Health and unfettered spirits are his staff and mantle. He learns unthinkingly to love—that glorious privilege of youth! Out of the tiny fractions of his experience, he builds beautiful imaginings, and confidently looks for the future to realize them. And then he is so sure of those future years. …\u003c/p>\n\u003cp>“Out there in the fashionable thoroughfare, how bustling was life, and how jauntily it wandered close along the side of those warnings of its inevitable end. How gay that throng along the walk! Light laughs come from them, and jolly talk — those groups of well-dressed young men — those merry boys returning from school — clerks going home from their labors — and many a form, too, of female grace and elegance.\u003c/p>\n\u003cp>“Could it be that coffins, six feet below where I stood, enclosed the ashes of like young men, whose vestments, during life, had engrossed the same anxious care — and schoolboys and beautiful women; for they too were buried here, as well as the aged and infirm.\u003c/p>\n\u003cp>“But onward rolled the broad, bright current, and troubled themselves not yet with gloomy thoughts; and that showed more philosophy in them perhaps than such sentimental meditations as any the reader has been perusing.”\u003c/p>\n\u003c/blockquote>\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=Grad+Student+Discovers+A+Lost+Novel+Written+By+Walt+Whitman++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Life Doesn't Frighten Me: Maya Angelou's Messages to Young Readers",
"headTitle": "Life Doesn’t Frighten Me: Maya Angelou’s Messages to Young Readers | KQED",
"content": "\u003cp>The expansiveness of Maya Angelou’s voice reaches from the stoops of neighborhoods in urban America to podiums in capitol buildings and presidential palaces in Africa. And while her poetry and fiction are well recognized, her contributions to the world of children’s literature are less familiar to readers — but just as important. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For three decades at UC Berkeley and Mills College, I taught “New Dawn on the Horizon: A Survey of Third World Children’s Literature.” In the class, I referenced and utilized works dating from the late 19th century up to the early 21st century. Along with Alpha Angela, Bratton, Arna Bontemps, Shirley Graham DuBois, Lucille Clifton and June Jordan, my syllabus included children’s books by Angelou. \u003c/p>\n\u003cp>Like many other adult poets and novelists who’ve also written wonderful children’s books — Langston Hughes, James Baldwin, Toni Morrison and Alice Walker, for example — Angelou’s contributions to children’s literature were imaginatively crafted and centered on socially conscious topics. They were illustrated by notable artists, including Caldecott Honor Award winner Tom Feelings and young legendary painter Jean-Michel Basquiat, and these creative partnerships resulted in celebrated works like \u003cem>Life Doesn’t Frighten Me\u003c/em> and \u003cem>Souls Look Back in Wonder\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_12740804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-800x450.jpg\" alt=\"Michelle Obama and Maya Angelou speak during the BET Honors 2012 \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12740804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Obama and Maya Angelou speak during the BET Honors 2012. \u003ccite>(Photo: Kris Connor/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her collaborations with Feelings reflect a kind of tenderness, dignity and self-acceptance that parents, teachers, librarians and young readers seek. The tenderness and unwavering dignity found in \u003cem>Souls Look Back in Wonder\u003c/em>, an illustrated anthology that features works by award-winning writers including Alexis DeVeaux, Askia M. Toure and Walter Dean Myers, nourishes the soul and inspires young minds to grow through the powerful lens of black life and culture. Feelings and Angelou’s work together on \u003cem>Now Sheba Sings the Song\u003c/em> is filled with his sepia rich illustrations and her lyrical poetry. The book pays a timeless homage to the beauty, historical strength and resolute magic of black women. \u003c/p>\n\u003cfigure id=\"attachment_12778177\" class=\"wp-caption alignright\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews.jpg\" alt=\"Cover for 'Life Doesn't Frighten Me'\" width=\"627\" height=\"773\" class=\"size-full wp-image-12778177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-375x462.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-520x641.jpg 520w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Cover for ‘Life Doesn’t Frighten Me’\u003c/figcaption>\u003c/figure>\n\u003cp>In Angelou and Basquiat’s \u003cem>Life Doesn’t Frighten Me\u003c/em>, the author and illustrator help families navigate some of the real and imagined terrors foisted upon children in today’s world. Basquiat’s illustrations are rendered with the fright that overtakes the imaginations of so many kids, while Angelou’s words drum up the courage they need to help them live beyond the fright and terror:\u003c/p>\n\u003cblockquote>\u003cp>Shadows on the wall\u003cbr>\nNoises down the hall\u003cbr>\nLife doesn’t frighten me at all\u003c/p>\n\u003cp>Tough guys fight\u003cbr>\nAll alone at night\u003cbr>\nLife doesn’t frighten me at all\u003c/p>\n\u003cp>Dragons breathing flame on my counterpane\u003cbr>\nThat doesn’t frighten me at all\u003c/p>\u003c/blockquote>\n\u003cp>Makes you feel like you can take on anything, doesn’t it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fact that Angelou’s rich literary life included works for children is a testimony to her vision and her commitment to words. Through books she wrote for adolescents, she demonstrates the depth of her brilliance, and exemplifies the ways humanity can create a world that turns on a bounty of imagination and creativity. \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\u003cp>\u003c/p>\n\u003cp>\u003cem>Daphne Muse is a writer, social commentator and poet who lived in the culturally dynamic Fruitvale District of Oakland, Calif. for 41 years. She just completed her fifth book, \u003cstrong>The Cousins are Coming! The Cousins are Coming!\u003c/strong> She now resides in Brentwood, Calif. observing life through a different lens seasoned by her decades of activism and writing the world through her extensive travels in South Africa, Suriname, Mississippi, and Cuba. Her collection of multicultural children’s literature is now housed at UC Berkeley’s Bancroft Library and in 2014 was featured in \u003cstrong>On These I Stand: An Exhibit of Rare Black Books and Collectibles.\u003c/strong>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The expansiveness of Maya Angelou’s voice reaches from the stoops of neighborhoods in urban America to podiums in capitol buildings and presidential palaces in Africa. And while her poetry and fiction are well recognized, her contributions to the world of children’s literature are less familiar to readers — but just as important. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For three decades at UC Berkeley and Mills College, I taught “New Dawn on the Horizon: A Survey of Third World Children’s Literature.” In the class, I referenced and utilized works dating from the late 19th century up to the early 21st century. Along with Alpha Angela, Bratton, Arna Bontemps, Shirley Graham DuBois, Lucille Clifton and June Jordan, my syllabus included children’s books by Angelou. \u003c/p>\n\u003cp>Like many other adult poets and novelists who’ve also written wonderful children’s books — Langston Hughes, James Baldwin, Toni Morrison and Alice Walker, for example — Angelou’s contributions to children’s literature were imaginatively crafted and centered on socially conscious topics. They were illustrated by notable artists, including Caldecott Honor Award winner Tom Feelings and young legendary painter Jean-Michel Basquiat, and these creative partnerships resulted in celebrated works like \u003cem>Life Doesn’t Frighten Me\u003c/em> and \u003cem>Souls Look Back in Wonder\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_12740804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-800x450.jpg\" alt=\"Michelle Obama and Maya Angelou speak during the BET Honors 2012 \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12740804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya-Michelle-Obama-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Obama and Maya Angelou speak during the BET Honors 2012. \u003ccite>(Photo: Kris Connor/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her collaborations with Feelings reflect a kind of tenderness, dignity and self-acceptance that parents, teachers, librarians and young readers seek. The tenderness and unwavering dignity found in \u003cem>Souls Look Back in Wonder\u003c/em>, an illustrated anthology that features works by award-winning writers including Alexis DeVeaux, Askia M. Toure and Walter Dean Myers, nourishes the soul and inspires young minds to grow through the powerful lens of black life and culture. Feelings and Angelou’s work together on \u003cem>Now Sheba Sings the Song\u003c/em> is filled with his sepia rich illustrations and her lyrical poetry. The book pays a timeless homage to the beauty, historical strength and resolute magic of black women. \u003c/p>\n\u003cfigure id=\"attachment_12778177\" class=\"wp-caption alignright\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews.jpg\" alt=\"Cover for 'Life Doesn't Frighten Me'\" width=\"627\" height=\"773\" class=\"size-full wp-image-12778177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-375x462.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LIFE-1pgReviews-520x641.jpg 520w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Cover for ‘Life Doesn’t Frighten Me’\u003c/figcaption>\u003c/figure>\n\u003cp>In Angelou and Basquiat’s \u003cem>Life Doesn’t Frighten Me\u003c/em>, the author and illustrator help families navigate some of the real and imagined terrors foisted upon children in today’s world. Basquiat’s illustrations are rendered with the fright that overtakes the imaginations of so many kids, while Angelou’s words drum up the courage they need to help them live beyond the fright and terror:\u003c/p>\n\u003cblockquote>\u003cp>Shadows on the wall\u003cbr>\nNoises down the hall\u003cbr>\nLife doesn’t frighten me at all\u003c/p>\n\u003cp>Tough guys fight\u003cbr>\nAll alone at night\u003cbr>\nLife doesn’t frighten me at all\u003c/p>\n\u003cp>Dragons breathing flame on my counterpane\u003cbr>\nThat doesn’t frighten me at all\u003c/p>\u003c/blockquote>\n\u003cp>Makes you feel like you can take on anything, doesn’t it?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fact that Angelou’s rich literary life included works for children is a testimony to her vision and her commitment to words. Through books she wrote for adolescents, she demonstrates the depth of her brilliance, and exemplifies the ways humanity can create a world that turns on a bounty of imagination and creativity. \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\u003cp>\u003c/p>\n\u003cp>\u003cem>Daphne Muse is a writer, social commentator and poet who lived in the culturally dynamic Fruitvale District of Oakland, Calif. for 41 years. She just completed her fifth book, \u003cstrong>The Cousins are Coming! The Cousins are Coming!\u003c/strong> She now resides in Brentwood, Calif. observing life through a different lens seasoned by her decades of activism and writing the world through her extensive travels in South Africa, Suriname, Mississippi, and Cuba. Her collection of multicultural children’s literature is now housed at UC Berkeley’s Bancroft Library and in 2014 was featured in \u003cstrong>On These I Stand: An Exhibit of Rare Black Books and Collectibles.\u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Maya Angelou Guided My Spiritual Practice",
"headTitle": "How Maya Angelou Guided My Spiritual Practice | KQED",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Some years ago I began to develop a spiritual practice. Like many, my entry came on the heels of hardship. Back then, I was a new mother transitioning into a life of being single. I was out of employment and full of feeling. I was searching for direction.\u003c/p>\n\u003cp>A dear playwright and friend, Akin Salawu, began sending me a lot of encouragement. After many months of exchanging messages, he asked for my home address. I’d forgotten I’d answered until a few weeks later, when a small package arrived at my apartment in Union City. Inside was a book called \u003cem>Discover the Power Within You: A Guide to the Unexplored Depths Within\u003c/em> by Eric Butterworth. Unfamiliar with the title or its author, I flipped open the book and there she was all tucked away like a jewel:\u003c/p>\n\u003cp>\u003cem>Discover the Power Within You\u003c/em>, a foreword by Maya Angelou.\u003c/p>\n\u003cp>My heart opened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To explain what it feels like to have your heart open is to describe the warm feeling of joy, of belonging, of willing connection. \u003c/p>\n\u003cp>Here I was with Maya. We were two black single mothers — two black women artists — both attempting to find God and divinity within ourselves. In that moment, I was reminded of the inextricable link between what we might imagine and what we might create. It would be easy to imagine hardship, outsider-ness, mortality, and I could create that feeling in a moment’s notice. However, what I found was a lineage of so much more. It was a feeling beyond sight or touch; a new creation; it was a lineage of love. \u003c/p>\n\u003cp>This is the power within. This is the force that could bring about a poor Black girl from Stamps, Arkansas, and bloom her into being; bloom her into measures beyond her immediate environment. In her poet’s way, she began this alchemical process for me, this spiritual unfolding toward the Being I might become.\u003c/p>\n\u003cp>Using passages from the introduction to \u003cem>Discover the Power Within You\u003c/em>, I’ll attempt to unfold a bit further the spiritual insights Maya left tucked away in unexpected places. Here lies practical advice for incorporating a more spirit-filled life. \u003c/p>\n\u003cp>\u003cstrong>Our power is God\u003c/strong>\u003c/p>\n\u003cp>Angelou writes, “The power of God, the essential spirit, is within each of us. We can ignore that, or we can draw upon it and decide to grow. We can heal ourselves.” \u003c/p>\n\u003cp>How do we heal ourselves?\u003c/p>\n\u003cp>\u003cstrong>We work with change\u003c/strong>\u003c/p>\n\u003cp>“We have the power” she says, “to call it up [change] and bring it about sooner by working at it..we could either mold it to our needs and the needs of others, or be run over by it.”\u003c/p>\n\u003cp>\u003cstrong>Momentum is created by change\u003c/strong>\u003c/p>\n\u003cp>“Spirituality is not a condition, it’s a path. One is static, the other is active”\u003c/p>\n\u003cp>\u003cstrong>We activate\u003c/strong>\u003c/p>\n\u003cp>“I find that prayer and meditation are elemental. Guidance comes from those practices. Sometimes in meditation one really tries to think of nothing. I do, anyway. I try to make myself a quiet vessel, a quiet pool where my ideas can rise.”\u003c/p>\n\u003cp>\u003cstrong>We initiate\u003c/strong> \u003c/p>\n\u003cp>“Prayer, on the other hand, does focus and keeps the focus in focus. I think that I use both to get myself out of the way. Sometimes our daily problems can so impede our progress to quietude that one needs to step aside.”\u003c/p>\n\u003cp>\u003cstrong>We step aside\u003c/strong>\u003c/p>\n\u003cp>“I think when we step aside, when we get apart from everyone else and any other ideas and meditate and pray, I think that we can be led to the knowledge of how to meet our next challenge, whatever it is— whether it’s physical, psychological, practice, social. I believe that.”\u003c/p>\n\u003cp>\u003cstrong>We believe in asking for everything\u003c/strong>\u003c/p>\n\u003cp>“I ask for everything,\u003cbr>\neverything I need,\u003cbr>\nand I have much more than I need\u003c/p>\n\u003cp>When you get, give.\u003cbr>\nWhen you learn, teach.\u003c/p>\n\u003cp>If you plant one tomato seed and it comes up,\u003cbr>\nit will bring thousands of what you planted.” \u003c/p>\n\u003cp>\u003cstrong>We plant so that we might live\u003c/strong> \u003c/p>\n\u003cp>“People say I am remembered by various things, but I hope one of them would be the encouragement to live the life you want to live. Live your life so that you will not leave too many things undone. \u003c/p>\n\u003cp>Live the life you sign about.\u003cbr>\nLive the life. \u003c/p>\n\u003cp>That’s it.”\u003c/p>\n\u003cp>\u003cstrong>We live\u003cbr>\nthe life\u003cbr>\nwe sing\u003cbr>\nabout\u003c/strong>\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-lan Holt is a poet and playwright based in the Bay Area. She is the author of \u003cem>Moonwork\u003c/em>, a collection of poems, and the Associate Director at the Stanford Institute for Diversity in the Arts. Connect with Holt on Instagram \u003ca href=\"https://www.instagram.com/a_lanmoon/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, see her personal site \u003ca href=\"http://www.a-lan.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read a KQED Arts ‘Women to Watch’ profile of her \u003ca href=\"https://ww2.kqed.org/arts/2016/07/07/women-to-watch-a-lan-holt/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A-lan Holt explains how a surprise gift of Angelou's writing led to the discovery of her spirituality and the power that came with it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Some years ago I began to develop a spiritual practice. Like many, my entry came on the heels of hardship. Back then, I was a new mother transitioning into a life of being single. I was out of employment and full of feeling. I was searching for direction.\u003c/p>\n\u003cp>A dear playwright and friend, Akin Salawu, began sending me a lot of encouragement. After many months of exchanging messages, he asked for my home address. I’d forgotten I’d answered until a few weeks later, when a small package arrived at my apartment in Union City. Inside was a book called \u003cem>Discover the Power Within You: A Guide to the Unexplored Depths Within\u003c/em> by Eric Butterworth. Unfamiliar with the title or its author, I flipped open the book and there she was all tucked away like a jewel:\u003c/p>\n\u003cp>\u003cem>Discover the Power Within You\u003c/em>, a foreword by Maya Angelou.\u003c/p>\n\u003cp>My heart opened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To explain what it feels like to have your heart open is to describe the warm feeling of joy, of belonging, of willing connection. \u003c/p>\n\u003cp>Here I was with Maya. We were two black single mothers — two black women artists — both attempting to find God and divinity within ourselves. In that moment, I was reminded of the inextricable link between what we might imagine and what we might create. It would be easy to imagine hardship, outsider-ness, mortality, and I could create that feeling in a moment’s notice. However, what I found was a lineage of so much more. It was a feeling beyond sight or touch; a new creation; it was a lineage of love. \u003c/p>\n\u003cp>This is the power within. This is the force that could bring about a poor Black girl from Stamps, Arkansas, and bloom her into being; bloom her into measures beyond her immediate environment. In her poet’s way, she began this alchemical process for me, this spiritual unfolding toward the Being I might become.\u003c/p>\n\u003cp>Using passages from the introduction to \u003cem>Discover the Power Within You\u003c/em>, I’ll attempt to unfold a bit further the spiritual insights Maya left tucked away in unexpected places. Here lies practical advice for incorporating a more spirit-filled life. \u003c/p>\n\u003cp>\u003cstrong>Our power is God\u003c/strong>\u003c/p>\n\u003cp>Angelou writes, “The power of God, the essential spirit, is within each of us. We can ignore that, or we can draw upon it and decide to grow. We can heal ourselves.” \u003c/p>\n\u003cp>How do we heal ourselves?\u003c/p>\n\u003cp>\u003cstrong>We work with change\u003c/strong>\u003c/p>\n\u003cp>“We have the power” she says, “to call it up [change] and bring it about sooner by working at it..we could either mold it to our needs and the needs of others, or be run over by it.”\u003c/p>\n\u003cp>\u003cstrong>Momentum is created by change\u003c/strong>\u003c/p>\n\u003cp>“Spirituality is not a condition, it’s a path. One is static, the other is active”\u003c/p>\n\u003cp>\u003cstrong>We activate\u003c/strong>\u003c/p>\n\u003cp>“I find that prayer and meditation are elemental. Guidance comes from those practices. Sometimes in meditation one really tries to think of nothing. I do, anyway. I try to make myself a quiet vessel, a quiet pool where my ideas can rise.”\u003c/p>\n\u003cp>\u003cstrong>We initiate\u003c/strong> \u003c/p>\n\u003cp>“Prayer, on the other hand, does focus and keeps the focus in focus. I think that I use both to get myself out of the way. Sometimes our daily problems can so impede our progress to quietude that one needs to step aside.”\u003c/p>\n\u003cp>\u003cstrong>We step aside\u003c/strong>\u003c/p>\n\u003cp>“I think when we step aside, when we get apart from everyone else and any other ideas and meditate and pray, I think that we can be led to the knowledge of how to meet our next challenge, whatever it is— whether it’s physical, psychological, practice, social. I believe that.”\u003c/p>\n\u003cp>\u003cstrong>We believe in asking for everything\u003c/strong>\u003c/p>\n\u003cp>“I ask for everything,\u003cbr>\neverything I need,\u003cbr>\nand I have much more than I need\u003c/p>\n\u003cp>When you get, give.\u003cbr>\nWhen you learn, teach.\u003c/p>\n\u003cp>If you plant one tomato seed and it comes up,\u003cbr>\nit will bring thousands of what you planted.” \u003c/p>\n\u003cp>\u003cstrong>We plant so that we might live\u003c/strong> \u003c/p>\n\u003cp>“People say I am remembered by various things, but I hope one of them would be the encouragement to live the life you want to live. Live your life so that you will not leave too many things undone. \u003c/p>\n\u003cp>Live the life you sign about.\u003cbr>\nLive the life. \u003c/p>\n\u003cp>That’s it.”\u003c/p>\n\u003cp>\u003cstrong>We live\u003cbr>\nthe life\u003cbr>\nwe sing\u003cbr>\nabout\u003c/strong>\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-lan Holt is a poet and playwright based in the Bay Area. She is the author of \u003cem>Moonwork\u003c/em>, a collection of poems, and the Associate Director at the Stanford Institute for Diversity in the Arts. Connect with Holt on Instagram \u003ca href=\"https://www.instagram.com/a_lanmoon/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, see her personal site \u003ca href=\"http://www.a-lan.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read a KQED Arts ‘Women to Watch’ profile of her \u003ca href=\"https://ww2.kqed.org/arts/2016/07/07/women-to-watch-a-lan-holt/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Author Philip Pullman Announces a Follow-Up Trilogy to 'His Dark Materials'",
"headTitle": "Author Philip Pullman Announces a Follow-Up Trilogy to ‘His Dark Materials’ | KQED",
"content": "\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>[ad fullwidth]\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>[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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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