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"content": "\u003cp>\u003cem>Editor's note: We identified \u003c/em>Slave Punk\u003cem> and \u003c/em>Sunset Park \u003cem>as already published; they were announced in 2015 but are not yet out.\u003c/em>\u003c/p>\n\u003cp>Nonstop, jittery energy seems to rattle every panel of \u003cem>Prince of Cats\u003c/em>, Ronald Wimberly's Shakespearean street tale. Few artists can strike the kind of sparks that electrify these pages, and yet Wimberly's powerful draftsmanship is only one aspect of a head-to-toe remarkable book. Focusing on Tybalt, the \"Prince of Cats\" in \u003cem>Romeo and Juliet\u003c/em>, Wimberly conjures a distinctive vision of the early '80s in the inner city. First published in 2012 by DC/Vertigo, \u003cem>Prince of Cats\u003c/em> went out of print and has been more-or-less unavailable ever since. Now Image Comics is releasing it in hardcover.\u003c/p>\n\u003cp>Wimberley, whose other Image projects include \u003cem>Slave Punk\u003c/em> and \u003cem>Sunset Park\u003c/em> — unabashedly demands recognition with this nervy work\u003cem>. Prince of Cats\u003c/em> is packed with allusions: to Greek myth and Japanese folklore, \u003cem>The Warriors\u003c/em> and \u003cem>Rosencrantz and Guildenstern are Dead,\u003c/em> video games and action movies and the '80s art scene. Of course, the most significant of Wimberly's grab bag of references is the Bard himself. Wimberly's characters all speak in a mix of high-flown poetry and gritty, down-to-earth images — just as Shakespeare's characters did. Here, Juliet describes the scene from atop a Coney Island Ferris wheel:\u003c/p>\n\u003cblockquote>\u003cp>Look, Tybalt, the shimmering\u003c/p>\n\u003cp>window show. When evening\u003c/p>\n\u003cp>swallows Apollo's light The yellow\u003c/p>\n\u003cp>lamps and blue TV glow doth\u003c/p>\n\u003cp>the projects Milky Way ignite.\u003c/p>\u003c/blockquote>\n\u003cp>Wimberly is hardly the first to make a connection between comics and hip hop culture. In the 1980s, both Marvel and DC Comics incorporated rapping characters into some of their books. In the early '90s, Marvel published books about KRS-One and Onyx and a nine-issue series starring Kid 'n Play. Other artists who've appeared in comics include Public Enemy, Wu-Tang Clan, Eminem and Run-DMC's Darryl McDaniels — the latter of whom launched his own comics company in 2014. Ed Piskor's series \u003cem>Hip Hop Family Tree\u003c/em> has already become a classic. And in October Marvel issued a hardcover collection of more than 70 hip hop-themed covers by such artists as Adam Hughes, Tim Bradstreet and Brian Stelfreeze.\u003c/p>\n\u003cp>But Wimberly is out to do something more than just combine elements from two compatible genres. He's clearly aiming to translate the mechanics of hip hop composition into a visual form. In \u003cem>Prince of Cats'\u003c/em> introduction, University of California media professor John Jennings calls Wimberly a \"See-Jay:\" Wielding his pen the way a DJ mixes, he mashes up wildly diverse elements into a fresh creation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wimberly's rhymes tend to have a rough, jazzy rhythm that offsets their formality. Commenting on his friends' fighting abilities, one character says:\u003c/p>\n\u003cblockquote>\u003cp>Petruchio's sword game was gutter born,\u003c/p>\n\u003cp>Top form, yet Romeo delivered his fall. And\u003c/p>\n\u003cp>while you starched and pressed your school uniform,\u003c/p>\n\u003cp>Petruchio uniformly pressed Montague to the wall.\u003c/p>\u003c/blockquote>\n\u003cp>Wimberly's perhaps at his cleverest when he repurposes Shakespeare's original lines to fit an African American context. \"What, dost thou make us minstrels?\" one character demands angrily. \"And thou make minstrels of us, look to hear nothing but discords.\"\u003c/p>\n\u003cp>His method has its successes and failures, but the sheer fun of his concept — and that vigorous, sparky artwork — make the latter mostly insignificant. As in Shakespeare, the poetry sometimes obscures what's going on. The narrative doesn't have a lot of pull; even when the characters duel bloodily with samurai swords (That's the kind of world this is: The homeboys fight with Japanese weaponry) there isn't a sense of urgency. At least, not until the grim conclusion.\u003c/p>\n\u003cp>But much of Wimberly's tale is purely delightful — as with one character's paean to an ice-cream truck:\u003c/p>\n\u003cblockquote>\u003cp>When heat doth bind gelled sandal to sidewalk, listen —\u003c/p>\n\u003cp>For song that parts summer's writhing miasma\u003c/p>\n\u003cp>And calls forth God's wandering children\u003c/p>\n\u003cp>To the chariot of Mr. Soft-e.\u003c/p>\u003c/blockquote>\n\u003cp>Not many comic artists have as much fun with words as they do with lines. But Wimberly clearly relishes the opportunity to stretch in different directions at once. The heart of \u003cem>Prince of Cats\u003c/em> might well be a single, short sentence midway through the book. A graffiti artist is surveying his latest rooftop creation, a tag of dazzling complexity, the ultimate melding of image and sign. \"See,\" he remarks, \"a man caught in words can live forever.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Prince+Of+Cats%27+Melds+Comics%2C+Hip-Hop+And+Shakespeare&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wimberly's rhymes tend to have a rough, jazzy rhythm that offsets their formality. Commenting on his friends' fighting abilities, one character says:\u003c/p>\n\u003cblockquote>\u003cp>Petruchio's sword game was gutter born,\u003c/p>\n\u003cp>Top form, yet Romeo delivered his fall. And\u003c/p>\n\u003cp>while you starched and pressed your school uniform,\u003c/p>\n\u003cp>Petruchio uniformly pressed Montague to the wall.\u003c/p>\u003c/blockquote>\n\u003cp>Wimberly's perhaps at his cleverest when he repurposes Shakespeare's original lines to fit an African American context. \"What, dost thou make us minstrels?\" one character demands angrily. \"And thou make minstrels of us, look to hear nothing but discords.\"\u003c/p>\n\u003cp>His method has its successes and failures, but the sheer fun of his concept — and that vigorous, sparky artwork — make the latter mostly insignificant. As in Shakespeare, the poetry sometimes obscures what's going on. The narrative doesn't have a lot of pull; even when the characters duel bloodily with samurai swords (That's the kind of world this is: The homeboys fight with Japanese weaponry) there isn't a sense of urgency. At least, not until the grim conclusion.\u003c/p>\n\u003cp>But much of Wimberly's tale is purely delightful — as with one character's paean to an ice-cream truck:\u003c/p>\n\u003cblockquote>\u003cp>When heat doth bind gelled sandal to sidewalk, listen —\u003c/p>\n\u003cp>For song that parts summer's writhing miasma\u003c/p>\n\u003cp>And calls forth God's wandering children\u003c/p>\n\u003cp>To the chariot of Mr. Soft-e.\u003c/p>\u003c/blockquote>\n\u003cp>Not many comic artists have as much fun with words as they do with lines. But Wimberly clearly relishes the opportunity to stretch in different directions at once. The heart of \u003cem>Prince of Cats\u003c/em> might well be a single, short sentence midway through the book. A graffiti artist is surveying his latest rooftop creation, a tag of dazzling complexity, the ultimate melding of image and sign. \"See,\" he remarks, \"a man caught in words can live forever.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Prince+Of+Cats%27+Melds+Comics%2C+Hip-Hop+And+Shakespeare&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the days before Prohibition, candidates often wooed voters on election day with free beer and liquor. This week, a publisher is offering a free eBook by a San Francisco writer to anyone nursing a hangover — not from drink, but from election results.\u003c/p>\n\u003cp>\u003ca href=\"https://www.haymarketbooks.org/\" target=\"_blank\" rel=\"noopener\">Haymarket Books\u003c/a> in Chicago, a publisher of left-leaning authors like Angela Davis, Noam Chomsky, and Howard Zinn, announced days after the election that it’s \u003ca href=\"http://www.haymarketbooks.org/blogs\" target=\"_blank\" rel=\"noopener\">offering free electronic copies \u003c/a>of \u003ca href=\"http://rebeccasolnit.net/\" target=\"_blank\" rel=\"noopener\">Rebecca Solnit\u003c/a>’s \u003cem>Hope in the Dark\u003c/em>, written during the presidency of George W. Bush in 2004, and described as “a radical case for hope as a commitment to act in a world whose future remains uncertain and unknowable.”\u003c/p>\n\u003cfigure id=\"attachment_12350453\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12350453\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-800x1206.jpg\" alt=\"Rebecca Solnit's book 'Hope in the Dark'\" width=\"800\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-1180x1779.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-960x1447.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-520x784.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit.jpg 1653w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Solnit’s book ‘Hope in the Dark’ \u003ccite>(Photo: Courtesy of Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I write for a living,” Solnit wrote in an email Tuesday, “but I also write to be of use and benefit, and it seemed like this book, written in another nightmarish time — the outbreak of the Iraq War — might be of benefit to a bunch of people in this horrific and bleak moment.”\u003c/p>\n\u003cp>Needless to say, Solnit was not a supporter of Donald Trump.\u003c/p>\n\u003cp>Haymarket Editor Julie Fain says the publisher has given away more than 25 thousand copies so far, which would make it a bestseller for the company, if it were for sale. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When people we care about a lot are under attack, women, immigrants, people of color,” Fain said in a phone conversation, “we want to remember that resistance is also part of who we are. And Rebecca speaks to this, remembering the capacity of human beings to resist politically pessimistic times.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the days before Prohibition, candidates often wooed voters on election day with free beer and liquor. This week, a publisher is offering a free eBook by a San Francisco writer to anyone nursing a hangover — not from drink, but from election results.\u003c/p>\n\u003cp>\u003ca href=\"https://www.haymarketbooks.org/\" target=\"_blank\" rel=\"noopener\">Haymarket Books\u003c/a> in Chicago, a publisher of left-leaning authors like Angela Davis, Noam Chomsky, and Howard Zinn, announced days after the election that it’s \u003ca href=\"http://www.haymarketbooks.org/blogs\" target=\"_blank\" rel=\"noopener\">offering free electronic copies \u003c/a>of \u003ca href=\"http://rebeccasolnit.net/\" target=\"_blank\" rel=\"noopener\">Rebecca Solnit\u003c/a>’s \u003cem>Hope in the Dark\u003c/em>, written during the presidency of George W. Bush in 2004, and described as “a radical case for hope as a commitment to act in a world whose future remains uncertain and unknowable.”\u003c/p>\n\u003cfigure id=\"attachment_12350453\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12350453\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-800x1206.jpg\" alt=\"Rebecca Solnit's book 'Hope in the Dark'\" width=\"800\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-1180x1779.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-960x1447.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit-520x784.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Hope-in-the-Dark-Solnit.jpg 1653w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Solnit’s book ‘Hope in the Dark’ \u003ccite>(Photo: Courtesy of Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I write for a living,” Solnit wrote in an email Tuesday, “but I also write to be of use and benefit, and it seemed like this book, written in another nightmarish time — the outbreak of the Iraq War — might be of benefit to a bunch of people in this horrific and bleak moment.”\u003c/p>\n\u003cp>Needless to say, Solnit was not a supporter of Donald Trump.\u003c/p>\n\u003cp>Haymarket Editor Julie Fain says the publisher has given away more than 25 thousand copies so far, which would make it a bestseller for the company, if it were for sale. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A Philadelphia-based comic collector who spent almost 40 years building his museum-worthy collection of underground comic art — much of it purchased directly from the artists themselves — is putting it up for auction this week.\u003c/p>\n\u003cp>Eric Sack, author of \u003cem>The Life and Times of R. Crumb: Comments From Contemporaries,\u003c/em> will see the majority of his collection of ’60s and ’70s comic art auctioned off on Nov. 17 and 18 at \u003ca href=\"https://www.ha.com/c/search-results.zx?N=0+793+794+791+792+1893+1577+2088&Ntk=SI_Titles-Desc&Nty=1&Ntt=Eric+Sack&limitTo=all&ic=homepage-search-A-K-071316\" target=\"_blank\" rel=\"noopener\">Heritage Auctions\u003c/a>. Sack began collecting in 1978, and over the decades amassed over 1,300 pages of original works from artists such as Robert Crumb, S. Clay Wilson and Spain Rodriguez. The collection achieved such prominence that it was loaned to \u003ca href=\"http://undergroundcomixart.com/exhibitions/\" target=\"_blank\" rel=\"noopener\">various exhibitions\u003c/a> later in his collecting career.\u003c/p>\n\u003cp>Speaking on the phone last week, Sack, 62, says he put his collection up for auction because he felt he couldn’t collect any more artwork. He had bought everything that he wanted, and could afford.\u003c/p>\n\u003cfigure id=\"attachment_12318494\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg\" alt=\"Drawing of comic collector Eric Sack by artist Jim Lyons\" width=\"800\" height=\"1011\" class=\"size-medium wp-image-12318494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection.jpg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drawing of comic collector Eric Sack by artist Jay Lynch \u003ccite>(Photo: Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was nowhere to go with my collection but down,” Sack says. “There wasn’t much else for me to buy, which is a little weird to say. But short of going into collections where I had to offer stupid money that I couldn’t really afford to do, I did a pretty good job.”\u003c/p>\n\u003cp>Except for about 50 pieces he’ll keep from his 1,300 pages of comic art, he’s selling it all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most valuable pieces in Sack’s collection come from R. Crumb, who Sack cited as his favorite artist, and one of the first artists whose works he bought. Some of the pieces from Crumb in Sack’s collection are estimated to be worth tens of thousands, including a two-page original story artwork titled “Freak Out Funnies,” which was estimated to be worth $40,000, \u003ca href=\"http://www.artlyst.com/articles/original-underground-comix-art-including-r-crumb-to-be-sold-at-auction\" target=\"_blank\" rel=\"noopener\">according to Artlyst\u003c/a>. \u003c/p>\n\u003cp>This is a great time for Sack to sell, as the market for underground comic art has grown in recent years, says \u003ca href=\"http://www.patrickrosenkranz.com/Welcome.html\" target=\"_blank\" rel=\"noopener\">Patrick Rosenkranz\u003c/a>, author of \u003ci>Rebel Visions: The Underground Comix Revolution\u003c/i>. The global popularity of Crumb and \u003ci>Juxtapoz\u003c/i> founder Robert Williams — and the success of museum exhibits featuring works from collections like Sack’s — have pushed prices for underground comix to fine art prices. For example, Rosenkranz says copies of \u003cem>Zap Comix\u003c/em> #1, which were drawn completely by Crumb and sold by his wife in the Haight-Ashbury back in 1968, can fetch as much as $10,000 if they are first editions with “Printed by Charles Plymell” on the back cover.\u003c/p>\n\u003cp>Rosenkranz feels other collectors will start selling their collections as well, as the market appears to peak. \u003c/p>\n\u003cfigure id=\"attachment_12349428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg\" alt=\"Zap Logo\" width=\"800\" height=\"348\" class=\"size-medium wp-image-12349428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-768x334.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1020x444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1180x513.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-960x418.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-520x226.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zap Logo \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Any collectible goes out of style after the people who experienced it in their own lives die out,” Rosenkranz says. “Who cares about Hopalong Cassidy anymore? But 20 years ago a Hopalong Cassidy collection could fetch a decent price.”\u003c/p>\n\u003cp>Still, the Sack auction marks the end of an era in the Underground Comix world. Well-known in the scene for collecting pieces in the ’80s, when the artists were practically forgotten, Sack picked up a lot coveted works for cheap. He also took his pursuit of original works much more seriously than your average collector; for example, he says he spent 20 years pushing Wilson to sell one of his earliest pieces.\u003c/p>\n\u003cp>“I don’t know if he told you any stories about ‘figurative’ briefcases full of cash,” Rosenkranz says, “but he’d go up to someone’s studio or store, show the cash, say, ‘I want this, this and this’ and walk out with all of it.”\u003c/p>\n\u003cfigure id=\"attachment_12349429\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg\" alt=\"'R.Crumb' by R. Crumb\" width=\"640\" height=\"953\" class=\"size-large wp-image-12349429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-520x775.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘R.Crumb’ by R. Crumb \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sack says he’ll miss his ritual of poring over his new purchases, examining each drawing for signs of the artist’s creative process, such as streaks of white out and doodles on the back. But his passion never rubbed off on his children, which Rosenkranz says is a common reason for Underground Comix collectors to sell.\u003c/p>\n\u003cp>“A lot of collectors are getting old and their kids don’t want the stuff — either they’re not interested, or they’re embarrassed by it, or they think it’s too dirty,” Rosenkranz says.\u003c/p>\n\u003cp>In Sack’s case, loaning out his collection to various museums led to family trips to Europe, yet his kids never showed interest — that is, until after Sack set up the auction.\u003c/p>\n\u003cp>“My youngest, who is in her 20s, recently posted the Artlyst article on her Facebook page,” Sack says. “In the heading she put, ‘Oh my God, my dad’s weird hobby is now the Eric Sack Collection.'” \u003c/p>\n\u003cp>\u003ci>Watch a video of Sack discussing his collection:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O89JuAd7wDQ\u003c/p>\n\n",
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"headline": "Massive Art Collection Full of SF Underground Comix Up for Auction",
"datePublished": "2016-11-15T10:54:57-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Philadelphia-based comic collector who spent almost 40 years building his museum-worthy collection of underground comic art — much of it purchased directly from the artists themselves — is putting it up for auction this week.\u003c/p>\n\u003cp>Eric Sack, author of \u003cem>The Life and Times of R. Crumb: Comments From Contemporaries,\u003c/em> will see the majority of his collection of ’60s and ’70s comic art auctioned off on Nov. 17 and 18 at \u003ca href=\"https://www.ha.com/c/search-results.zx?N=0+793+794+791+792+1893+1577+2088&Ntk=SI_Titles-Desc&Nty=1&Ntt=Eric+Sack&limitTo=all&ic=homepage-search-A-K-071316\" target=\"_blank\" rel=\"noopener\">Heritage Auctions\u003c/a>. Sack began collecting in 1978, and over the decades amassed over 1,300 pages of original works from artists such as Robert Crumb, S. Clay Wilson and Spain Rodriguez. The collection achieved such prominence that it was loaned to \u003ca href=\"http://undergroundcomixart.com/exhibitions/\" target=\"_blank\" rel=\"noopener\">various exhibitions\u003c/a> later in his collecting career.\u003c/p>\n\u003cp>Speaking on the phone last week, Sack, 62, says he put his collection up for auction because he felt he couldn’t collect any more artwork. He had bought everything that he wanted, and could afford.\u003c/p>\n\u003cfigure id=\"attachment_12318494\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg\" alt=\"Drawing of comic collector Eric Sack by artist Jim Lyons\" width=\"800\" height=\"1011\" class=\"size-medium wp-image-12318494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection.jpg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drawing of comic collector Eric Sack by artist Jay Lynch \u003ccite>(Photo: Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was nowhere to go with my collection but down,” Sack says. “There wasn’t much else for me to buy, which is a little weird to say. But short of going into collections where I had to offer stupid money that I couldn’t really afford to do, I did a pretty good job.”\u003c/p>\n\u003cp>Except for about 50 pieces he’ll keep from his 1,300 pages of comic art, he’s selling it all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most valuable pieces in Sack’s collection come from R. Crumb, who Sack cited as his favorite artist, and one of the first artists whose works he bought. Some of the pieces from Crumb in Sack’s collection are estimated to be worth tens of thousands, including a two-page original story artwork titled “Freak Out Funnies,” which was estimated to be worth $40,000, \u003ca href=\"http://www.artlyst.com/articles/original-underground-comix-art-including-r-crumb-to-be-sold-at-auction\" target=\"_blank\" rel=\"noopener\">according to Artlyst\u003c/a>. \u003c/p>\n\u003cp>This is a great time for Sack to sell, as the market for underground comic art has grown in recent years, says \u003ca href=\"http://www.patrickrosenkranz.com/Welcome.html\" target=\"_blank\" rel=\"noopener\">Patrick Rosenkranz\u003c/a>, author of \u003ci>Rebel Visions: The Underground Comix Revolution\u003c/i>. The global popularity of Crumb and \u003ci>Juxtapoz\u003c/i> founder Robert Williams — and the success of museum exhibits featuring works from collections like Sack’s — have pushed prices for underground comix to fine art prices. For example, Rosenkranz says copies of \u003cem>Zap Comix\u003c/em> #1, which were drawn completely by Crumb and sold by his wife in the Haight-Ashbury back in 1968, can fetch as much as $10,000 if they are first editions with “Printed by Charles Plymell” on the back cover.\u003c/p>\n\u003cp>Rosenkranz feels other collectors will start selling their collections as well, as the market appears to peak. \u003c/p>\n\u003cfigure id=\"attachment_12349428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg\" alt=\"Zap Logo\" width=\"800\" height=\"348\" class=\"size-medium wp-image-12349428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-768x334.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1020x444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1180x513.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-960x418.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-520x226.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zap Logo \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Any collectible goes out of style after the people who experienced it in their own lives die out,” Rosenkranz says. “Who cares about Hopalong Cassidy anymore? But 20 years ago a Hopalong Cassidy collection could fetch a decent price.”\u003c/p>\n\u003cp>Still, the Sack auction marks the end of an era in the Underground Comix world. Well-known in the scene for collecting pieces in the ’80s, when the artists were practically forgotten, Sack picked up a lot coveted works for cheap. He also took his pursuit of original works much more seriously than your average collector; for example, he says he spent 20 years pushing Wilson to sell one of his earliest pieces.\u003c/p>\n\u003cp>“I don’t know if he told you any stories about ‘figurative’ briefcases full of cash,” Rosenkranz says, “but he’d go up to someone’s studio or store, show the cash, say, ‘I want this, this and this’ and walk out with all of it.”\u003c/p>\n\u003cfigure id=\"attachment_12349429\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg\" alt=\"'R.Crumb' by R. Crumb\" width=\"640\" height=\"953\" class=\"size-large wp-image-12349429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-520x775.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘R.Crumb’ by R. Crumb \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sack says he’ll miss his ritual of poring over his new purchases, examining each drawing for signs of the artist’s creative process, such as streaks of white out and doodles on the back. But his passion never rubbed off on his children, which Rosenkranz says is a common reason for Underground Comix collectors to sell.\u003c/p>\n\u003cp>“A lot of collectors are getting old and their kids don’t want the stuff — either they’re not interested, or they’re embarrassed by it, or they think it’s too dirty,” Rosenkranz says.\u003c/p>\n\u003cp>In Sack’s case, loaning out his collection to various museums led to family trips to Europe, yet his kids never showed interest — that is, until after Sack set up the auction.\u003c/p>\n\u003cp>“My youngest, who is in her 20s, recently posted the Artlyst article on her Facebook page,” Sack says. “In the heading she put, ‘Oh my God, my dad’s weird hobby is now the Eric Sack Collection.'” \u003c/p>\n\u003cp>\u003ci>Watch a video of Sack discussing his collection:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O89JuAd7wDQ'\n title='//www.youtube.com/embed/O89JuAd7wDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"slug": "reveling-in-exuberant-absurdity-at-the-san-francisco-dada-world-fair",
"title": "Reveling in Exuberant Absurdity at the San Francisco Dada World Fair",
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"headTitle": "Reveling in Exuberant Absurdity at the San Francisco Dada World Fair | KQED",
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"content": "\u003cp>It’s the 100th anniversary of Dada, an art practice that finds meaning in meaninglessness — and though it is an old movement, it’s bizarrely relevant with each passing day of national news. \u003c/p>\n\u003cp>San Francisco is four days into the San Francisco Dada World Fair, a \u003ca href=\"http://www.dadaworldfair.net/#cover-page\" target=\"_blank\" rel=\"noopener\">two-week celebration of Dada\u003c/a> with poetry, performance art, music, scholarly talks, and gatherings. If the first four days are any barometer, it is a real-life celebration of expecting the unexpected.\u003c/p>\n\u003cp>The inaugural night on Nov. 1 presented new and old interpretations of Dada at City Lights Bookstore. A mirror was broken, and to the beat of a drum performance, artist Guillermo Gomez Peña performed glitch poetry while the artist Balitrónica, in a black spandex sentai suit and mariachi hat, towered in an arched doorway holding a sign that read “AGAINST DEPORTATION AND EVICTION.” \u003c/p>\n\u003cp>New satirist favorite, writer Jon Longhi, informed us the internet — with its love of willful disinformation and e-mail spam (“made to outwit artificial machines”) — is the epitome of Dada. Old favorite Andrei Codrescu silenced the room by asking why San Francisco is still victim of compulsive optimism. Andrew Joron elicited random numbers from the audience, dialed them, and put the caller on speakerphone, asking who will win the election, to which the random caller said, “Death.” Poet Daphne Gottlieb asked us: “Are you ready for the wrench?”\u003c/p>\n\u003cfigure id=\"attachment_12313343\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/dadaatsea1200.jpg\" alt=\"'Dada@Sea.'\" width=\"900\" height=\"1200\" class=\"size-full wp-image-12313343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-520x693.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Dada@Sea.’ \u003ccite>(Courtesy of Frederick Young and Linus Lancaster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier, by the water at Maritime Park, artist duo Frederick Young and Linus Lancaster, officiators of \u003ca href=\"https://dadaatsea.wordpress.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dada@Sea\u003c/i>\u003c/a>, offered gifts to Poseidon, pointing small horse sculptures covered in beef at the water and firing away. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>City Lights event director Peter Maravelis is the head organizer of the Dada World Fair. “Dada is a disruption of consensus reality, of capitalist reality, which basically says things are a certain way, and to be a good consumer,” he explained to me. “Whereas Dada really brings up the specter of citizenry.”\u003c/p>\n\u003cp>Dada was born of politics. Dadaists were immigrants and refugees running from fascism in World War I. It was the first war of the industrialized age, and as such the first modern shock of its kind. Along the trenches, ghostly green clouds of chlorine were creeping in, invading the foxholes, swelling and blocking soldiers’ lungs, causing suffocation. The returning soldiers wore new, fully practical prosthetic limbs, giving Dadaists the impression of the rise of half-mechanical men. So in Berlin, Paris, New York and Zurich, propaganda evenings took place in cabarets aiming to captivate youth in a movement of exuberant absurdity. \u003c/p>\n\u003cp>Maravelis thinks Dada is relevant to us now not only because of this year’s lion-share of absurdity, but because of the state of San Francisco as a lost (though potentially salvageable) place of counterculture. He is troubled by San Francisco’s descent towards “an insect colony built around creating widgets.” The Dada World Fair developed organically through Maravelis’ friendship with Codrescu (author of \u003cem>\u003ca href=\"http://press.princeton.edu/titles/8846.html\" target=\"_blank\" rel=\"noopener\">The Posthuman Dada Guide\u003c/a>\u003c/em>) to include political and artistic events on land and sea. \u003c/p>\n\u003cfigure id=\"attachment_12313342\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/divers.jpg\" alt=\"'Dada@Sea.'\" width=\"640\" height=\"424\" class=\"size-full wp-image-12313342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Dada@Sea.’ \u003ccite>(Courtesy of Frederick Young and Linus Lancaster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dada@Sea\u003c/i> artists Frederick Young and Linus Lancaster take politics head on, ditto the mass eviction of artists and working class people from the city, and in circuitous whimsy they have christened the predicament “Vichy San Francisco.” They’ve applied to the Swiss Consulate for artistic asylum (Martin Schwartz at the Swiss Consulate said, “Artistic asylum is not a legal concept, to my knowledge”). They have acquired a barge — that was swamped, lost in a storm, towed by the city, and finally reborn — around which \u003ci>Dada@Sea\u003c/i> takes place (tours available by dory).\u003c/p>\n\u003cp>At the Sea Scout base by the Maritime Museum, Lancaster, a navy vet, says the two met as activists; they’re interested in the way performance art can mobilize where activism can grow stale. Invoking the rise of the political right, Young says, “The political and social shifts to the right are as dire as any point in history. The critique of the moment is very important.” \u003c/p>\n\u003cp>At noon on election day, Nov. 8, the duo plans to declare a state of emergency, and standing on Swiss soil from a jar donated by the Swiss consulate, they will hold a kind of civic artistic theater of disobedience. I won’t say any more; you will be remiss not to be there. \u003c/p>\n\u003cfigure id=\"attachment_12313340\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster.png\" alt=\"Digital collage by 'Dada@Sea.'\" width=\"500\" height=\"434\" class=\"size-full wp-image-12313340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster-160x139.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster-240x208.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster-375x326.png 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Digital collage by ‘Dada@Sea.’ \u003ccite>(Courtesy of Frederick young and Linus Lancaster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What else can you expect at a Dada World Fair? If you make your way to a panel, be warned that there are several interventions planned. Maravelis says, “The interventions should also be intervened upon when the time comes so even those interventions will be intervened. And so it may be that nobody will be able to speak at any of these lectures. I have no idea what’s going to happen.”\u003c/p>\n\u003cp>On night three of the fair, I visited a \u003ca href=\"https://en.wikipedia.org/wiki/%27Pataphysics\" target=\"_blank\" rel=\"noopener\">pataphysics\u003c/a> event at Canessa gallery. Upon arrival, a pataphysicist in a lilac coat told me there was absinthe inside. They were serving absinthe because they discovered that Alfred Jarry, founder of pataphysics, used to ride a bicycle in San Francisco whilst drinking it. I’m learning not to believe anything a Dadaist tells me, so instead I asked what, exactly, is pataphysics. “Pataphysics is to metaphysics as metaphysics is to physics.” I stared, thinking, for a long time, then headed inside for a drink. A woman wore a hat of felted eyeballs. There were capricious sculptures and mass spontaneous eruptions of fake laughter: Ha! Ha! Ha! Another pataphysicist told me pataphysics is the science of imaginary solutions. \u003c/p>\n\u003cp>In the most touchingly beautiful act of the evening, the youngest pataphysicist, a girl of fourteen, blew on a didgeridoo, while another pataphysicist wore a large fish mask. The fish head with huge pearlescent eyes turned this way and that, playing, we were told, an invisible bell from a bicycle built for two. \u003c/p>\n\u003cp>These events required some alcohol to make sense, so I headed to Vesuvio, where Andrei Codrescu sat alone at a small table with a drink and a book. Later I saw him at a reading at City Lights, where Jack Foley performed Jerome Rothenberg’s “That Dada Strain,” accompanied by a bassist. It was nonsensical, humorous, and hypnotic. I caught the stanza, “the arctic bones strung out on Saint Germain.” I caught, “a message from the grim computer ‘ye are hamburgers.’”\u003c/p>\n\u003cp>I floated out of the bookstore to the bus stop, and nearby on a sidewalk table I spotted art historian Adrian Sudhalter, who gave a talk on day two, having a drink. Somehow I felt better about being in this nascent world before the election where none know what will happen. \u003c/p>\n\u003cp>If you’re looking for a splash of absurdity, some relief, or some voices of unreasonable reason, I recommend you make your way to this celebration. Here are some events worth looking forward to: \u003c/p>\n\u003ch3>Tuesday, Nov. 8\u003c/h3>\n\u003cp>On Election Day at noon, make your way to the \u003ci>Dada@Sea\u003c/i> special Election Day presentation. (Sea Scout Base, Maritime Park, San Francisco; Free.) At 8pm, make sure not to miss Dada Haus: a DeElection Night Soiree, where I am told there will be a walking, talking, breathing voting booth. (Location disclosed by invitation, available at the front counter of City Lights. $15-50 sliding scale.)\u003c/p>\n\u003ch3>Thursday, Nov. 10\u003c/h3>\n\u003cp>Meet at City Lights at 8pm for a Dada Séance through the streets of North Beach. Featuring a Dada toy instrument marching band. Costumes encouraged. (City Lights Bookstore, 261 Columbus Avenue; Free.)\u003c/p>\n\u003ch3>Saturday, Nov. 12\u003c/h3>\n\u003cp>Attend Dada Bordello, a “kind of mini-Dada Ball following in the footsteps of Cabaret Voltaire” with performances starting at 8pm by Conspiracy of Beards, Poetics of Narrative, Luciano Chessa, and Jack Foley, among others. (Odd Fellows Hall, 26 7th Street, San Francisco; Free, but tickets required and available at City Lights.) \u003c/p>\n\u003ch3>Sunday, Nov. 13\u003c/h3>\n\u003cp>At noon, \u003ci>Dada@Sea\u003c/i> will bid farewell to the Bay and embark toward the Golden Gate in what’s sure to be a luminous conclusion. (Sea Scout Base, Maritime Park, San Francisco; Free.) At 7:30pm, make sure not to miss the closing event of the Dada World Fair: Dada Divas is a musical and theatrical performance that “re-imagines the stories and creative works of important female artists and performers who were among the originators of the Dada movement.” (Swissnex, Pier 17, San Francisco; $10-$15; Tickets at Swissnex.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The Dada World Fair runs through Nov. 13 with events happening daily at various locations around San Francisco. For a full schedule visit \u003ca href=\"http://www.dadaworldfair.net/devil-in-the-details/\" target=\"_blank\" rel=\"noopener\">dadaworldfair.net\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the 100th anniversary of Dada, an art practice that finds meaning in meaninglessness — and though it is an old movement, it’s bizarrely relevant with each passing day of national news. \u003c/p>\n\u003cp>San Francisco is four days into the San Francisco Dada World Fair, a \u003ca href=\"http://www.dadaworldfair.net/#cover-page\" target=\"_blank\" rel=\"noopener\">two-week celebration of Dada\u003c/a> with poetry, performance art, music, scholarly talks, and gatherings. If the first four days are any barometer, it is a real-life celebration of expecting the unexpected.\u003c/p>\n\u003cp>The inaugural night on Nov. 1 presented new and old interpretations of Dada at City Lights Bookstore. A mirror was broken, and to the beat of a drum performance, artist Guillermo Gomez Peña performed glitch poetry while the artist Balitrónica, in a black spandex sentai suit and mariachi hat, towered in an arched doorway holding a sign that read “AGAINST DEPORTATION AND EVICTION.” \u003c/p>\n\u003cp>New satirist favorite, writer Jon Longhi, informed us the internet — with its love of willful disinformation and e-mail spam (“made to outwit artificial machines”) — is the epitome of Dada. Old favorite Andrei Codrescu silenced the room by asking why San Francisco is still victim of compulsive optimism. Andrew Joron elicited random numbers from the audience, dialed them, and put the caller on speakerphone, asking who will win the election, to which the random caller said, “Death.” Poet Daphne Gottlieb asked us: “Are you ready for the wrench?”\u003c/p>\n\u003cfigure id=\"attachment_12313343\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/dadaatsea1200.jpg\" alt=\"'Dada@Sea.'\" width=\"900\" height=\"1200\" class=\"size-full wp-image-12313343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/dadaatsea1200-520x693.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Dada@Sea.’ \u003ccite>(Courtesy of Frederick Young and Linus Lancaster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier, by the water at Maritime Park, artist duo Frederick Young and Linus Lancaster, officiators of \u003ca href=\"https://dadaatsea.wordpress.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dada@Sea\u003c/i>\u003c/a>, offered gifts to Poseidon, pointing small horse sculptures covered in beef at the water and firing away. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>City Lights event director Peter Maravelis is the head organizer of the Dada World Fair. “Dada is a disruption of consensus reality, of capitalist reality, which basically says things are a certain way, and to be a good consumer,” he explained to me. “Whereas Dada really brings up the specter of citizenry.”\u003c/p>\n\u003cp>Dada was born of politics. Dadaists were immigrants and refugees running from fascism in World War I. It was the first war of the industrialized age, and as such the first modern shock of its kind. Along the trenches, ghostly green clouds of chlorine were creeping in, invading the foxholes, swelling and blocking soldiers’ lungs, causing suffocation. The returning soldiers wore new, fully practical prosthetic limbs, giving Dadaists the impression of the rise of half-mechanical men. So in Berlin, Paris, New York and Zurich, propaganda evenings took place in cabarets aiming to captivate youth in a movement of exuberant absurdity. \u003c/p>\n\u003cp>Maravelis thinks Dada is relevant to us now not only because of this year’s lion-share of absurdity, but because of the state of San Francisco as a lost (though potentially salvageable) place of counterculture. He is troubled by San Francisco’s descent towards “an insect colony built around creating widgets.” The Dada World Fair developed organically through Maravelis’ friendship with Codrescu (author of \u003cem>\u003ca href=\"http://press.princeton.edu/titles/8846.html\" target=\"_blank\" rel=\"noopener\">The Posthuman Dada Guide\u003c/a>\u003c/em>) to include political and artistic events on land and sea. \u003c/p>\n\u003cfigure id=\"attachment_12313342\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/divers.jpg\" alt=\"'Dada@Sea.'\" width=\"640\" height=\"424\" class=\"size-full wp-image-12313342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/divers-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Dada@Sea.’ \u003ccite>(Courtesy of Frederick Young and Linus Lancaster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dada@Sea\u003c/i> artists Frederick Young and Linus Lancaster take politics head on, ditto the mass eviction of artists and working class people from the city, and in circuitous whimsy they have christened the predicament “Vichy San Francisco.” They’ve applied to the Swiss Consulate for artistic asylum (Martin Schwartz at the Swiss Consulate said, “Artistic asylum is not a legal concept, to my knowledge”). They have acquired a barge — that was swamped, lost in a storm, towed by the city, and finally reborn — around which \u003ci>Dada@Sea\u003c/i> takes place (tours available by dory).\u003c/p>\n\u003cp>At the Sea Scout base by the Maritime Museum, Lancaster, a navy vet, says the two met as activists; they’re interested in the way performance art can mobilize where activism can grow stale. Invoking the rise of the political right, Young says, “The political and social shifts to the right are as dire as any point in history. The critique of the moment is very important.” \u003c/p>\n\u003cp>At noon on election day, Nov. 8, the duo plans to declare a state of emergency, and standing on Swiss soil from a jar donated by the Swiss consulate, they will hold a kind of civic artistic theater of disobedience. I won’t say any more; you will be remiss not to be there. \u003c/p>\n\u003cfigure id=\"attachment_12313340\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster.png\" alt=\"Digital collage by 'Dada@Sea.'\" width=\"500\" height=\"434\" class=\"size-full wp-image-12313340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster-160x139.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster-240x208.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FrederickYoungLinusLancaster-375x326.png 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Digital collage by ‘Dada@Sea.’ \u003ccite>(Courtesy of Frederick young and Linus Lancaster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What else can you expect at a Dada World Fair? If you make your way to a panel, be warned that there are several interventions planned. Maravelis says, “The interventions should also be intervened upon when the time comes so even those interventions will be intervened. And so it may be that nobody will be able to speak at any of these lectures. I have no idea what’s going to happen.”\u003c/p>\n\u003cp>On night three of the fair, I visited a \u003ca href=\"https://en.wikipedia.org/wiki/%27Pataphysics\" target=\"_blank\" rel=\"noopener\">pataphysics\u003c/a> event at Canessa gallery. Upon arrival, a pataphysicist in a lilac coat told me there was absinthe inside. They were serving absinthe because they discovered that Alfred Jarry, founder of pataphysics, used to ride a bicycle in San Francisco whilst drinking it. I’m learning not to believe anything a Dadaist tells me, so instead I asked what, exactly, is pataphysics. “Pataphysics is to metaphysics as metaphysics is to physics.” I stared, thinking, for a long time, then headed inside for a drink. A woman wore a hat of felted eyeballs. There were capricious sculptures and mass spontaneous eruptions of fake laughter: Ha! Ha! Ha! Another pataphysicist told me pataphysics is the science of imaginary solutions. \u003c/p>\n\u003cp>In the most touchingly beautiful act of the evening, the youngest pataphysicist, a girl of fourteen, blew on a didgeridoo, while another pataphysicist wore a large fish mask. The fish head with huge pearlescent eyes turned this way and that, playing, we were told, an invisible bell from a bicycle built for two. \u003c/p>\n\u003cp>These events required some alcohol to make sense, so I headed to Vesuvio, where Andrei Codrescu sat alone at a small table with a drink and a book. Later I saw him at a reading at City Lights, where Jack Foley performed Jerome Rothenberg’s “That Dada Strain,” accompanied by a bassist. It was nonsensical, humorous, and hypnotic. I caught the stanza, “the arctic bones strung out on Saint Germain.” I caught, “a message from the grim computer ‘ye are hamburgers.’”\u003c/p>\n\u003cp>I floated out of the bookstore to the bus stop, and nearby on a sidewalk table I spotted art historian Adrian Sudhalter, who gave a talk on day two, having a drink. Somehow I felt better about being in this nascent world before the election where none know what will happen. \u003c/p>\n\u003cp>If you’re looking for a splash of absurdity, some relief, or some voices of unreasonable reason, I recommend you make your way to this celebration. Here are some events worth looking forward to: \u003c/p>\n\u003ch3>Tuesday, Nov. 8\u003c/h3>\n\u003cp>On Election Day at noon, make your way to the \u003ci>Dada@Sea\u003c/i> special Election Day presentation. (Sea Scout Base, Maritime Park, San Francisco; Free.) At 8pm, make sure not to miss Dada Haus: a DeElection Night Soiree, where I am told there will be a walking, talking, breathing voting booth. (Location disclosed by invitation, available at the front counter of City Lights. $15-50 sliding scale.)\u003c/p>\n\u003ch3>Thursday, Nov. 10\u003c/h3>\n\u003cp>Meet at City Lights at 8pm for a Dada Séance through the streets of North Beach. Featuring a Dada toy instrument marching band. Costumes encouraged. (City Lights Bookstore, 261 Columbus Avenue; Free.)\u003c/p>\n\u003ch3>Saturday, Nov. 12\u003c/h3>\n\u003cp>Attend Dada Bordello, a “kind of mini-Dada Ball following in the footsteps of Cabaret Voltaire” with performances starting at 8pm by Conspiracy of Beards, Poetics of Narrative, Luciano Chessa, and Jack Foley, among others. (Odd Fellows Hall, 26 7th Street, San Francisco; Free, but tickets required and available at City Lights.) \u003c/p>\n\u003ch3>Sunday, Nov. 13\u003c/h3>\n\u003cp>At noon, \u003ci>Dada@Sea\u003c/i> will bid farewell to the Bay and embark toward the Golden Gate in what’s sure to be a luminous conclusion. (Sea Scout Base, Maritime Park, San Francisco; Free.) At 7:30pm, make sure not to miss the closing event of the Dada World Fair: Dada Divas is a musical and theatrical performance that “re-imagines the stories and creative works of important female artists and performers who were among the originators of the Dada movement.” (Swissnex, Pier 17, San Francisco; $10-$15; Tickets at Swissnex.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Dada World Fair runs through Nov. 13 with events happening daily at various locations around San Francisco. For a full schedule visit \u003ca href=\"http://www.dadaworldfair.net/devil-in-the-details/\" target=\"_blank\" rel=\"noopener\">dadaworldfair.net\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Singing Through the Night With Devorah Major's 'And Then We Became'",
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"content": "\u003cp>I don’t read poetry as often as I probably should, and so it feels like a gift to have received \u003ca href=\"https://www.cca.edu/academics/faculty/dmajor\">Devorah Major’s\u003c/a> latest poetry collection \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100716460\">\u003cem>And Then We Became\u003c/em>\u003c/a> (City Lights Books; 2016) in the final days of a hand-wringing, nightmare-drenched election cycle.\u003c/p>\n\u003cp>Why, just today, my husband kicked me in the shin in the early morning hours as he dreamed of chasing down a giant rat: Jung might have said that the rat symbolized he of the \u003ca href=\"http://www.politico.com/blogs/2016-gop-primary-live-updates-and-results/2016/03/trump-foreign-policy-adviser-220853\">very good brain that’s said a lot of things\u003c/a>, but I digress. Dipping into \u003cem>And Then We Became — \u003c/em>a slim volume with a beautiful cover, with the geometric look of galaxies flying across a sky between sunset and twilight — offers a quietly righteous respite from the muck of election-related opinion, emotional triggers, and binary arguments on a constant social media loop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12295113 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/majorbookcover.jpg\" alt=\"majorbookcover\" width=\"189\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/majorbookcover.jpg 189w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/majorbookcover-160x225.jpg 160w\" sizes=\"(max-width: 189px) 100vw, 189px\">\u003c/p>\n\u003cp>Even the title of the book is a relief. \u003cem>And Then We Became\u003c/em> is a reminder, a mantra to repeat daily; we are all in the process of becoming. Look around. How many people do you know that have arrived? What does it mean to arrive, to have somehow become what you were always meant to be, when even the universe, as Major points out in the book’s final poem “Cosmology Meditation #2,” is “omnicentric infinitely / expanding in all directions”? Nothing is set in stone, as much as Americans might like to believe (myself included) in the certainty of faith, rationality, to-do lists, and retail therapy.\u003c/p>\n\u003cblockquote>\u003cp>our universe\u003c/p>\n\u003cp>the cosmologist said\u003c/p>\n\u003cp>is creating itself\u003c/p>\u003c/blockquote>\n\u003cp>Other poems in the collection travel between celebration and mourning, on a range of subjects: family, culture, social justice, ambiguity. The effect is equal measures celebratory and sorrowful. You aren’t going to find answers in these poems. Only reminders that we are all searching, living, breathing, struggling, dying. Some are born into legacies of racial and gender oppression. Others survive physical ailments: strokes, cancer, mass shootings. You know, the stuff of modern life in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take the poem “Year of the Dragon,” in which Major manages to capture all of life and death in two short stanzas.\u003c/p>\n\u003cblockquote>\u003cp>it’s an abstract constellation we live in\u003c/p>\n\u003cp>knowing the clock will turn\u003c/p>\n\u003cp>at any moment\u003c/p>\n\u003cp>and it will suddenly become the year of passing on\u003c/p>\n\u003cp>the year of roads that end\u003c/p>\u003c/blockquote>\n\u003cp> \u003c/p>\n\u003cblockquote>\u003cp>but this year\u003c/p>\n\u003cp>this year is the year\u003c/p>\n\u003cp>we survived\u003c/p>\n\u003cp>the year of not dying\u003c/p>\u003c/blockquote>\n\u003cp>Major lives in the Bay Area and has long been a central force in the local poetry community. Born in California and raised in San Francisco, she served as the city’s poet laureate from 2002 to 2006. Over the course of her impressive career, she’s authored multiple novels, poetry books and chapbooks, short stories, young adult titles, and essays. In 2015, her poetry play \u003cem>Classic Black: Voices of 19th-Century African-Americans in San Francisco\u003c/em> premiered at the San Francisco International Arts Festival. It’s heartening to see a local poetry icon such as she published on City Lights — another enduring local force.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=rz9-axK87xU&w=560&h=315]\u003c/p>\n\u003cp>One of my favorite poems in the collection is “Human.” In a few concise lines, Major captures the utter futility of being human while finding grace and joy in the face of an unfathomably vast universe. I particularly love the last line, another mantra for those of us trying to maintain any kind of creative, empathetic, political consciousness in this topsy-turvy world.\u003c/p>\n\u003cblockquote>\u003cp>under the brightest full moon\u003c/p>\n\u003cp>I am less than a microscopic speck / on the edge of the universe’s lens\u003c/p>\n\u003cp>how can a grain of sand be sentient / how can a drop of rain dream\u003c/p>\n\u003cp>but here i am, singing through the night\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>Devorah Major \u003ca href=\"http://www.citylights.com/bookstore/?fa=books_events\">appears at City Lights Books \u003c/a>on Wednesday, Nov. 16, at 7pm. Details \u003ca href=\"http://www.citylights.com/bookstore/?fa=books_events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t read poetry as often as I probably should, and so it feels like a gift to have received \u003ca href=\"https://www.cca.edu/academics/faculty/dmajor\">Devorah Major’s\u003c/a> latest poetry collection \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100716460\">\u003cem>And Then We Became\u003c/em>\u003c/a> (City Lights Books; 2016) in the final days of a hand-wringing, nightmare-drenched election cycle.\u003c/p>\n\u003cp>Why, just today, my husband kicked me in the shin in the early morning hours as he dreamed of chasing down a giant rat: Jung might have said that the rat symbolized he of the \u003ca href=\"http://www.politico.com/blogs/2016-gop-primary-live-updates-and-results/2016/03/trump-foreign-policy-adviser-220853\">very good brain that’s said a lot of things\u003c/a>, but I digress. Dipping into \u003cem>And Then We Became — \u003c/em>a slim volume with a beautiful cover, with the geometric look of galaxies flying across a sky between sunset and twilight — offers a quietly righteous respite from the muck of election-related opinion, emotional triggers, and binary arguments on a constant social media loop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12295113 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/majorbookcover.jpg\" alt=\"majorbookcover\" width=\"189\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/majorbookcover.jpg 189w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/majorbookcover-160x225.jpg 160w\" sizes=\"(max-width: 189px) 100vw, 189px\">\u003c/p>\n\u003cp>Even the title of the book is a relief. \u003cem>And Then We Became\u003c/em> is a reminder, a mantra to repeat daily; we are all in the process of becoming. Look around. How many people do you know that have arrived? What does it mean to arrive, to have somehow become what you were always meant to be, when even the universe, as Major points out in the book’s final poem “Cosmology Meditation #2,” is “omnicentric infinitely / expanding in all directions”? Nothing is set in stone, as much as Americans might like to believe (myself included) in the certainty of faith, rationality, to-do lists, and retail therapy.\u003c/p>\n\u003cblockquote>\u003cp>our universe\u003c/p>\n\u003cp>the cosmologist said\u003c/p>\n\u003cp>is creating itself\u003c/p>\u003c/blockquote>\n\u003cp>Other poems in the collection travel between celebration and mourning, on a range of subjects: family, culture, social justice, ambiguity. The effect is equal measures celebratory and sorrowful. You aren’t going to find answers in these poems. Only reminders that we are all searching, living, breathing, struggling, dying. Some are born into legacies of racial and gender oppression. Others survive physical ailments: strokes, cancer, mass shootings. You know, the stuff of modern life in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take the poem “Year of the Dragon,” in which Major manages to capture all of life and death in two short stanzas.\u003c/p>\n\u003cblockquote>\u003cp>it’s an abstract constellation we live in\u003c/p>\n\u003cp>knowing the clock will turn\u003c/p>\n\u003cp>at any moment\u003c/p>\n\u003cp>and it will suddenly become the year of passing on\u003c/p>\n\u003cp>the year of roads that end\u003c/p>\u003c/blockquote>\n\u003cp> \u003c/p>\n\u003cblockquote>\u003cp>but this year\u003c/p>\n\u003cp>this year is the year\u003c/p>\n\u003cp>we survived\u003c/p>\n\u003cp>the year of not dying\u003c/p>\u003c/blockquote>\n\u003cp>Major lives in the Bay Area and has long been a central force in the local poetry community. Born in California and raised in San Francisco, she served as the city’s poet laureate from 2002 to 2006. Over the course of her impressive career, she’s authored multiple novels, poetry books and chapbooks, short stories, young adult titles, and essays. In 2015, her poetry play \u003cem>Classic Black: Voices of 19th-Century African-Americans in San Francisco\u003c/em> premiered at the San Francisco International Arts Festival. It’s heartening to see a local poetry icon such as she published on City Lights — another enduring local force.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rz9-axK87xU'\n title='//www.youtube.com/embed/rz9-axK87xU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of my favorite poems in the collection is “Human.” In a few concise lines, Major captures the utter futility of being human while finding grace and joy in the face of an unfathomably vast universe. I particularly love the last line, another mantra for those of us trying to maintain any kind of creative, empathetic, political consciousness in this topsy-turvy world.\u003c/p>\n\u003cblockquote>\u003cp>under the brightest full moon\u003c/p>\n\u003cp>I am less than a microscopic speck / on the edge of the universe’s lens\u003c/p>\n\u003cp>how can a grain of sand be sentient / how can a drop of rain dream\u003c/p>\n\u003cp>but here i am, singing through the night\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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>Devorah Major \u003ca href=\"http://www.citylights.com/bookstore/?fa=books_events\">appears at City Lights Books \u003c/a>on Wednesday, Nov. 16, at 7pm. Details \u003ca href=\"http://www.citylights.com/bookstore/?fa=books_events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>All your favorite cookbook authors up close and personal, in one place! That's the promise of \u003ca href=\"http://www.lesdamessf.org/event-2288124\" target=\"_blank\">A Literary Feast\u003c/a>, the Bay Area cookbook-signing party that the San Francisco chapter of \u003ca href=\"http://www.lesdamessf.org/\" target=\"_blank\">Les Dames d'Escoffier\u003c/a> is throwing inside the \u003ca href=\"http://www.ferrybuildingmarketplace.com/\" target=\"_blank\">Ferry Building \u003c/a> on Sunday, November 13, from 3-6pm. \u003c/p>\n\u003cp>According to the organization, the members of Les Dames d'Escoffier's San Francisco chapter are particularly literary--and successful. The prolific writer-chefs of our city (and its environs) have produced more best-selling, award-winning cookbooks than the Boston, New York, and Washington, D.C. chapters combined. Not that we're surprised, of course; the Bay Area has always been an intensely \u003ca href=\"http://www.sfgate.com/entertainment/books/item/Bay-Area-Literary-Map-23355.php/wrap-raf\" target=\"_blank\">literary place,\u003c/a> a vibrant home for readers and writers alike, whose voracious appetite for prose, poetry, essays, memoir, and more is matched only by a passion for food and cookbooks, and the chefs and cookbook writers who pen them. \u003c/p>\n\u003cp>We love to eat, and we love to read, and we love to eat while hanging out with writers, talking about food and writing. Many of my favorite cookbooks' recipes are annotated with handwritten notes, from questions I've asked our local authors during book signings or cooking demonstrations; it's easy to forget how privileged we are to have so many excellent chefs and authors on hand here as we do. At this event, all of these activities will be encouraged, as many of the cookbook authors on hand will also be handing out tastes of their favorite (or at least most easily served and transportable) signature dishes, as well as selling and signing their books. \u003c/p>\n\u003cp>Since publishing is a fickle business, and bookstores have finite shelf space, the siren call of the newest and latest can push even popular authors' backlists off the shelves. Once they've been marked down or remaindered, old titles can disappear too fast, like the airy pouf of a soufflé, never to be seen again--a sad happening for completists and collectors, or just those of us who fell in love with a recipe or two but delayed buying the book until it was too late. Since authors, at least those with garages or extra closet space, tend to hang on to their past work, this event may be a chance to finally track down some of your favorite writers' hard-to-find earlier books--and get them personally signed, too. \u003c/p>\n\u003cp>Who will be there? It's a who's who of a generation of well-known Bay Area writers, including Georgeanne Brennan, Joyce Goldstein, Dorie Greenspan, Paula Wolfert, forager Connie Green, Sunset Magazine's Margo True, Cowgirl Creamery's Sue Conley and Peggy Smith, Tanya Holland of Brown Sugar Kitchen, chocolatier Amy Guittard, and some two dozen more, including KQED's own Leslie Sbrocco, host of \u003ca href=\"https://ww2.kqed.org/checkplease/\" target=\"_blank\">Check, Please!\u003c/a> and \u003ca href=\"https://ww2.kqed.org/food/series/taste-this/\" target=\"_blank\">Taste This\u003c/a>, and the author of \u003cem>The Simple and Savvy Wine Guide\u003c/em> and \u003cem>Wine for Women.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ticket fee ($10 in advance through \u003ca href=\"http://www.cellarpass.com/a-literary-feast-tickets-1801\" target=\"_blank\">Cellarpass\u003c/a>, $12 at the door) covers entrance to the event and tastes from many of the authors. If you're a woman in the culinary world, and you haven't heard of \u003ca href=\"http://www.lesdamessf.org/\" target=\"_blank\">Les Dames d'Escoffier-San Francisco\u003c/a> (LDE-SF), you should: the Bay Area's busy chapter has roughly 100 members, with a mission of \"education, advocacy, and philanthropy\" in support of women striving for leadership--whether as chefs, teachers, managers, writers, or entrepreneurs--in the food, beverage, and hospitality industries. (Membership in the San Francisco chapter, like all LDE chapters, is by invitation.) \u003c/p>\n\u003cp>Ticket sales will go towards LDE-SF's Culinary Scholarship Fund, which \"provides deserving female culinary students with funding to enrich their education in the culinary world,\" according to the organization. A portion of the proceeds will also go to support \u003ca href=\"http://www.gardenproject.org\" target=\"_blank\">The Garden Project\u003c/a>, a nonprofit working with high school students and at-risk youth to provide environmentally-based work training and life skills through its Earth Stewards program; the organization also runs a farm in conjunction with prisoners at the San Francisco County Jail's San Bruno Complex. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, stop by on Sunday, November 13, and get your holiday shopping done, and pick up some holiday cooking tips while you're at it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All your favorite cookbook authors up close and personal, in one place! That's the promise of \u003ca href=\"http://www.lesdamessf.org/event-2288124\" target=\"_blank\">A Literary Feast\u003c/a>, the Bay Area cookbook-signing party that the San Francisco chapter of \u003ca href=\"http://www.lesdamessf.org/\" target=\"_blank\">Les Dames d'Escoffier\u003c/a> is throwing inside the \u003ca href=\"http://www.ferrybuildingmarketplace.com/\" target=\"_blank\">Ferry Building \u003c/a> on Sunday, November 13, from 3-6pm. \u003c/p>\n\u003cp>According to the organization, the members of Les Dames d'Escoffier's San Francisco chapter are particularly literary--and successful. The prolific writer-chefs of our city (and its environs) have produced more best-selling, award-winning cookbooks than the Boston, New York, and Washington, D.C. chapters combined. Not that we're surprised, of course; the Bay Area has always been an intensely \u003ca href=\"http://www.sfgate.com/entertainment/books/item/Bay-Area-Literary-Map-23355.php/wrap-raf\" target=\"_blank\">literary place,\u003c/a> a vibrant home for readers and writers alike, whose voracious appetite for prose, poetry, essays, memoir, and more is matched only by a passion for food and cookbooks, and the chefs and cookbook writers who pen them. \u003c/p>\n\u003cp>We love to eat, and we love to read, and we love to eat while hanging out with writers, talking about food and writing. Many of my favorite cookbooks' recipes are annotated with handwritten notes, from questions I've asked our local authors during book signings or cooking demonstrations; it's easy to forget how privileged we are to have so many excellent chefs and authors on hand here as we do. At this event, all of these activities will be encouraged, as many of the cookbook authors on hand will also be handing out tastes of their favorite (or at least most easily served and transportable) signature dishes, as well as selling and signing their books. \u003c/p>\n\u003cp>Since publishing is a fickle business, and bookstores have finite shelf space, the siren call of the newest and latest can push even popular authors' backlists off the shelves. Once they've been marked down or remaindered, old titles can disappear too fast, like the airy pouf of a soufflé, never to be seen again--a sad happening for completists and collectors, or just those of us who fell in love with a recipe or two but delayed buying the book until it was too late. Since authors, at least those with garages or extra closet space, tend to hang on to their past work, this event may be a chance to finally track down some of your favorite writers' hard-to-find earlier books--and get them personally signed, too. \u003c/p>\n\u003cp>Who will be there? It's a who's who of a generation of well-known Bay Area writers, including Georgeanne Brennan, Joyce Goldstein, Dorie Greenspan, Paula Wolfert, forager Connie Green, Sunset Magazine's Margo True, Cowgirl Creamery's Sue Conley and Peggy Smith, Tanya Holland of Brown Sugar Kitchen, chocolatier Amy Guittard, and some two dozen more, including KQED's own Leslie Sbrocco, host of \u003ca href=\"https://ww2.kqed.org/checkplease/\" target=\"_blank\">Check, Please!\u003c/a> and \u003ca href=\"https://ww2.kqed.org/food/series/taste-this/\" target=\"_blank\">Taste This\u003c/a>, and the author of \u003cem>The Simple and Savvy Wine Guide\u003c/em> and \u003cem>Wine for Women.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ticket fee ($10 in advance through \u003ca href=\"http://www.cellarpass.com/a-literary-feast-tickets-1801\" target=\"_blank\">Cellarpass\u003c/a>, $12 at the door) covers entrance to the event and tastes from many of the authors. If you're a woman in the culinary world, and you haven't heard of \u003ca href=\"http://www.lesdamessf.org/\" target=\"_blank\">Les Dames d'Escoffier-San Francisco\u003c/a> (LDE-SF), you should: the Bay Area's busy chapter has roughly 100 members, with a mission of \"education, advocacy, and philanthropy\" in support of women striving for leadership--whether as chefs, teachers, managers, writers, or entrepreneurs--in the food, beverage, and hospitality industries. (Membership in the San Francisco chapter, like all LDE chapters, is by invitation.) \u003c/p>\n\u003cp>Ticket sales will go towards LDE-SF's Culinary Scholarship Fund, which \"provides deserving female culinary students with funding to enrich their education in the culinary world,\" according to the organization. A portion of the proceeds will also go to support \u003ca href=\"http://www.gardenproject.org\" target=\"_blank\">The Garden Project\u003c/a>, a nonprofit working with high school students and at-risk youth to provide environmentally-based work training and life skills through its Earth Stewards program; the organization also runs a farm in conjunction with prisoners at the San Francisco County Jail's San Bruno Complex. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, stop by on Sunday, November 13, and get your holiday shopping done, and pick up some holiday cooking tips while you're at it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Every other week, Leilani Clark shares her picks for upcoming author events. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 1: Aichlee Bushnell and Solmaz Sharif at Mills Hall Living Room, Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12273170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/index.jpg\" alt=\"index\" width=\"186\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/index.jpg 186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/index-160x233.jpg 160w\" sizes=\"(max-width: 186px) 100vw, 186px\">The first Tuesday of November brings an opportunity to watch two award-winning, powerhouse poets at work. Aichlee Bushnell, who lives in Oakland with her family, won the 2014 Noemi Press Book Award for Poetry for her debut collection \u003ca href=\"http://www.noemipress.org/catalog/poetry/objects-of-attention-by-aichlee-bushnell/\">\u003cem>Objects of Attention\u003c/em>\u003c/a>, which uses the writing of Thomas Jefferson to tell the oft-neglected story of \u003ca href=\"http://www.biography.com/people/sally-hemings-9542356\">Sally Hemings\u003c/a>. Solmaz Sharif’s 2016 poetry collection\u003ca href=\"https://www.graywolfpress.org/news/light-all-sides-worlds-we-are-part\"> \u003cem>Look\u003c/em> \u003c/a>was recently announced as a finalist for the National Book Award for poetry. (Winners will be announced on Nov. 16.) Sharif’s work uses language from the Department of Defense to investigate the violence and loss of war, and how these things are embedded in daily language. \u003ca href=\"https://www.mills.edu/academics/graduate/eng/events_and_news/contemporary_writers_series.php\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 4: Frances Dinkenspiel and Frances Stroh at ‘The Basement Series—The Morning After,’ San Francisco \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto.jpg\" alt=\"francesstrohauthorphoto\" width=\"154\" height=\"154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-150x150.jpg 150w\" sizes=\"(max-width: 154px) 100vw, 154px\">Lit Camp’s Basement Series bills itself as the only reading series in the Bay Area with FREE BEER (their caps, not mine), but the real draw to its latest edition are two excellent, drinky writers. \u003ca href=\"http://francesstroh.com/\">Frances Stroh’s\u003c/a> debut \u003cem>Beer Money: A Memoir of Privilege and Loss\u003c/em> explores what it was like to come-of-age as a member of Detroit’s Stroh Beer family, which fell into economic shambles three decades ago. Stroh now lives in the Bay Area, and is a member of the San Francisco Writers’ Grotto. \u003ca href=\"http://francesdinkelspiel.com/biography/\">Frances Dinkenspiel’s\u003c/a> \u003cem>Tangled Vines: Greed, Murder, Obsession and an Arsonist in the Vineyards of California \u003c/em>was a \u003cem>New York Times\u003c/em> and \u003cem>San Francisco Chronicle\u003c/em> bestseller and was named a best wine book of 2015 \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg.png\" alt=\"tangled-cvr-lrg\" width=\"140\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg.png 271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg-160x257.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg-240x385.png 240w\" sizes=\"(max-width: 140px) 100vw, 140px\">by the \u003cem>Wall Street Journal\u003c/em>, \u003cem>Food and Wine\u003c/em> magazine, and the \u003cem>San Jose Mercury News\u003c/em>. This is a great opportunity to get buzzed and hoot it up with a couple of local writing luminaries. Admission is $5-$10 sliding scale at the door, with proceeds split between Dave Eggers ScholarMatch and Lit Camp scholarships. \u003ca href=\"https://www.facebook.com/events/305637459803716/\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 9: Lost Profiles—A Parisian Dada Salon at Mechanics’ Institute Library, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/87286100571740L.jpg\" alt=\"87286100571740l\" width=\"217\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-520x728.jpg 520w\" sizes=\"(max-width: 217px) 100vw, 217px\">In 1962, Phillipe Soupault, a cofounder of the Surrealist movement, published\u003cem> Lost Profiles: Memoirs of Cubism, Dada, and Surrealism\u003c/em>. Somewhat of a memoir, the classic first-person account, now \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100571740\">available in English for the first time\u003c/a> through City Lights, is filled with Soupault’s reminiscences about the period of time when the Dada movement transformed into surrealism. You’ll find appearances by Marcel Proust, James Joyce, Pierre Reverdy, and Henri Rousseau. (An excerpt,\u003ca href=\"http://www.theparisreview.org/blog/2016/10/26/strange-friend-marcel-proust/\"> the awesomely titled “My Strange Friend Marcel Proust, \u003c/a>is available to read \u003ca href=\"http://www.theparisreview.org/blog/2016/10/26/strange-friend-marcel-proust/\" target=\"_blank\" rel=\"noopener\">over at the \u003cem>Paris Review\u003c/em>\u003c/a>.) The new edition of the book by City Lights is part of a centennial celebration of Dada, culminating in the \u003ca href=\"http://www.dadaworldfair.net/#cover-page\">2016 Dada World Fair\u003c/a>. Translator and Bay Area resident Alan Bernheimer will be on hand to present \u003cem>Lost Profiles\u003c/em>. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2724\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 10: Maggie Nelson at the University of San Francisco, SF\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium.jpg\" alt=\"nelson_maggie_10_10_2013_medium\" width=\"113\" height=\"170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-520x779.jpg 520w\" sizes=\"(max-width: 113px) 100vw, 113px\">I \u003ca href=\"https://ww2.kqed.org/arts/2015/05/24/ablaze-with-care-maggie-nelson-on-her-new-book-the-argonauts/\">wrote about Maggie Nelson\u003c/a> as my literary godmother last year on the release of \u003ca href=\"https://www.graywolfpress.org/books/argonauts\">\u003cem>The Argonauts\u003c/em>\u003c/a>, her 2015 mashup of queer theory, family memoir, and arts criticism. I seriously cannot get enough of Nelson’s brilliant mind. And I’m not the only one: just last month, the Los Angeles-based writer and professor of criticism at CalArts received the honor of a 2016 MacArthur Genius Grant, which will hopefully guarantee many more books from one of the 21st century’s keenest intellectuals. \u003ca href=\"https://www.usfca.edu/event/2016-11-10-1945/mfa-reading-series-maggie-nelson\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Leilani Clark shares her picks for upcoming author events in the early weeks of November. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Every other week, Leilani Clark shares her picks for upcoming author events. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Nov. 1: Aichlee Bushnell and Solmaz Sharif at Mills Hall Living Room, Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12273170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/index.jpg\" alt=\"index\" width=\"186\" height=\"271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/index.jpg 186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/index-160x233.jpg 160w\" sizes=\"(max-width: 186px) 100vw, 186px\">The first Tuesday of November brings an opportunity to watch two award-winning, powerhouse poets at work. Aichlee Bushnell, who lives in Oakland with her family, won the 2014 Noemi Press Book Award for Poetry for her debut collection \u003ca href=\"http://www.noemipress.org/catalog/poetry/objects-of-attention-by-aichlee-bushnell/\">\u003cem>Objects of Attention\u003c/em>\u003c/a>, which uses the writing of Thomas Jefferson to tell the oft-neglected story of \u003ca href=\"http://www.biography.com/people/sally-hemings-9542356\">Sally Hemings\u003c/a>. Solmaz Sharif’s 2016 poetry collection\u003ca href=\"https://www.graywolfpress.org/news/light-all-sides-worlds-we-are-part\"> \u003cem>Look\u003c/em> \u003c/a>was recently announced as a finalist for the National Book Award for poetry. (Winners will be announced on Nov. 16.) Sharif’s work uses language from the Department of Defense to investigate the violence and loss of war, and how these things are embedded in daily language. \u003ca href=\"https://www.mills.edu/academics/graduate/eng/events_and_news/contemporary_writers_series.php\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 4: Frances Dinkenspiel and Frances Stroh at ‘The Basement Series—The Morning After,’ San Francisco \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto.jpg\" alt=\"francesstrohauthorphoto\" width=\"154\" height=\"154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FrancesStrohAuthorPhoto-150x150.jpg 150w\" sizes=\"(max-width: 154px) 100vw, 154px\">Lit Camp’s Basement Series bills itself as the only reading series in the Bay Area with FREE BEER (their caps, not mine), but the real draw to its latest edition are two excellent, drinky writers. \u003ca href=\"http://francesstroh.com/\">Frances Stroh’s\u003c/a> debut \u003cem>Beer Money: A Memoir of Privilege and Loss\u003c/em> explores what it was like to come-of-age as a member of Detroit’s Stroh Beer family, which fell into economic shambles three decades ago. Stroh now lives in the Bay Area, and is a member of the San Francisco Writers’ Grotto. \u003ca href=\"http://francesdinkelspiel.com/biography/\">Frances Dinkenspiel’s\u003c/a> \u003cem>Tangled Vines: Greed, Murder, Obsession and an Arsonist in the Vineyards of California \u003c/em>was a \u003cem>New York Times\u003c/em> and \u003cem>San Francisco Chronicle\u003c/em> bestseller and was named a best wine book of 2015 \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg.png\" alt=\"tangled-cvr-lrg\" width=\"140\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg.png 271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg-160x257.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Tangled-cvr-lrg-240x385.png 240w\" sizes=\"(max-width: 140px) 100vw, 140px\">by the \u003cem>Wall Street Journal\u003c/em>, \u003cem>Food and Wine\u003c/em> magazine, and the \u003cem>San Jose Mercury News\u003c/em>. This is a great opportunity to get buzzed and hoot it up with a couple of local writing luminaries. Admission is $5-$10 sliding scale at the door, with proceeds split between Dave Eggers ScholarMatch and Lit Camp scholarships. \u003ca href=\"https://www.facebook.com/events/305637459803716/\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 9: Lost Profiles—A Parisian Dada Salon at Mechanics’ Institute Library, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/87286100571740L.jpg\" alt=\"87286100571740l\" width=\"217\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/87286100571740L-520x728.jpg 520w\" sizes=\"(max-width: 217px) 100vw, 217px\">In 1962, Phillipe Soupault, a cofounder of the Surrealist movement, published\u003cem> Lost Profiles: Memoirs of Cubism, Dada, and Surrealism\u003c/em>. Somewhat of a memoir, the classic first-person account, now \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100571740\">available in English for the first time\u003c/a> through City Lights, is filled with Soupault’s reminiscences about the period of time when the Dada movement transformed into surrealism. You’ll find appearances by Marcel Proust, James Joyce, Pierre Reverdy, and Henri Rousseau. (An excerpt,\u003ca href=\"http://www.theparisreview.org/blog/2016/10/26/strange-friend-marcel-proust/\"> the awesomely titled “My Strange Friend Marcel Proust, \u003c/a>is available to read \u003ca href=\"http://www.theparisreview.org/blog/2016/10/26/strange-friend-marcel-proust/\" target=\"_blank\" rel=\"noopener\">over at the \u003cem>Paris Review\u003c/em>\u003c/a>.) The new edition of the book by City Lights is part of a centennial celebration of Dada, culminating in the \u003ca href=\"http://www.dadaworldfair.net/#cover-page\">2016 Dada World Fair\u003c/a>. Translator and Bay Area resident Alan Bernheimer will be on hand to present \u003cem>Lost Profiles\u003c/em>. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2724\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 10: Maggie Nelson at the University of San Francisco, SF\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12273354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium.jpg\" alt=\"nelson_maggie_10_10_2013_medium\" width=\"113\" height=\"170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium.jpg 534w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/nelson_maggie_10_10_2013_medium-520x779.jpg 520w\" sizes=\"(max-width: 113px) 100vw, 113px\">I \u003ca href=\"https://ww2.kqed.org/arts/2015/05/24/ablaze-with-care-maggie-nelson-on-her-new-book-the-argonauts/\">wrote about Maggie Nelson\u003c/a> as my literary godmother last year on the release of \u003ca href=\"https://www.graywolfpress.org/books/argonauts\">\u003cem>The Argonauts\u003c/em>\u003c/a>, her 2015 mashup of queer theory, family memoir, and arts criticism. I seriously cannot get enough of Nelson’s brilliant mind. And I’m not the only one: just last month, the Los Angeles-based writer and professor of criticism at CalArts received the honor of a 2016 MacArthur Genius Grant, which will hopefully guarantee many more books from one of the 21st century’s keenest intellectuals. \u003ca href=\"https://www.usfca.edu/event/2016-11-10-1945/mfa-reading-series-maggie-nelson\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Longtime Progressive Activist Tom Hayden Dies at 76",
"title": "Longtime Progressive Activist Tom Hayden Dies at 76",
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"content": "\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289753182\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/289753182&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/289753182'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Midway through his essay about “\u003ca href=\"http://therumpus.net/2010/12/the-lonely-voice-8-in-praise-of-inaction-bellows-the-old-system/\">The Old System\u003c/a>” by Saul Bellow, Peter Orner mentions the “kitchen table story.” This is Orner’s “preferred species of story,” he writes, “where a single, motionless narrator looks out a kitchen window and ponders.”\u003c/p>\n\u003cp>“If I could get away with trying to write such stories for the rest of my life,” Orner, who lives in San Francisco and Bolinas, continues, “I would, because I believe in kitchen table silence.”\u003c/p>\n\u003cp>I can’t think of a more fitting description for the feeling that washes across the entirety of Orner’s latest book, \u003cem>Am I Alone Here?: Notes on Living to Read and Reading to Live\u003c/em>, a collection of essays, both short and long, about books, death, parenting, children, fathers, loneliness, mothers, and everything else that goes along with being alive. These are Orner’s own kitchen table stories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12236987 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL.jpg\" alt=\"51Nlzcpn8vL\" width=\"333\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL-240x360.jpg 240w\" sizes=\"(max-width: 333px) 100vw, 333px\">\u003c/p>\n\u003cp>One of my favorites — though I must say, I adored every essay in this immensely thoughtful and intimate book — is “Stray Thoughts on Kafka.” On the surface, Orner has written a study of Kafka’s own struggle with loneliness. In fact, Orner has an “utterly unprovable theory” based on bits of Kafka’s diary which posits that, as much as Kafka wanted to be glum and lonely, the man wasn’t actually anything of the sort. The author of \u003cem>The Trial\u003c/em> may have craved solitude, but in reality, Orner writes, “we’re talking about a guy who was out at the Cafe Louvre yukking it up with Max Brod and his other law school buddies \u003cem>all of the time\u003c/em>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Orner manages to swing between his Kafka theories and his own visit to Harbin Hot Springs (he never mentions it by name, but anyone who’s been to the famously naked and watery New Age destination, burned to the ground in 2015, knows what Orner is talking about) is quite brilliant. At the hot springs, where he’s gone to recover from the bewildering and exhausting ruins of a marriage, Orner escapes from the “competitively exposed flesh” to a thatched hut at the top of a mountain, “two yoga mats side by romantic side.” After an attempt to meditate, foiled by nervous agitation, Orner is approached by a bearded guy wearing “nothing but hiking boots and a loose thong.”\u003c/p>\n\u003cp>Instead of making fun of the young hippie, as most would be inclined to do, Orner moves into a reflection on the nature of loneliness, concluding with a reluctant gratitude to the man for breaking the silence of those Calistoga woods. Kafka has written of this need for a common humanity with the metaphor of the street window, where the lonely soul can stand and watch the tumult, wagons, and people, and be drawn into the “human harmony.”\u003c/p>\n\u003cp>Orner writes:\u003c/p>\n\u003cblockquote>\u003cp>At some point, much as we talk a big game about needing to go it alone, we can’t help but be pulled to the window, to the noise and the voices. Come on into my hut and tell me about the demonology of garments, thong man, I’ll listen.\u003c/p>\u003c/blockquote>\n\u003cp>Books are the glue that holds Orner’s essays together, but this \u003cem>Am I Alone Here\u003c/em> is also a memoir. At its core, this is the story of Orner’s semi-estranged relationship with his father, now deceased. Dave Eggers suggests reading the book from beginning to end, rather than dipping in to individual essays. I agree. The thread running through these essays is the unresolved story of a father and son, and how they push through this life, enmeshed in an antagonistic, distant love.\u003c/p>\n\u003cp>In Orner, you’ll also find a modern author willing to err on the side of loneliness. It’s okay to be the crazy guy in the dark garage, surrounded by dusty books and mice, muttering about some long-dead 19th century writer. Still, \u003cem>Am I Alone Here\u003c/em> serves as a crafty play on the idea. Because, as Orner might himself admit, he’s not alone. He has books as companions. As reference points. As teachers. As instigators of a deep, gracious appreciation for the “phenomenal muddle” that is being alive. He’s also a father and a partner. So even when alone, he’s not, really.\u003c/p>\n\u003cp>I will say that reading this book made me feel woefully under-read. Out of dozens of books and writers mentioned in \u003cem>Am I Alone Here\u003c/em>, I can attest to having read only a few, and that as the holder of an English degree from a relatively prestigious UC school. Yes, I’ve read \u003cem>To the Lighthouse\u003c/em> by Virginia Woolf and \u003cem>Their Eyes Were Watching\u003c/em> God by Zora Neale Hurston. Yes, I’ve read a Chekhov story here and there (you can’t get out alive with an English degree without reading \u003cem>The Lady with the Lapdog\u003c/em> at least, oh, a dozen times), and some Kafka. Who didn’t read \u003cem>The Metamorphosis\u003c/em> in high school?\u003c/p>\n\u003cp>I’ve also enjoyed a few stories by William Trevor, some of which have stuck with me for a long time. But with Orner, it’s not the reading so much as the long tail of processing. Orner makes me jealous with the way that he’s internalized and inhabited a Trevor story (“The Dressmaker’s Child” from at \u003cem>Cheating at Canasta\u003c/em>) so completely that it invades his dreams and makes him question whether a particular event actually happened to him and not a character in the story.\u003c/p>\n\u003cp>With that said, one could spend the next 10 years catching up on the reading list compiled strictly from Orner’s book: Breece D’J Pancake, Frank O’ Connor, Eudora Welty, Robert Walser, Juan Rulfo, William Maxwell, Angela Carter, Bernard Malamud, Gina Berriault, Andre Dubus, Isaac Babel, Wright Morris, Victor Martinez, Mavis Gallant, Saul Bellow, Heinrich Boll, James Salter, Yasunari Kawabata, Elias Canetti, and more.\u003c/p>\n\u003cp>Not that this would be a chore. Honestly, \u003cem>Am I Alone Here\u003c/em> made me want to close myself in a dusty bookstore for a few months to read until my eyes burn and my soul is washed clean of the trivial. Alone there, yes. But with all the world before me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine-800x42.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-medium 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Booksmith hosts the\u003ca href=\"http://www.booksmith.com/event/peter-orner-am-i-alone-here\"> San Francisco launch\u003c/a> of ‘Am I Alone Here?’ on Wednesday, Nov. 2. Peter Orner also \u003ca href=\"http://www.bookpassage.com/event/peter-orner-christine-sneed-evening-conversation\">appears \u003c/a>at Book Passage in Corte Madera on Thursday, Dec. 1. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through his essay about “\u003ca href=\"http://therumpus.net/2010/12/the-lonely-voice-8-in-praise-of-inaction-bellows-the-old-system/\">The Old System\u003c/a>” by Saul Bellow, Peter Orner mentions the “kitchen table story.” This is Orner’s “preferred species of story,” he writes, “where a single, motionless narrator looks out a kitchen window and ponders.”\u003c/p>\n\u003cp>“If I could get away with trying to write such stories for the rest of my life,” Orner, who lives in San Francisco and Bolinas, continues, “I would, because I believe in kitchen table silence.”\u003c/p>\n\u003cp>I can’t think of a more fitting description for the feeling that washes across the entirety of Orner’s latest book, \u003cem>Am I Alone Here?: Notes on Living to Read and Reading to Live\u003c/em>, a collection of essays, both short and long, about books, death, parenting, children, fathers, loneliness, mothers, and everything else that goes along with being alive. These are Orner’s own kitchen table stories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12236987 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL.jpg\" alt=\"51Nlzcpn8vL\" width=\"333\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/51Nlzcpn8vL-240x360.jpg 240w\" sizes=\"(max-width: 333px) 100vw, 333px\">\u003c/p>\n\u003cp>One of my favorites — though I must say, I adored every essay in this immensely thoughtful and intimate book — is “Stray Thoughts on Kafka.” On the surface, Orner has written a study of Kafka’s own struggle with loneliness. In fact, Orner has an “utterly unprovable theory” based on bits of Kafka’s diary which posits that, as much as Kafka wanted to be glum and lonely, the man wasn’t actually anything of the sort. The author of \u003cem>The Trial\u003c/em> may have craved solitude, but in reality, Orner writes, “we’re talking about a guy who was out at the Cafe Louvre yukking it up with Max Brod and his other law school buddies \u003cem>all of the time\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Orner manages to swing between his Kafka theories and his own visit to Harbin Hot Springs (he never mentions it by name, but anyone who’s been to the famously naked and watery New Age destination, burned to the ground in 2015, knows what Orner is talking about) is quite brilliant. At the hot springs, where he’s gone to recover from the bewildering and exhausting ruins of a marriage, Orner escapes from the “competitively exposed flesh” to a thatched hut at the top of a mountain, “two yoga mats side by romantic side.” After an attempt to meditate, foiled by nervous agitation, Orner is approached by a bearded guy wearing “nothing but hiking boots and a loose thong.”\u003c/p>\n\u003cp>Instead of making fun of the young hippie, as most would be inclined to do, Orner moves into a reflection on the nature of loneliness, concluding with a reluctant gratitude to the man for breaking the silence of those Calistoga woods. Kafka has written of this need for a common humanity with the metaphor of the street window, where the lonely soul can stand and watch the tumult, wagons, and people, and be drawn into the “human harmony.”\u003c/p>\n\u003cp>Orner writes:\u003c/p>\n\u003cblockquote>\u003cp>At some point, much as we talk a big game about needing to go it alone, we can’t help but be pulled to the window, to the noise and the voices. Come on into my hut and tell me about the demonology of garments, thong man, I’ll listen.\u003c/p>\u003c/blockquote>\n\u003cp>Books are the glue that holds Orner’s essays together, but this \u003cem>Am I Alone Here\u003c/em> is also a memoir. At its core, this is the story of Orner’s semi-estranged relationship with his father, now deceased. Dave Eggers suggests reading the book from beginning to end, rather than dipping in to individual essays. I agree. The thread running through these essays is the unresolved story of a father and son, and how they push through this life, enmeshed in an antagonistic, distant love.\u003c/p>\n\u003cp>In Orner, you’ll also find a modern author willing to err on the side of loneliness. It’s okay to be the crazy guy in the dark garage, surrounded by dusty books and mice, muttering about some long-dead 19th century writer. Still, \u003cem>Am I Alone Here\u003c/em> serves as a crafty play on the idea. Because, as Orner might himself admit, he’s not alone. He has books as companions. As reference points. As teachers. As instigators of a deep, gracious appreciation for the “phenomenal muddle” that is being alive. He’s also a father and a partner. So even when alone, he’s not, really.\u003c/p>\n\u003cp>I will say that reading this book made me feel woefully under-read. Out of dozens of books and writers mentioned in \u003cem>Am I Alone Here\u003c/em>, I can attest to having read only a few, and that as the holder of an English degree from a relatively prestigious UC school. Yes, I’ve read \u003cem>To the Lighthouse\u003c/em> by Virginia Woolf and \u003cem>Their Eyes Were Watching\u003c/em> God by Zora Neale Hurston. Yes, I’ve read a Chekhov story here and there (you can’t get out alive with an English degree without reading \u003cem>The Lady with the Lapdog\u003c/em> at least, oh, a dozen times), and some Kafka. Who didn’t read \u003cem>The Metamorphosis\u003c/em> in high school?\u003c/p>\n\u003cp>I’ve also enjoyed a few stories by William Trevor, some of which have stuck with me for a long time. But with Orner, it’s not the reading so much as the long tail of processing. Orner makes me jealous with the way that he’s internalized and inhabited a Trevor story (“The Dressmaker’s Child” from at \u003cem>Cheating at Canasta\u003c/em>) so completely that it invades his dreams and makes him question whether a particular event actually happened to him and not a character in the story.\u003c/p>\n\u003cp>With that said, one could spend the next 10 years catching up on the reading list compiled strictly from Orner’s book: Breece D’J Pancake, Frank O’ Connor, Eudora Welty, Robert Walser, Juan Rulfo, William Maxwell, Angela Carter, Bernard Malamud, Gina Berriault, Andre Dubus, Isaac Babel, Wright Morris, Victor Martinez, Mavis Gallant, Saul Bellow, Heinrich Boll, James Salter, Yasunari Kawabata, Elias Canetti, and more.\u003c/p>\n\u003cp>Not that this would be a chore. Honestly, \u003cem>Am I Alone Here\u003c/em> made me want to close myself in a dusty bookstore for a few months to read until my eyes burn and my soul is washed clean of the trivial. Alone there, yes. But with all the world before me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine-800x42.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-medium 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Booksmith hosts the\u003ca href=\"http://www.booksmith.com/event/peter-orner-am-i-alone-here\"> San Francisco launch\u003c/a> of ‘Am I Alone Here?’ on Wednesday, Nov. 2. Peter Orner also \u003ca href=\"http://www.bookpassage.com/event/peter-orner-christine-sneed-evening-conversation\">appears \u003c/a>at Book Passage in Corte Madera on Thursday, Dec. 1. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lit-picks-luis-valdez-margot-livesey-brontez-purnell-and-more",
"title": "Lit Picks: Luis Valdez, Margot Livesey, Brontez Purnell and more",
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"content": "\u003cp>\u003cstrong>Wednesday, Oct. 19: Luis Valdez at Hammer Theatre, San Jose State University\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12199378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/zootsuit.jpg\" alt=\"zootsuit\" width=\"181\" height=\"279\">Luis Valdez is a legend in the Chicano literary world (and beyond). His 1979 play \u003cem>Zoot Suit\u003c/em> was the first Chicano work to debut on Broadway. The play is based on the \u003ca href=\"http://www.pbs.org/wgbh/amex/zoot/eng_peopleevents/e_murder.html\">Sleepy Lagoon murder trial\u003c/a>, in which a Mexican-American man is accused of a crime that he (possibly) didn’t commit, and which infamously led to the Zoot Suit Riots in 1940’s Los Angeles. Valdez also founded El Teatro Campesino in 1965 as a way to dramatize and give attention to the plight of farmworkers in California. And, he directed one of my all time favorite movies from childhood, \u003cem>La Bamba, s\u003c/em>tarring Lou Diamond Phillips as Richie Valens, and featuring a great soundtrack by Los Lobos. Valdez will be delivering the James D. Houston Memorial Lecture on Oct. 19 followed by a fundraiser and reception. \u003ca href=\"http://www.litart.org/luis-valdez/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Oct.18: Margot Livesey at Mrs. Dalloway’s, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12199575\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/jacket-mercury.jpg\" alt=\"jacket-mercury\" width=\"151\" height=\"227\">I remember reading a couple of short stories by Margot Livesey and becoming immediately enthralled with her way with language. Originally from Scotland, Livesey as written seven novels since the 1986 publication of her short story collection \u003cem>Learning By Heart.\u003c/em> Her eighth novel, \u003cem>Mercury\u003c/em>, was published in September. \u003cem>Mercury\u003c/em> tells the story of love, marriage, guns, and horses, not in that particular order. \u003cem>The New Yorker\u003c/em> calls it “consuming.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1618924015089600/\">Details here \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Livesey also appears at Book Passage in Corte Madera on Oct. 19.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 20: Brontez Purnell and Laura Zink at E.M. Wolfman General Interest Small Bookstore, Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12199380\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/BP.jpg\" alt=\"BP\" width=\"163\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BP.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BP-400x578.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BP-415x600.jpg 415w\" sizes=\"(max-width: 163px) 100vw, 163px\"> \u003ca href=\"http://zinewiki.com/Brontez\">Brontez Purnell\u003c/a> has already made a name for himself as a dynamic front-person/guitarist for the band The Younger Lovers, and as a dancer, and a filmmaker. But he’s also a fiction writer, and in that role, he’ll be reading at Pedestrian Prose, a brand-new Bay Area reading series. “Looking around the East Bay literary scene we’ve noticed a vacuum for short stories and creative non-fiction,” write the organizers on the literary series’ Facebook page. “Pedestrian Prose is our attempt to fill it, with two featured authors reading one complete short story, novel chapter or essay.” The inaugural reading features Purnell and Laura Zink, an editor for \u003cem>Oakland Review\u003c/em> and the Curator Liaison for Oakland’s free literary festival, Beast Crawl.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/164117727362817/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 21: ‘House A’ launch party at Alley Cat Books, SF\u003c/strong>\u003c/p>\n\u003cp>You might \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12199571\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/jscheng_photo.jpg\" alt=\"jscheng_photo\" width=\"146\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo.jpg 1674w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-960x1279.jpg 960w\" sizes=\"(max-width: 146px) 100vw, 146px\">know Claudia Rankine as the author of the brilliant \u003cem>Citizen\u003c/em>. You might also know her as the winner of a 2016 MacArthur Genius Grant. For poet Jennifer Cheng, Claudia Rankine will forever be known as the person who judged her winner of the Omnidawn Poetry Book Prize for a poetry collection called \u003ca href=\"http://jenniferscheng.com/books\">\u003cem>House A\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>Here’s what Rankine said about the book:\u003c/p>\n\u003cblockquote>\u003cp>Jennifer S. Cheng’s \u003ci>House A\u003c/i> is an exquisite exploration of the ability of diasporic longing to live within a continuous and full life. These tender epistolary prose poems embody the constant sense of dislocation for the immigrant, while redefining affiliation nonetheless. The poems addressed to “Dear Mao” in the first section weave, correct, and redirect. They chronicle in the alphabetically-organized second section, and instruct on “How to Build an American Home” in the third section, in order to make apparent the illusive tone and mood of an upbringing—its porousness relative to history, myth, and location. Not since Michael Ondaatje’s \u003ci>Running in the Family\u003c/i> and Calvino’s \u003ci>Invisible Cities\u003c/i> have I encountered such attention to the construction of love and love’s capacity to transform unimagined locations.\u003c/p>\u003c/blockquote>\n\u003cp>Bet you want to read it now. I know I do.\u003c/p>\n\u003cp>\u003ca href=\"http://www.alleycatbookshop.com/events.html\">Details here\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Wednesday, Oct. 19: Luis Valdez at Hammer Theatre, San Jose State University\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12199378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/zootsuit.jpg\" alt=\"zootsuit\" width=\"181\" height=\"279\">Luis Valdez is a legend in the Chicano literary world (and beyond). His 1979 play \u003cem>Zoot Suit\u003c/em> was the first Chicano work to debut on Broadway. The play is based on the \u003ca href=\"http://www.pbs.org/wgbh/amex/zoot/eng_peopleevents/e_murder.html\">Sleepy Lagoon murder trial\u003c/a>, in which a Mexican-American man is accused of a crime that he (possibly) didn’t commit, and which infamously led to the Zoot Suit Riots in 1940’s Los Angeles. Valdez also founded El Teatro Campesino in 1965 as a way to dramatize and give attention to the plight of farmworkers in California. And, he directed one of my all time favorite movies from childhood, \u003cem>La Bamba, s\u003c/em>tarring Lou Diamond Phillips as Richie Valens, and featuring a great soundtrack by Los Lobos. Valdez will be delivering the James D. Houston Memorial Lecture on Oct. 19 followed by a fundraiser and reception. \u003ca href=\"http://www.litart.org/luis-valdez/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Oct.18: Margot Livesey at Mrs. Dalloway’s, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12199575\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/jacket-mercury.jpg\" alt=\"jacket-mercury\" width=\"151\" height=\"227\">I remember reading a couple of short stories by Margot Livesey and becoming immediately enthralled with her way with language. Originally from Scotland, Livesey as written seven novels since the 1986 publication of her short story collection \u003cem>Learning By Heart.\u003c/em> Her eighth novel, \u003cem>Mercury\u003c/em>, was published in September. \u003cem>Mercury\u003c/em> tells the story of love, marriage, guns, and horses, not in that particular order. \u003cem>The New Yorker\u003c/em> calls it “consuming.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1618924015089600/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Livesey also appears at Book Passage in Corte Madera on Oct. 19.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 20: Brontez Purnell and Laura Zink at E.M. Wolfman General Interest Small Bookstore, Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12199380\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/BP.jpg\" alt=\"BP\" width=\"163\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BP.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BP-400x578.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BP-415x600.jpg 415w\" sizes=\"(max-width: 163px) 100vw, 163px\"> \u003ca href=\"http://zinewiki.com/Brontez\">Brontez Purnell\u003c/a> has already made a name for himself as a dynamic front-person/guitarist for the band The Younger Lovers, and as a dancer, and a filmmaker. But he’s also a fiction writer, and in that role, he’ll be reading at Pedestrian Prose, a brand-new Bay Area reading series. “Looking around the East Bay literary scene we’ve noticed a vacuum for short stories and creative non-fiction,” write the organizers on the literary series’ Facebook page. “Pedestrian Prose is our attempt to fill it, with two featured authors reading one complete short story, novel chapter or essay.” The inaugural reading features Purnell and Laura Zink, an editor for \u003cem>Oakland Review\u003c/em> and the Curator Liaison for Oakland’s free literary festival, Beast Crawl.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/164117727362817/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 21: ‘House A’ launch party at Alley Cat Books, SF\u003c/strong>\u003c/p>\n\u003cp>You might \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-12199571\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/jscheng_photo.jpg\" alt=\"jscheng_photo\" width=\"146\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo.jpg 1674w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/jscheng_photo-960x1279.jpg 960w\" sizes=\"(max-width: 146px) 100vw, 146px\">know Claudia Rankine as the author of the brilliant \u003cem>Citizen\u003c/em>. You might also know her as the winner of a 2016 MacArthur Genius Grant. For poet Jennifer Cheng, Claudia Rankine will forever be known as the person who judged her winner of the Omnidawn Poetry Book Prize for a poetry collection called \u003ca href=\"http://jenniferscheng.com/books\">\u003cem>House A\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>Here’s what Rankine said about the book:\u003c/p>\n\u003cblockquote>\u003cp>Jennifer S. Cheng’s \u003ci>House A\u003c/i> is an exquisite exploration of the ability of diasporic longing to live within a continuous and full life. These tender epistolary prose poems embody the constant sense of dislocation for the immigrant, while redefining affiliation nonetheless. The poems addressed to “Dear Mao” in the first section weave, correct, and redirect. They chronicle in the alphabetically-organized second section, and instruct on “How to Build an American Home” in the third section, in order to make apparent the illusive tone and mood of an upbringing—its porousness relative to history, myth, and location. Not since Michael Ondaatje’s \u003ci>Running in the Family\u003c/i> and Calvino’s \u003ci>Invisible Cities\u003c/i> have I encountered such attention to the construction of love and love’s capacity to transform unimagined locations.\u003c/p>\u003c/blockquote>\n\u003cp>Bet you want to read it now. I know I do.\u003c/p>\n\u003cp>\u003ca href=\"http://www.alleycatbookshop.com/events.html\">Details here\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "crossing-cultures-the-compelling-tug-of-chinese-memories-on-belle-yang",
"title": "Crossing Cultures: The Compelling Tug of Chinese Memories on Belle Yang",
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"content": "\u003cp>Belle Yang wasn’t always graciously fascinated with her parents tales of days gone by. The family arrived in the San Francisco Bay Area when she was just 7 years old, and like many children of immigrants, Yang was eager to put the old world behind her.\u003c/p>\n\u003cp>“Growing up here,” she says, “I started to go my own way.”\u003c/p>\n\u003cfigure id=\"attachment_12200553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg\" alt=\"The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked. \u003ccite>(Photo: Courtesy of Joseph Laning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang is more frank in the autobiography on her web site, where she writes that she “raged” against the language, iconography, beliefs of her parents: “I wanted to run away from the Chinese universe I had been born into and launch into an American world view, free of the weight of memories.”\u003c/p>\n\u003cp>But after college, in her mid-20s, a relationship went sour, and her physically-abusive boyfriend became a violent stalker. Yang fled to China to escape. For three years, she toured the country and studied classical Chinese art.\u003c/p>\n\u003cfigure id=\"attachment_12200544\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg\" alt=\"A panel from Belle Yang's graphic novel Forget Sorrow: An Ancestral Tale.\" width=\"429\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-844x1180.jpg 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut.jpg 1916w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Belle Yang’s graphic novel Forget Sorrow: An Ancestral Tale. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 1989, the Tiananmen Square Massacre snapped her to attention. Yang watched in horror as Chinese troops fired on unarmed protesters. Yang wasn’t among the protesters, but the massacre proved to be an “a-ha” moment. She was watching something eerily similar to her own personal experience with the ex-boyfriend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was watching the government silencing and mentally abusing its own citizens,” Yang says. “That hit home, and I realized that when I got home, I wanted to serve as a witness to these events.”\u003c/p>\n\u003cp>\u003cstrong>Back In The US, With A Different Attitude\u003c/strong>\u003c/p>\n\u003cp>After three years in China, Yang was ready to relate to her parents with much more intimacy. She wasn’t simply more fluent in Chinese language and art. She had traveled over the landscapes her parents had traversed when they were young.\u003c/p>\n\u003cp>Initially, the stories they told her were snippets of half-awakened memories – not enough detail to constitute a complete narrative. But she persevered. “I set the stories down, and it just grew,” she said.\u003c/p>\n\u003cp>Eventually, she published her first book, \u003ca href=\"http://belleyang.com/adult-nonfiction/baba-a-return-to-china-upon/\" target=\"_blank\" rel=\"noopener\">\u003cem>Baba: A Return to China Upon My Father’s Shoulders\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12203141\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12203141\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg\" alt='Detail from \"Cat At Window,\" by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall.' width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window.jpg 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Cat At Window,” by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over roughly three decades, she’s published 10 illustrated books and a graphic novel.\u003c/p>\n\u003cp>\u003cstrong>Folksy Treatment of Dark History\u003c/strong>\u003c/p>\n\u003cp>For her work, Yang draws on her classic Chinese training and the influence of her father, who’s also an artist. But Yang’s art is a personal amalgamation of her travels through China and Europe. Many of her bright, folksy illustrations bring to mind Marc Chagall, famous for his dreamy depictions of Eastern European Jewish folk culture, a culture that no longer exists. That’s another parallel with the subject matter of Yang’s work.\u003c/p>\n\u003cp>“I fell in love with the folk art that was colorful and naïve and just playful,” she says.\u003c/p>\n\u003cp>There’s another way in which Yang differs. Unlike Chagall’s post-Holocaust work, more nightmarish than dreamy, Yang’s art inhabits a calm, witty space where the viewer is invited to observe the pain and sadness of China’s blood soaked 20\u003csup>th\u003c/sup> century from a safe distance. Some of her books are for children; some are decidedly not.\u003c/p>\n\u003cfigure id=\"attachment_12200547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg\" alt='Detail from \"Fishmonger\" relates a story of post-Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut.jpg 1740w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Fishmonger” relates a story of Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The dark seems darker when juxtaposed by something light, bright,” Yang says. “The incongruity of humor makes the words plus pictures much bigger.”\u003c/p>\n\u003cp>\u003cstrong>A Mission to Keep Chinese History Alive\u003c/strong>\u003c/p>\n\u003cp>Gene Luen Yang of San Jose swims in similar artistic waters. He’s a graphic novelist – no relation – who has also mined his experience as a Chinese-American in illustrated books and graphic novels.\u003c/p>\n\u003cp>He compares Belle Yang’s work with that of Art Spiegelman, whose graphic novel \u003ca href=\"https://www.amazon.com/Maus-Survivors-Tale-Art-Spiegelman/dp/0141014083\" target=\"_blank\" rel=\"noopener\">\u003cem>Maus\u003c/em>\u003c/a>, about the Holocaust, is credited with helping people see graphic novels and the like as fitting places to explore tough topics.\u003c/p>\n\u003cp>“Maus is drawn in a way that emphasizes the personal nature of the events,” he says. “Belle’s does the exact same thing. Her art is about drawing the reader into the story.”\u003c/p>\n\u003cfigure id=\"attachment_12200548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg\" alt=\"Detail from the cover art for "Hanna Is My Name: A Young Immigrant's Story."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from the cover art for “Hanna Is My Name: A Young Immigrant’s Story.” \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gene Yang adds Belle Yang’s work chronicles a history lost to many Chinese-Americans, especially those who parents aren’t as open with their memories, or whose Chinese language skills make it difficult to grasp the subtleties.\u003c/p>\n\u003cp>“Chinese history always feels new to me,” he says. “We are so familiar with European history, that the history of any other country, including the country our ancestors came from feels foreign and now.” Yang’s work, he says, “is bringing something to me that ought to be familiar with me but isn’t.”\u003c/p>\n\u003cp>\u003cstrong>A Few More Stories to Collect and Retell\u003c/strong>\u003c/p>\n\u003cp>Now 56 years old, Belle still lives with her parents. Yang’s dad is 88. Her mom is 84, and because Laning sleepwalks, Belle sleeps in the same room. Which provides yet more material for future stories because her mom also talks in her sleep.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/295564261″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“And she enunciates so clearly! She speaks Japanese, she speaks Mandarin Chinese, and also Fujianese, which is a dialect in Taiwan. She has conversations with \u003cem>her\u003c/em> mother at times. I don’t know what that will become, but it could be an interesting project,” Yang said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>You can see for yourself at the \u003cstrong>\u003ca href=\"https://www.scu.edu/desaisset/exhibitions/belleyang/\" target=\"_blank\" rel=\"noopener\">de Saisset Museum\u003c/a>\u003c/strong> at Santa Clara University, which is hosting an exhibition of her work through December 4, 2016.\u003c/em>\u003c/p>\n\n",
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"title": "Crossing Cultures: The Compelling Tug of Chinese Memories on Belle Yang | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Belle Yang wasn’t always graciously fascinated with her parents tales of days gone by. The family arrived in the San Francisco Bay Area when she was just 7 years old, and like many children of immigrants, Yang was eager to put the old world behind her.\u003c/p>\n\u003cp>“Growing up here,” she says, “I started to go my own way.”\u003c/p>\n\u003cfigure id=\"attachment_12200553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg\" alt=\"The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked. \u003ccite>(Photo: Courtesy of Joseph Laning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang is more frank in the autobiography on her web site, where she writes that she “raged” against the language, iconography, beliefs of her parents: “I wanted to run away from the Chinese universe I had been born into and launch into an American world view, free of the weight of memories.”\u003c/p>\n\u003cp>But after college, in her mid-20s, a relationship went sour, and her physically-abusive boyfriend became a violent stalker. Yang fled to China to escape. For three years, she toured the country and studied classical Chinese art.\u003c/p>\n\u003cfigure id=\"attachment_12200544\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg\" alt=\"A panel from Belle Yang's graphic novel Forget Sorrow: An Ancestral Tale.\" width=\"429\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-844x1180.jpg 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut.jpg 1916w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Belle Yang’s graphic novel Forget Sorrow: An Ancestral Tale. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 1989, the Tiananmen Square Massacre snapped her to attention. Yang watched in horror as Chinese troops fired on unarmed protesters. Yang wasn’t among the protesters, but the massacre proved to be an “a-ha” moment. She was watching something eerily similar to her own personal experience with the ex-boyfriend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was watching the government silencing and mentally abusing its own citizens,” Yang says. “That hit home, and I realized that when I got home, I wanted to serve as a witness to these events.”\u003c/p>\n\u003cp>\u003cstrong>Back In The US, With A Different Attitude\u003c/strong>\u003c/p>\n\u003cp>After three years in China, Yang was ready to relate to her parents with much more intimacy. She wasn’t simply more fluent in Chinese language and art. She had traveled over the landscapes her parents had traversed when they were young.\u003c/p>\n\u003cp>Initially, the stories they told her were snippets of half-awakened memories – not enough detail to constitute a complete narrative. But she persevered. “I set the stories down, and it just grew,” she said.\u003c/p>\n\u003cp>Eventually, she published her first book, \u003ca href=\"http://belleyang.com/adult-nonfiction/baba-a-return-to-china-upon/\" target=\"_blank\" rel=\"noopener\">\u003cem>Baba: A Return to China Upon My Father’s Shoulders\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12203141\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12203141\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg\" alt='Detail from \"Cat At Window,\" by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall.' width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window.jpg 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Cat At Window,” by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over roughly three decades, she’s published 10 illustrated books and a graphic novel.\u003c/p>\n\u003cp>\u003cstrong>Folksy Treatment of Dark History\u003c/strong>\u003c/p>\n\u003cp>For her work, Yang draws on her classic Chinese training and the influence of her father, who’s also an artist. But Yang’s art is a personal amalgamation of her travels through China and Europe. Many of her bright, folksy illustrations bring to mind Marc Chagall, famous for his dreamy depictions of Eastern European Jewish folk culture, a culture that no longer exists. That’s another parallel with the subject matter of Yang’s work.\u003c/p>\n\u003cp>“I fell in love with the folk art that was colorful and naïve and just playful,” she says.\u003c/p>\n\u003cp>There’s another way in which Yang differs. Unlike Chagall’s post-Holocaust work, more nightmarish than dreamy, Yang’s art inhabits a calm, witty space where the viewer is invited to observe the pain and sadness of China’s blood soaked 20\u003csup>th\u003c/sup> century from a safe distance. Some of her books are for children; some are decidedly not.\u003c/p>\n\u003cfigure id=\"attachment_12200547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg\" alt='Detail from \"Fishmonger\" relates a story of post-Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut.jpg 1740w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Fishmonger” relates a story of Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The dark seems darker when juxtaposed by something light, bright,” Yang says. “The incongruity of humor makes the words plus pictures much bigger.”\u003c/p>\n\u003cp>\u003cstrong>A Mission to Keep Chinese History Alive\u003c/strong>\u003c/p>\n\u003cp>Gene Luen Yang of San Jose swims in similar artistic waters. He’s a graphic novelist – no relation – who has also mined his experience as a Chinese-American in illustrated books and graphic novels.\u003c/p>\n\u003cp>He compares Belle Yang’s work with that of Art Spiegelman, whose graphic novel \u003ca href=\"https://www.amazon.com/Maus-Survivors-Tale-Art-Spiegelman/dp/0141014083\" target=\"_blank\" rel=\"noopener\">\u003cem>Maus\u003c/em>\u003c/a>, about the Holocaust, is credited with helping people see graphic novels and the like as fitting places to explore tough topics.\u003c/p>\n\u003cp>“Maus is drawn in a way that emphasizes the personal nature of the events,” he says. “Belle’s does the exact same thing. Her art is about drawing the reader into the story.”\u003c/p>\n\u003cfigure id=\"attachment_12200548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg\" alt=\"Detail from the cover art for "Hanna Is My Name: A Young Immigrant's Story."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from the cover art for “Hanna Is My Name: A Young Immigrant’s Story.” \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gene Yang adds Belle Yang’s work chronicles a history lost to many Chinese-Americans, especially those who parents aren’t as open with their memories, or whose Chinese language skills make it difficult to grasp the subtleties.\u003c/p>\n\u003cp>“Chinese history always feels new to me,” he says. “We are so familiar with European history, that the history of any other country, including the country our ancestors came from feels foreign and now.” Yang’s work, he says, “is bringing something to me that ought to be familiar with me but isn’t.”\u003c/p>\n\u003cp>\u003cstrong>A Few More Stories to Collect and Retell\u003c/strong>\u003c/p>\n\u003cp>Now 56 years old, Belle still lives with her parents. Yang’s dad is 88. Her mom is 84, and because Laning sleepwalks, Belle sleeps in the same room. Which provides yet more material for future stories because her mom also talks in her sleep.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/295564261″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/295564261″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“And she enunciates so clearly! She speaks Japanese, she speaks Mandarin Chinese, and also Fujianese, which is a dialect in Taiwan. She has conversations with \u003cem>her\u003c/em> mother at times. I don’t know what that will become, but it could be an interesting project,” Yang said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>You can see for yourself at the \u003cstrong>\u003ca href=\"https://www.scu.edu/desaisset/exhibitions/belleyang/\" target=\"_blank\" rel=\"noopener\">de Saisset Museum\u003c/a>\u003c/strong> at Santa Clara University, which is hosting an exhibition of her work through December 4, 2016.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist David Hockney Says the Drive to Create Pictures 'Is Deep Within Us'",
"headTitle": "Artist David Hockney Says the Drive to Create Pictures ‘Is Deep Within Us’ | KQED",
"content": "\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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