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"content": "\u003cp>Thomas Steinbeck, eldest son of Nobel Prize-winning author John Steinbeck and a prominent author and screenwriter in his own right, has died at age 72.\u003c/p>\n\u003cp>Stephanie Hornback of Carway Communications says \u003cem>The Grapes of Wrath\u003c/em> author’s son died Thursday at his home in Santa Barbara, Calif. The cause was chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>Steinbeck began his own career as an author relatively late in life.\u003c/p>\n\u003cp>His first book, \u003cem>Down to a Soundless Sea\u003c/em>, a collection of short stories, was published in 2002.\u003c/p>\n\u003cp>He published the novels \u003cem>In the Shadow of the Cypress\u003c/em> in 2010 and \u003cem>The Silver Lotus in 2011\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was working on a memoir when he died.\u003c/p>\n\u003cp>Steinbeck also wrote and produced several films based on his father’s books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thomas Steinbeck, eldest son of Nobel Prize-winning author John Steinbeck and a prominent author and screenwriter in his own right, has died at age 72.\u003c/p>\n\u003cp>Stephanie Hornback of Carway Communications says \u003cem>The Grapes of Wrath\u003c/em> author’s son died Thursday at his home in Santa Barbara, Calif. The cause was chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>Steinbeck began his own career as an author relatively late in life.\u003c/p>\n\u003cp>His first book, \u003cem>Down to a Soundless Sea\u003c/em>, a collection of short stories, was published in 2002.\u003c/p>\n\u003cp>He published the novels \u003cem>In the Shadow of the Cypress\u003c/em> in 2010 and \u003cem>The Silver Lotus in 2011\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Amid Crackdown, China's Last Liberal Magazine Fights for Survival",
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"content": "\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \u003c/p>\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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \u003c/p>\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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The nation’s oldest bookstore devoted to African-American themes and authors is re-opening in San Francisco.\u003c/p>\n\u003cp>\u003ca href=\"http://marcusbooksoakland.com/\" target=\"_blank\" rel=\"noopener\">Marcus Books\u003c/a> lost its home of 33 years in the city’s \u003ca href=\"http://www.thefillmoredistrict.com/\" target=\"_blank\" rel=\"noopener\">Fillmore District \u003c/a>two years ago in a dispute over rent. But now the \u003ca href=\"http://www.aaacc.org/index.html\" target=\"_blank\" rel=\"noopener\">African American Art and Culture Complex\u003c/a>, in the same neighborhood, has invited Marcus to open a small store in the lobby of the complex. The company still operates a store in Oakland, which opened near the MacArthur BART station in 1976.\u003c/p>\n\u003cp>Co-owner Karen Johnson says she’s been hearing from a lot of people happy about the bookstore’s return.\u003c/p>\n\u003cp>“The joy that people have expressed is because we get to access that deep creative high consciousness humanity part of our ourselves,” Johnson said in a phone interview from Marcus Books in Oakland. “I think that’s what was missing.”\u003c/p>\n\u003cp>Since its founding in 1960, Marcus Books has moved seven times. Johnson attributes the many relocations to the gradual exodus of black people from San Francisco during the latter half of the 20th century. “With issues about race getting a lot of play right now, its moving was associated with the ending of black people in San Francisco,” Johnson said. “But the spirit lives on and then reincarnates in another shell.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johnson said the shop at the complex will be tiny — about one sixth the size of the old bookstore. But there’s one advantage over the old location, Johnson said: she’ll have access to a large theater and conference rooms at the complex for popular author events.\u003c/p>\n\u003cp>“So it kind of worked out,” Johnson said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>A Florida comics dealer says books worth tens of thousands were stolen at a Tampa convention, including two rare editions that marked the first appearance of Spider-Man.\u003c/p>\n\u003cp>Tampa police say Rick Whitelock of Panama City said he brought several boxes of books to the Tampa Bay Comic Con on Thursday and left them in the locked convention center overnight. When he began preparing his booth Friday, one box was missing.\u003c/p>\n\u003cp>Whitelock told the \u003ca href=\"http://bit.ly/2aEKlTw\" target=\"_blank\" rel=\"noopener\">Tampa Bay Times\u003c/a> the box contained such rarities as two copies of \u003cem>Amazing Fantasy\u003c/em> No. 15 from 1962, which features the first appearance of Spider-Man. Another book had the first appearance of the Justice League team of Batman, Superman, Wonder Woman, Aquaman and The Flash.\u003c/p>\n\u003cp>Whitelock says the books are unique and would be difficult to sell unnoticed.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"title": "Lit Picks: Kaui Hart Hemmings, Serial Attorney, and Porchlight's 14th Anniversary",
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"content": "\u003cp>\u003cstrong>Tuesday, August 9: Kaui Hart Hemmings at The Booksmith, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/kauiharthemmings.jpg\" alt=\"kauiharthemmings\" width=\"175\" height=\"263\">In her latest novel, \u003cem>How to Party with an Infant\u003c/em>, Kaui Hart Hemmings takes on the big bad Paige jeans-clad world of wealthy San Francisco moms. It’s a brutal, superficial place filled with classist and racial micro-aggression, day-drinking, affairs, sexless marriages, surly toddlers and judgmental babysitters. The plot is thin, but it still works.\u003c/p>\n\u003cp>Mele Bart is a single mom living in San Francisco, thanks to family money. She’s got some kind of background in food though it’s not quite clear what. Something about being a former menu writer? When Mele meets Bobby, a chef at “one of those old, manly steak houses in Union Square,” she thinks she’s found the man of her dreams. Pregnant and ready to settle down in Sonoma, Mele is blindsided by Bobby’s revelation that he already has a fiance: a Paltrow-esque artisan cheese maker from a Petaluma wine-making family (ha ha!) Luckily, Mele’s sanity is saved by a group of honest, flawed moms (and one hot dad) from her San Francisco Mommy Club play-date group. BTW, you might already recognize Hemmings as the author of \u003cem>The Descendents,\u003c/em> which was made into a darkly funny Oscar-winning George Clooney vehicle.\u003c/p>\n\u003cp>\u003ca href=\"http://www.booksmith.com/event/kaui-hart-hemmings-how-party-infant\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, August 11: Why There Are Words at Studio 333, Sausalito\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For six years, the Why There Are Words monthly literary series has been the place to go to experience cutting-edge literature north of the Golden Gate Bridge. This month’s session proves no exception. It features Alexandra Naughton, Jesse Prado, Janice Lee, and other writers reading work on the theme “Provenance.” \u003ca href=\"https://whytherearewords.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>In other big news, WTAW curator and founder \u003ca href=\"http://litstack.com/litchat-interview-peg-alford-pursell-wtaw-press/\">Peg Alford Pursell \u003c/a>has announced the launch of \u003ca href=\"http://www.wtawpress.org/\">Why There Are Words Press\u003c/a>. The press plans to publish two full-length books of prose in 2017. They welcome subm\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896069\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/13083333_1117501188313730_3890009059706410305_n.jpg\" alt=\"13083333_1117501188313730_3890009059706410305_n\" width=\"164\" height=\"148\">issions from published and unpublished writers, and previously unpublished manuscripts of both fiction are nonfiction are welcome. No poetry, yet. The current submission period is open through September 15, 2016. \u003ca href=\"http://www.wtawpress.org/submissions\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, August 11: Porchlight’s 14th Anniversary Romp at the Verdi Club, SF\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11896071\" class=\"wp-caption alignleft\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11896071\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Zappa-Moon.jpg\" alt=\"Moon Zappa, the original Valley Girl, reads at Porchlight's 14th Anniversary. \" width=\"248\" height=\"165\">\u003cfigcaption class=\"wp-caption-text\">Moon Zappa, the original Valley Girl, reads at Porchlight’s 14th Anniversary.\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s hear it for long-standing literary events in San Francisco! This month, Porchlight, the storytelling series founded by Beth Lisick and Arline Klatte in the early aughts, celebrates its 14th birthday. Anyone who has tried to coordinate any kind of arts series for any amount of time knows that this is a big deal. The series asks that readers of all stripes tell ten-minute true stories without using notes or memorization. This month’s motley crew of readers includes Mary Roach and her bookbinder cousin Dominic Riley, Adam Savage from \u003cem>Mythbusters\u003c/em>, Moon Zappa, Karla Martin, Ben McCoy, and Bawdy Storytelling founder Dixie De La Tour. Tickets will go fast for this.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/904236053019924/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, August 13: Turk and Divis (Evan and Miles Karp) at Lone Glen Reading Series, Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896086\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Turk-Divis-%E2%80%A2-Jul-16.jpg\" alt=\"Turk-Divis-•-Jul-16\" width=\"240\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16.jpg 3264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-150x150.jpg 150w\" sizes=\"(max-width: 240px) 100vw, 240px\">Lone Glen quarterly reading series is curated by Alexandra Mattraw with the goal of “rendering a space in which diverse artists and genre-bending creators can mingle, share and inspire.” Held in a performance space in Oakland, it’s a place for art that defies categorization. Prime example, Turk & Divis, an exploration of tone, sound and words from brothers Evan and Miles Karp. They describes themselves thus:\u003c/p>\n\u003cblockquote>\u003cp>An intersection where chance, rhythm, and processed repetition collide with modified fragments of language to form serendipitous anthems and intimate, often polyvocal meditations inside of those anthems. Old school samples and some of tomorrow’s most unusual hits\u003c/p>\u003c/blockquote>\n\u003cp>Evan Karp is well-known in the Bay Area as the founder of LitSeen, director of Quiet Lightning and chronicler of the local literary scene for the San Francisco Chronicle and other places. He’s also an accomplished poet, a skill that will be on display at the summer installment of Lone Glen.\u003c/p>\n\u003cp>\u003cstrong>Sunday, August 14: Rabia Chaudry at Copperfields Books, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896085\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/5262599.png\" alt=\"5262599\" width=\"195\" height=\"295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/5262599.png 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/5262599-400x606.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/5262599-396x600.png 396w\" sizes=\"(max-width: 195px) 100vw, 195px\">To be perfectly honest, I haven’t listened to more than two episodes of the Peabody award-winning podcast \u003cem>Serial\u003c/em>. But, I’m definitely in the minority. With that, I’m sure most KQED readers already know who Rabia Chaudry is. If you don’t, here’s a quick rundown. Chaudry is an attorney and family friend of Adnan Syed, the imprisoned young man’s whose story made up the core of Serial’s first incredibly popular season. In fact, it was Chaudry’s investigation and conviction that Syed was innocent, despite his conviction by a jury for the murder of former girlfriend Hae Min Lee. In Chaudry’s book \u003cem>Adnan’s Story: The Search for Truth and Justice After Serial\u003c/em>, she revisits the case, making a case for her friend’s innocence through new evidence and commentary from legal and investigative sources. She’ll discuss this, along with the recent decision to hold a new trial, with Press Democrat columnist Chris Smith in Petaluma. \u003ca href=\"http://www.copperfieldsbooks.com/event/rabia-chaudry\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Tuesday, August 9: Kaui Hart Hemmings at The Booksmith, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/kauiharthemmings.jpg\" alt=\"kauiharthemmings\" width=\"175\" height=\"263\">In her latest novel, \u003cem>How to Party with an Infant\u003c/em>, Kaui Hart Hemmings takes on the big bad Paige jeans-clad world of wealthy San Francisco moms. It’s a brutal, superficial place filled with classist and racial micro-aggression, day-drinking, affairs, sexless marriages, surly toddlers and judgmental babysitters. The plot is thin, but it still works.\u003c/p>\n\u003cp>Mele Bart is a single mom living in San Francisco, thanks to family money. She’s got some kind of background in food though it’s not quite clear what. Something about being a former menu writer? When Mele meets Bobby, a chef at “one of those old, manly steak houses in Union Square,” she thinks she’s found the man of her dreams. Pregnant and ready to settle down in Sonoma, Mele is blindsided by Bobby’s revelation that he already has a fiance: a Paltrow-esque artisan cheese maker from a Petaluma wine-making family (ha ha!) Luckily, Mele’s sanity is saved by a group of honest, flawed moms (and one hot dad) from her San Francisco Mommy Club play-date group. BTW, you might already recognize Hemmings as the author of \u003cem>The Descendents,\u003c/em> which was made into a darkly funny Oscar-winning George Clooney vehicle.\u003c/p>\n\u003cp>\u003ca href=\"http://www.booksmith.com/event/kaui-hart-hemmings-how-party-infant\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, August 11: Why There Are Words at Studio 333, Sausalito\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For six years, the Why There Are Words monthly literary series has been the place to go to experience cutting-edge literature north of the Golden Gate Bridge. This month’s session proves no exception. It features Alexandra Naughton, Jesse Prado, Janice Lee, and other writers reading work on the theme “Provenance.” \u003ca href=\"https://whytherearewords.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>In other big news, WTAW curator and founder \u003ca href=\"http://litstack.com/litchat-interview-peg-alford-pursell-wtaw-press/\">Peg Alford Pursell \u003c/a>has announced the launch of \u003ca href=\"http://www.wtawpress.org/\">Why There Are Words Press\u003c/a>. The press plans to publish two full-length books of prose in 2017. They welcome subm\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896069\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/13083333_1117501188313730_3890009059706410305_n.jpg\" alt=\"13083333_1117501188313730_3890009059706410305_n\" width=\"164\" height=\"148\">issions from published and unpublished writers, and previously unpublished manuscripts of both fiction are nonfiction are welcome. No poetry, yet. The current submission period is open through September 15, 2016. \u003ca href=\"http://www.wtawpress.org/submissions\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, August 11: Porchlight’s 14th Anniversary Romp at the Verdi Club, SF\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11896071\" class=\"wp-caption alignleft\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11896071\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Zappa-Moon.jpg\" alt=\"Moon Zappa, the original Valley Girl, reads at Porchlight's 14th Anniversary. \" width=\"248\" height=\"165\">\u003cfigcaption class=\"wp-caption-text\">Moon Zappa, the original Valley Girl, reads at Porchlight’s 14th Anniversary.\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s hear it for long-standing literary events in San Francisco! This month, Porchlight, the storytelling series founded by Beth Lisick and Arline Klatte in the early aughts, celebrates its 14th birthday. Anyone who has tried to coordinate any kind of arts series for any amount of time knows that this is a big deal. The series asks that readers of all stripes tell ten-minute true stories without using notes or memorization. This month’s motley crew of readers includes Mary Roach and her bookbinder cousin Dominic Riley, Adam Savage from \u003cem>Mythbusters\u003c/em>, Moon Zappa, Karla Martin, Ben McCoy, and Bawdy Storytelling founder Dixie De La Tour. Tickets will go fast for this.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/904236053019924/\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, August 13: Turk and Divis (Evan and Miles Karp) at Lone Glen Reading Series, Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896086\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Turk-Divis-%E2%80%A2-Jul-16.jpg\" alt=\"Turk-Divis-•-Jul-16\" width=\"240\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16.jpg 3264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Turk-Divis-•-Jul-16-150x150.jpg 150w\" sizes=\"(max-width: 240px) 100vw, 240px\">Lone Glen quarterly reading series is curated by Alexandra Mattraw with the goal of “rendering a space in which diverse artists and genre-bending creators can mingle, share and inspire.” Held in a performance space in Oakland, it’s a place for art that defies categorization. Prime example, Turk & Divis, an exploration of tone, sound and words from brothers Evan and Miles Karp. They describes themselves thus:\u003c/p>\n\u003cblockquote>\u003cp>An intersection where chance, rhythm, and processed repetition collide with modified fragments of language to form serendipitous anthems and intimate, often polyvocal meditations inside of those anthems. Old school samples and some of tomorrow’s most unusual hits\u003c/p>\u003c/blockquote>\n\u003cp>Evan Karp is well-known in the Bay Area as the founder of LitSeen, director of Quiet Lightning and chronicler of the local literary scene for the San Francisco Chronicle and other places. He’s also an accomplished poet, a skill that will be on display at the summer installment of Lone Glen.\u003c/p>\n\u003cp>\u003cstrong>Sunday, August 14: Rabia Chaudry at Copperfields Books, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11896085\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/5262599.png\" alt=\"5262599\" width=\"195\" height=\"295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/5262599.png 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/5262599-400x606.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/5262599-396x600.png 396w\" sizes=\"(max-width: 195px) 100vw, 195px\">To be perfectly honest, I haven’t listened to more than two episodes of the Peabody award-winning podcast \u003cem>Serial\u003c/em>. But, I’m definitely in the minority. With that, I’m sure most KQED readers already know who Rabia Chaudry is. If you don’t, here’s a quick rundown. Chaudry is an attorney and family friend of Adnan Syed, the imprisoned young man’s whose story made up the core of Serial’s first incredibly popular season. In fact, it was Chaudry’s investigation and conviction that Syed was innocent, despite his conviction by a jury for the murder of former girlfriend Hae Min Lee. In Chaudry’s book \u003cem>Adnan’s Story: The Search for Truth and Justice After Serial\u003c/em>, she revisits the case, making a case for her friend’s innocence through new evidence and commentary from legal and investigative sources. She’ll discuss this, along with the recent decision to hold a new trial, with Press Democrat columnist Chris Smith in Petaluma. \u003ca href=\"http://www.copperfieldsbooks.com/event/rabia-chaudry\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the cusp of the opening ceremony for the 2016 Olympics in Brazil, we’ll look back at an extraordinary victory 80 years ago. During the 1936 Berlin Olympic Games, an American rowing team of nine young working-class men unexpectedly defeated Adolf Hitler’s elite German athletes, serving as an inspiration to a nation in the depths of the Great Depression. A new documentary on PBS’ American Experience, inspired by Daniel James Brown’s “The Boys in the Boat”, tells the story of these young men and the obstacles they had to overcome to win gold.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=OEb7rVADZso]\u003c/p>\n\u003cp>\u003cstrong>Related Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.pbs.org/wgbh/americanexperience/films/boys36/\">More information on “The Boys of ’36”\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the cusp of the opening ceremony for the 2016 Olympics in Brazil, we’ll look back at an extraordinary victory 80 years ago. During the 1936 Berlin Olympic Games, an American rowing team of nine young working-class men unexpectedly defeated Adolf Hitler’s elite German athletes, serving as an inspiration to a nation in the depths of the Great Depression. A new documentary on PBS’ American Experience, inspired by Daniel James Brown’s “The Boys in the Boat”, tells the story of these young men and the obstacles they had to overcome to win gold.\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/OEb7rVADZso'\n title='//www.youtube.com/embed/OEb7rVADZso'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Related Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.pbs.org/wgbh/americanexperience/films/boys36/\">More information on “The Boys of ’36”\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Parents, raise your hand if you’ve ever fantasized about getting in your car and driving as far north as possible.\u003c/p>\n\u003cp>Escaping the endless requests for tax documents, kitchen renovation appointments, work obligations, the piles of dishes and laundry that seem to replicate faster than Gremlins doused in water: it’s a fantasy that runs through most people’s minds — especially if, like me, you were once prone to vagabondism but have now, in middle age, settled into home ownership and committed family life. For us, there is a vacillation between wanting to stay put, to establish familiarity and roots, to study a place, learn its history, edges, the ecosystem; or, to shed belongings, social obligations, neighborhood politics, the identities that get locked in place by time, habit, and lack of imagination.\u003c/p>\n\u003cp>\u003cem>Should I have kept moving\u003c/em>? you may ask yourself. \u003cem>Is it cowardly to plant roots in one place?\u003c/em> \u003cem>Will this place where I’ve settled eventually drive me crazy, made into a person I secretly hate? \u003c/em>\u003c/p>\n\u003cp>Last year, in a fit of exuberance, I tried to convince my husband that we should rent out our house for a few months and hit the road in an RV. It would be a great family adventure! We should do it before our daughter hits kindergarten, I argued, and we really have to settle down! I’ve traveled cross-country in a big, foul-smelling van with too many people, and I know that driving long distances across the United States isn’t necessarily glamorous. Yet in the moment, the plan felt expansive, freeing, brilliant. I fondly remembered the feeling of hitting the road toward the next city. You never knew what the day would bring; the only certainty was that things wouldn’t follow a set pattern. I wanted \u003cem>that\u003c/em> again.\u003c/p>\n\u003cp>Questions like these, of movement, bravery, and escape, lie at the core of \u003cem>Heroes of the Frontier\u003c/em>, the latest from Bay Area literary icon Dave Eggers. It’s the seventh novel for the founder of 826 Valencia and McSweeney’s, and his second to be narrated by a female protagonist. In this case, the narrator is Josie, a 40-year-old dentist from Ohio who has lost her dental practice to litigation and broken up with the father of her kids, an “invertebrate” “loose-boweled” man-child named Carl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868102 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/heroes-of-the-frontier.jpg\" alt=\"heroes-of-the-frontier\" width=\"353\" height=\"500\">\u003c/p>\n\u003cp>With nothing to lose, Josie escapes to Alaska with her two children in tow. Eight-year-old Paul is wise beyond his years, and devoutly committed to the well-being of his little sister. Five-year-old Ana is “a green-eyed animal with a burst of irrationally red hair and a knack for assessing the most breakable object in any room and then breaking it with incredible alacrity.” Josie is fiercely devoted to her children, but she’s ambivalent about her ability to parent them appropriately.\u003c/p>\n\u003cblockquote>\u003cp>“Parents could not be interesting, could they? The best parents rise and fall like suns and moons. They circle with the predictability of the planets. With great clarity Josie realized the undeniable truth: interesting people cannot bear children. The propagation of the species is up to the drones. Once you find you are different, that you have moods, that you have whims, that you get bored, that you want to see Antarctica, you should not have children. What happens to the children of interesting people? They are invariably bent. They are crushed. They have not had the predictable suns and so they are deprived, desperate and unsure – where will the sun be tomorrow? Fuck, she thought. Should I give these children away, to some dependable sun?”\u003c/p>\u003c/blockquote>\n\u003cp>Throughout the novel, Josie struggles with her whims. She worries that her bad decisions will damage her children. And yes, at times, the reader might wonder the same thing. As I got deeper into \u003cem>Heroes of the Frontier\u003c/em>, I wondered whether I was following a reliable narrator. Which led me to the conclusion that maybe we are all unreliable narrators, in a way. Blundering and steamrolling our way through life, pretending we know the answer when uncertainty is the only guarantee.\u003c/p>\n\u003cp>Josie has come to Alaska, like so many who’ve gone into unfamiliar territories, in search of magic, clarity, an escape from the dull stupidity of the rest of America — and, deeper down, invisibility and possibly oblivion. Tension underlies the first two-thirds of the novel. Will Josie crack up? Will she drive her kids off a cliff, see them mauled by a bear, drown them in the cold sea? Will the family eventually go out like \u003ca href=\"http://www.newyorker.com/books/page-turner/how-chris-mccandless-died\">Christopher McCandless\u003c/a>? In the meantime, Josie has a vaguely hatched plan to meet up with her adopted step-sister Sam, who leads bird-watching tours in Homer where she lives with twin daughters. On their first night in the state, sitting in a rented RV and buzzed on Pinot Noir, Josie reflects on the Alaska she’s seen so far, a cluttered and tough place, which, aside from blazing forest fires, is as mundane as the place she’s escaped.\u003c/p>\n\u003cblockquote>\u003cp>“So where were the heroes? All she knew where she had come from were cowards. No, there was one brave man, and she’d helped get him killed. One courageous man now dead. Everyone took everything and Jeremy was dead. Find me someone bold, she asked the dark trees before her. Find me someone of substance, she demanded of the mountains beyond.”\u003c/p>\u003c/blockquote>\n\u003cp>Jeremy, as it turns out, was a former patient of Josie’s. After she encourages him to enlist in the military, to be brave and go fight in Afghanistan, he is killed in the line of duty, still a teenager. Josie blames herself. It’s one of many heavy stones she’s carried to Alaska: guilt, resentment towards Carl and his new fiancé, and vitriol towards the elderly woman whose family sues Josie for malpractice for missing a cancerous mouth tumor. She hates life back in Ohio, a once-peaceful small town overtaken in recent times by angry Pilates- and organic food-loving ponytailed ladies and murderous cyclists outfitted in spandex and “tiny special shoes” riding $5,000 bicycles. This of course, offers the perfect opportunity for a classic character-monologue Eggers rant:\u003c/p>\n\u003cblockquote>\u003cp>“The crime of the ponytail ladies was that they were always in a hurry, in a hurry to exercise, in a hurry to examine the scores from the school’s Mandarin-immersion program, in a hurry to buy micro-greens at the new ivy-covered organic grocery, one of the newly dominant national chain begun by a libertarian megalomaniac, a store where the food had been curated, in which women in their ponytails rushed quickly through, smiling viciously when their carts’ paths were momentarily waylaid. In its radical evolution toward better food and health and education, the town had become a miserable place, and the organic grocery was the unhappiest place in that miserable town. The checkout people were not happy being there, and the people bagging groceries were apoplectic. The butchers seemed content, the cheese people seemed content, but everyone else was murderous. The same terrible women (and men) who drove aggressively to yoga now drove aggressively to the organic grocery store and parked angrily — they stole the last parking spot from some elderly citizens hoping to use the nearby pharmacy, got out and rushed from their cars, half-livid, to buy Havarti and Prosecco and veggie burgers. These people were now all over Josie’s small town, endangering her children with their predatory driving and barely contained fury.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11868103\" class=\"wp-caption aligncenter\" style=\"max-width: 384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11868103\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eggers-CREDIT-TO-Em-J-Staples-e1469734245565.jpg\" alt=\"Dave Eggers (Photo Credit: Em-J Staples) \" width=\"384\" height=\"574\">\u003cfigcaption class=\"wp-caption-text\">Dave Eggers (Photo Credit: Em-J Staples)\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Josie’s search for bold Alaskan heroes ends in disappointment nearly every time. She finds fury in Alaska. She finds careless people, gun-toting maniacs, and angry landowners. She doesn’t find solace or safety with Sam, or with anyone aside from herself and her children, a realization that sends her on the road heading further into the Alaskan wilderness.\u003c/p>\n\u003cp>\u003cem>Heroes of the Frontier\u003c/em> is also filled with charmed survival scenes that reminded me of\u003ca href=\"https://www.youtube.com/watch?v=WYGt0N65nq8\"> John Cusack’s ability to escape total catastrophe\u003c/a>, over and over, in the movie \u003cem>2012\u003c/em>. By the third or fourth near-miss, you’re thinking, “Yeah, right. There is no way he’d make it out alive that time.” I felt the same way about Josie’s escapes, from forest fires and other threats. Why is she making them walk miles through the woods with only candles to light their way? What is this crazy lady thinking? And, “Yeah, right. Like they’d really come upon a fully stocked empty cabin just when they needed to rest in a real bed for a few days.”\u003c/p>\n\u003cp>But, when taken as fable or fantasy, the sudden cabins and lucky escapes work. \u003cem>Heroes of the Frontier\u003c/em> shouldn’t be read as straight realism. This is fairy tale through and through; a story of adventure and daring that could be mistaken for modern realism because the narrator is an adult woman, a dentist even, with young children. The type of character who rarely, in movies or in literature, is allowed to drag her children through dangerous situations (breaking and entering, avalanches, thunderstorms, night walks through the wild) without some sort of noble purpose. In this case, the purpose is just to keep moving. In that movement, the family stumbles into their own form of nobility, wisdom, freedom from the stultifying lifestyle choices of most Americans. Better to think of the family as modern-day pirates on wild and daring adventure in a strange, dangerous land populated with sinners, saints, and waitresses who could be either. This is the \u003ca href=\"http://www.themillions.com/2016/07/perils-writing-wilderness-dave-eggerss-heroes-frontier.html\">Alaska of Eggers’ imagination\u003c/a>, not necessarily an authentic portrayal of what would actually happen if one traipsed through the woods unprotected with young children.\u003c/p>\n\u003cp>Here, the forest isn’t a place of brutality and Darwinian survival. Instead, it’s a purifying arena where light and land become more important than a greedy, suburban material world. Parts of the novel are like a Thoreauian parable, where man is the savage, the aggressor, the cannibal, and nature is a potent source for recalibrating the moral compass. Ana and Paul become ennobled by extended contact with nature. Outside the grasp of society, they grow healthier, better behaved.\u003c/p>\n\u003cblockquote>\u003cp>“Ana acted nobly, and her face shone with an otherworldly glow. Children, Josie realized, are truly like animals. Give them clean foods and water and fresh air, and their coats will be shiny, their teeth white, their muscles supple and skin bright. But indoors, contained, they will become mangy, yellow-eyed, riddled with self-inflicted wounds.”\u003c/p>\u003c/blockquote>\n\u003cp>By the end, \u003cem>Heroes of the Frontier\u003c/em> lies firmly on the side of movement. In movement — in change — lies peace. Maybe not permanently, but in this case, it’s better than the alternative: staying put, convinced that it somehow endows one with integrity. Eggers makes the case that there is meaning in movement, however blind or misguided it might appear from the outset, a claim with which all the world’s daring adventurers throughout history would surely agree. As Eggers writes, “Courage was the beginning, being unafraid, moving ahead through small hardships, not turning back. Courage was simply a form of moving forward.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dave Eggers appears at Book Passage in Corte Madera on Monday, Aug. 29. \u003ca href=\"http://www.bookpassage.com/event/dave-eggers-heroes-frontier\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Tales of Daring and Adventure in Dave Eggers' 'Heroes of the Frontier' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Parents, raise your hand if you’ve ever fantasized about getting in your car and driving as far north as possible.\u003c/p>\n\u003cp>Escaping the endless requests for tax documents, kitchen renovation appointments, work obligations, the piles of dishes and laundry that seem to replicate faster than Gremlins doused in water: it’s a fantasy that runs through most people’s minds — especially if, like me, you were once prone to vagabondism but have now, in middle age, settled into home ownership and committed family life. For us, there is a vacillation between wanting to stay put, to establish familiarity and roots, to study a place, learn its history, edges, the ecosystem; or, to shed belongings, social obligations, neighborhood politics, the identities that get locked in place by time, habit, and lack of imagination.\u003c/p>\n\u003cp>\u003cem>Should I have kept moving\u003c/em>? you may ask yourself. \u003cem>Is it cowardly to plant roots in one place?\u003c/em> \u003cem>Will this place where I’ve settled eventually drive me crazy, made into a person I secretly hate? \u003c/em>\u003c/p>\n\u003cp>Last year, in a fit of exuberance, I tried to convince my husband that we should rent out our house for a few months and hit the road in an RV. It would be a great family adventure! We should do it before our daughter hits kindergarten, I argued, and we really have to settle down! I’ve traveled cross-country in a big, foul-smelling van with too many people, and I know that driving long distances across the United States isn’t necessarily glamorous. Yet in the moment, the plan felt expansive, freeing, brilliant. I fondly remembered the feeling of hitting the road toward the next city. You never knew what the day would bring; the only certainty was that things wouldn’t follow a set pattern. I wanted \u003cem>that\u003c/em> again.\u003c/p>\n\u003cp>Questions like these, of movement, bravery, and escape, lie at the core of \u003cem>Heroes of the Frontier\u003c/em>, the latest from Bay Area literary icon Dave Eggers. It’s the seventh novel for the founder of 826 Valencia and McSweeney’s, and his second to be narrated by a female protagonist. In this case, the narrator is Josie, a 40-year-old dentist from Ohio who has lost her dental practice to litigation and broken up with the father of her kids, an “invertebrate” “loose-boweled” man-child named Carl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868102 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/heroes-of-the-frontier.jpg\" alt=\"heroes-of-the-frontier\" width=\"353\" height=\"500\">\u003c/p>\n\u003cp>With nothing to lose, Josie escapes to Alaska with her two children in tow. Eight-year-old Paul is wise beyond his years, and devoutly committed to the well-being of his little sister. Five-year-old Ana is “a green-eyed animal with a burst of irrationally red hair and a knack for assessing the most breakable object in any room and then breaking it with incredible alacrity.” Josie is fiercely devoted to her children, but she’s ambivalent about her ability to parent them appropriately.\u003c/p>\n\u003cblockquote>\u003cp>“Parents could not be interesting, could they? The best parents rise and fall like suns and moons. They circle with the predictability of the planets. With great clarity Josie realized the undeniable truth: interesting people cannot bear children. The propagation of the species is up to the drones. Once you find you are different, that you have moods, that you have whims, that you get bored, that you want to see Antarctica, you should not have children. What happens to the children of interesting people? They are invariably bent. They are crushed. They have not had the predictable suns and so they are deprived, desperate and unsure – where will the sun be tomorrow? Fuck, she thought. Should I give these children away, to some dependable sun?”\u003c/p>\u003c/blockquote>\n\u003cp>Throughout the novel, Josie struggles with her whims. She worries that her bad decisions will damage her children. And yes, at times, the reader might wonder the same thing. As I got deeper into \u003cem>Heroes of the Frontier\u003c/em>, I wondered whether I was following a reliable narrator. Which led me to the conclusion that maybe we are all unreliable narrators, in a way. Blundering and steamrolling our way through life, pretending we know the answer when uncertainty is the only guarantee.\u003c/p>\n\u003cp>Josie has come to Alaska, like so many who’ve gone into unfamiliar territories, in search of magic, clarity, an escape from the dull stupidity of the rest of America — and, deeper down, invisibility and possibly oblivion. Tension underlies the first two-thirds of the novel. Will Josie crack up? Will she drive her kids off a cliff, see them mauled by a bear, drown them in the cold sea? Will the family eventually go out like \u003ca href=\"http://www.newyorker.com/books/page-turner/how-chris-mccandless-died\">Christopher McCandless\u003c/a>? In the meantime, Josie has a vaguely hatched plan to meet up with her adopted step-sister Sam, who leads bird-watching tours in Homer where she lives with twin daughters. On their first night in the state, sitting in a rented RV and buzzed on Pinot Noir, Josie reflects on the Alaska she’s seen so far, a cluttered and tough place, which, aside from blazing forest fires, is as mundane as the place she’s escaped.\u003c/p>\n\u003cblockquote>\u003cp>“So where were the heroes? All she knew where she had come from were cowards. No, there was one brave man, and she’d helped get him killed. One courageous man now dead. Everyone took everything and Jeremy was dead. Find me someone bold, she asked the dark trees before her. Find me someone of substance, she demanded of the mountains beyond.”\u003c/p>\u003c/blockquote>\n\u003cp>Jeremy, as it turns out, was a former patient of Josie’s. After she encourages him to enlist in the military, to be brave and go fight in Afghanistan, he is killed in the line of duty, still a teenager. Josie blames herself. It’s one of many heavy stones she’s carried to Alaska: guilt, resentment towards Carl and his new fiancé, and vitriol towards the elderly woman whose family sues Josie for malpractice for missing a cancerous mouth tumor. She hates life back in Ohio, a once-peaceful small town overtaken in recent times by angry Pilates- and organic food-loving ponytailed ladies and murderous cyclists outfitted in spandex and “tiny special shoes” riding $5,000 bicycles. This of course, offers the perfect opportunity for a classic character-monologue Eggers rant:\u003c/p>\n\u003cblockquote>\u003cp>“The crime of the ponytail ladies was that they were always in a hurry, in a hurry to exercise, in a hurry to examine the scores from the school’s Mandarin-immersion program, in a hurry to buy micro-greens at the new ivy-covered organic grocery, one of the newly dominant national chain begun by a libertarian megalomaniac, a store where the food had been curated, in which women in their ponytails rushed quickly through, smiling viciously when their carts’ paths were momentarily waylaid. In its radical evolution toward better food and health and education, the town had become a miserable place, and the organic grocery was the unhappiest place in that miserable town. The checkout people were not happy being there, and the people bagging groceries were apoplectic. The butchers seemed content, the cheese people seemed content, but everyone else was murderous. The same terrible women (and men) who drove aggressively to yoga now drove aggressively to the organic grocery store and parked angrily — they stole the last parking spot from some elderly citizens hoping to use the nearby pharmacy, got out and rushed from their cars, half-livid, to buy Havarti and Prosecco and veggie burgers. These people were now all over Josie’s small town, endangering her children with their predatory driving and barely contained fury.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11868103\" class=\"wp-caption aligncenter\" style=\"max-width: 384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11868103\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eggers-CREDIT-TO-Em-J-Staples-e1469734245565.jpg\" alt=\"Dave Eggers (Photo Credit: Em-J Staples) \" width=\"384\" height=\"574\">\u003cfigcaption class=\"wp-caption-text\">Dave Eggers (Photo Credit: Em-J Staples)\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Josie’s search for bold Alaskan heroes ends in disappointment nearly every time. She finds fury in Alaska. She finds careless people, gun-toting maniacs, and angry landowners. She doesn’t find solace or safety with Sam, or with anyone aside from herself and her children, a realization that sends her on the road heading further into the Alaskan wilderness.\u003c/p>\n\u003cp>\u003cem>Heroes of the Frontier\u003c/em> is also filled with charmed survival scenes that reminded me of\u003ca href=\"https://www.youtube.com/watch?v=WYGt0N65nq8\"> John Cusack’s ability to escape total catastrophe\u003c/a>, over and over, in the movie \u003cem>2012\u003c/em>. By the third or fourth near-miss, you’re thinking, “Yeah, right. There is no way he’d make it out alive that time.” I felt the same way about Josie’s escapes, from forest fires and other threats. Why is she making them walk miles through the woods with only candles to light their way? What is this crazy lady thinking? And, “Yeah, right. Like they’d really come upon a fully stocked empty cabin just when they needed to rest in a real bed for a few days.”\u003c/p>\n\u003cp>But, when taken as fable or fantasy, the sudden cabins and lucky escapes work. \u003cem>Heroes of the Frontier\u003c/em> shouldn’t be read as straight realism. This is fairy tale through and through; a story of adventure and daring that could be mistaken for modern realism because the narrator is an adult woman, a dentist even, with young children. The type of character who rarely, in movies or in literature, is allowed to drag her children through dangerous situations (breaking and entering, avalanches, thunderstorms, night walks through the wild) without some sort of noble purpose. In this case, the purpose is just to keep moving. In that movement, the family stumbles into their own form of nobility, wisdom, freedom from the stultifying lifestyle choices of most Americans. Better to think of the family as modern-day pirates on wild and daring adventure in a strange, dangerous land populated with sinners, saints, and waitresses who could be either. This is the \u003ca href=\"http://www.themillions.com/2016/07/perils-writing-wilderness-dave-eggerss-heroes-frontier.html\">Alaska of Eggers’ imagination\u003c/a>, not necessarily an authentic portrayal of what would actually happen if one traipsed through the woods unprotected with young children.\u003c/p>\n\u003cp>Here, the forest isn’t a place of brutality and Darwinian survival. Instead, it’s a purifying arena where light and land become more important than a greedy, suburban material world. Parts of the novel are like a Thoreauian parable, where man is the savage, the aggressor, the cannibal, and nature is a potent source for recalibrating the moral compass. Ana and Paul become ennobled by extended contact with nature. Outside the grasp of society, they grow healthier, better behaved.\u003c/p>\n\u003cblockquote>\u003cp>“Ana acted nobly, and her face shone with an otherworldly glow. Children, Josie realized, are truly like animals. Give them clean foods and water and fresh air, and their coats will be shiny, their teeth white, their muscles supple and skin bright. But indoors, contained, they will become mangy, yellow-eyed, riddled with self-inflicted wounds.”\u003c/p>\u003c/blockquote>\n\u003cp>By the end, \u003cem>Heroes of the Frontier\u003c/em> lies firmly on the side of movement. In movement — in change — lies peace. Maybe not permanently, but in this case, it’s better than the alternative: staying put, convinced that it somehow endows one with integrity. Eggers makes the case that there is meaning in movement, however blind or misguided it might appear from the outset, a claim with which all the world’s daring adventurers throughout history would surely agree. As Eggers writes, “Courage was the beginning, being unafraid, moving ahead through small hardships, not turning back. Courage was simply a form of moving forward.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dave Eggers appears at Book Passage in Corte Madera on Monday, Aug. 29. \u003ca href=\"http://www.bookpassage.com/event/dave-eggers-heroes-frontier\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Politics Takes Center Stage at Bay Area Theaters",
"headTitle": "Politics Takes Center Stage at Bay Area Theaters | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275966310″ 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>It’s no coincidence that a number of plays on Bay Area stages this summer and fall are featuring the same character, one with a strong resemblance to a certain Republican presidential nominee. The most explicit is Dan Hoyle’s one man show \u003cem>The Real Americans,\u003c/em> which he is performing \u003ca href=\"https://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\"> at the Marsh in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“Donald Trump, he gonna be president,” says Hoyle in the role of Roy, an African-American, with his t-shirt pulled up and a pack of cigarettes rolled in a sleeve. “I like a president that’s bold. That has some balls. I mean Obama. He was a good president. But they didn’t let him do nothing. They gave him the keys to the city and he locked up the doors.”\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hoyle plays a dozen or so characters, based on interviews he did driving around the country during the recession, in 2008, and again last spring.\u003c/p>\n\u003cp>“If anything,” he said, “the desperation is greater. Especially for working class folks if they lost their jobs. And people’s sense of disenfranchisement makes them think things that probably aren’t all based in fact.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, many of his interviewees, mirroring the national mood, were passionate about Republican nominee Donald Trump or former Vermont Senator Bernie Sanders. Democratic nominee, Hillary Clinton, not so much. And that goes for the characters he portrays from the Bay Area as well.\u003c/p>\n\u003cp>“One of my Lyft customers was telling me that she was going to vote for Bernie,” says Hoyle in the role of a gig economy underachiever. “But now she’ll vote for Trump because he understands her anger.”\u003c/p>\n\u003cp>The Bay Area has long supported political theater. “We believe in the public square,” \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theater Bay Area Executive Director Brad Ericson\u003c/a> says, “we believe that our voices can make a difference.”\u003c/p>\n\u003cp>It’s often hard for theater companies to respond quickly to current events, as plays can take years to develop. But Ericson, who’s worked in the Bay Area theater scene since the early 1980s, can’t remember a time when so many shows focused on an upcoming election.\u003c/p>\n\u003cp>“We’re seeing a real flurry of political theater,” Ericson says, “just because the stakes seem to be so high. This is such a bizarre political season.”\u003c/p>\n\u003cp>\u003cstrong>The First American Play\u003c/strong>\u003c/p>\n\u003cp>Still, American Theater has often been a forum for both partisan politics and debates about race and class.\u003c/p>\n\u003cp>“The very \u003ca href=\"https://padavisblog.wordpress.com/2013/08/27/today-in-theatre-history-american-theatres-first-really-bad-review-august-27-1665/\" target=\"_blank\" rel=\"noopener\">first known play was called \u003cem>Ye Bare and Ye Cubb\u003c/em>\u003c/a>, which was a political tract about why colonists should not have to pay taxes,” says \u003ca href=\"https://www.usfca.edu/faculty/christine-young\" target=\"_blank\" rel=\"noopener\">Christine Young\u003c/a>, an assistant professor and chair of the performing arts and social justice program at the University of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11868272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg\" alt=\"A poster for a stage version of "Uncle Tom's Cabin' \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-960x638.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a stage version of “Uncle Tom’s Cabin’ \u003ccite>(Photo: Lithograph courtesy of the Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was 1655. Scholars say millions of people saw theatrical versions of the anti-slavery novel \u003cem>Uncle Tom’s Cabin\u003c/em>. And in the 1930s, the Federal Theater project produced plays supporting Roosevelt’s New Deal.\u003c/p>\n\u003cp>“There were plays that opened in cities all across the country,” Young says, “and thousands if not millions of people saw the same plays.”\u003c/p>\n\u003cp>\u003cstrong>Can It Happen Here?\u003c/strong>\u003c/p>\n\u003cp>The prime example was \u003ca href=\"http://www.salon.com/2015/09/29/it_really_can_happen_here_the_novel_that_foreshadowed_donald_trumps_authoritarian_appeal/\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, based on Sinclair Lewis’ novel, in which the populist senator Buzz Windrip wins the presidency with an “America First” campaign, then imposes a fascist state. The Federal Theater Project opened the show in 21 theaters across the country in 1936, with the Depression gripping America, and Hitler and Mussolini on the rise in Europe. And the novel is getting a fresh look in September from the Berkeley Repertory Theater.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-c7CPvoMKnU\u003c/p>\n\u003cp>A group of actors and members of the stage crew gathered recently for a first ever reading of the script, with dialogue that could be the transcription of a modern political talk show about the candidacy of Donald Trump.\u003c/p>\n\u003cp>“Philip,” a woman says of Buzz Windrip, “the man’s a racist and a misogynist.”\u003c/p>\n\u003cp>“Yes, Lorinda,” the character Philip answers, “he’s said some terrible and inflammatory things, but why do you think so many people support him. And it’s not because they’re all stupid and blind. People want a voice.”\u003c/p>\n\u003cfigure id=\"attachment_11868290\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Tony-Taccone-co-playwright-for-It-Cant-Happen-Here-an-adaptation-of-the-Sinclair-Lewis-novel.jpg\" alt=\"Tony Taccone co-playwright for 'It Can't Happen Here,' an adaptation of the Sinclair Lewis novel\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Tony Taccone co-playwright for ‘It Can’t Happen Here,’ an adaptation of the Sinclair Lewis novel \u003ccite>(Photo: kevinberne.com/Berkeley Repertory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett Cohen wrote this new adaptation of Lewis’ book with Berkeley Rep’s Artistic Director Tony Taccone. “It was just so clear,” Taccone says, “that the book was screaming to be done.\u003c/p>\n\u003cp>“The similarities between Buzz Windrip and Donald Trump are astonishing,” Taccone says. “In the sense that what Trump has done, like the character in the book, he’s taken this unadorned self, and put it out there, as something that’s more “real” than any politician. And there’s a significant portion of the population that buys it.”\u003c/p>\n\u003cp>Beyond that mirroring, Taccone says \u003cem>It Can’t Happen Here\u003c/em> fits well with Berkeley Rep’s mission.\u003c/p>\n\u003cp>“It’s critical for a theater to be in dialogue with its community about what’s going on” Taccone says, “and between climate change and terrorism, we’re embedded in a very, very fearful time in the history of the world.”\u003c/p>\n\u003cp>\u003cstrong>The People Want a Voice\u003c/strong>\u003c/p>\n\u003cp>That ideal of community engagement matters a lot for most theater companies, but few are so clear in their politics as The San Francisco Mime Troupe.\u003c/p>\n\u003cp>“Theater is a hammer with which you shape the world,” says the Mime Troupe’s Resident Playwright Michael Gene Sullivan. “All theater is political in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_11868291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11868291 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg\" alt=\"An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe's new show 'Schooled'\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe’s new show ‘Schooled’ \u003ccite>(Photo: Mike@mikemelnyk.com/San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Mime Troupe show, \u003cem>Schooled\u003c/em>, features an orange0haired candidate running for the school board against a moderate (think Hillary Clinton) and a leftie (think Bernie Sanders).\u003c/p>\n\u003cp>The Mime Troupe makes explicitly \u003ca href=\"https://en.wikipedia.org/wiki/Agitprop\" target=\"_blank\" rel=\"noopener\">agitprop theater\u003c/a>, Sullivan says, which is meant to whip up the audience and get them to join a cause.\u003c/p>\n\u003cp>“If the audience leaves the theater basically the same people when they entered,” Sullivan says, “the show failed. Because your job is to change them.”\u003c/p>\n\u003cp>But most theater artists say they aspire to a more modest ambition, to inspire a sense of compassion and connection to people who may hold very different views.\u003c/p>\n\u003cp>“The long game for me is all about empathy,” Dan Hoyle says. “And you might not agree with the people on stage, but if you try to understand the world thru their eyes, I think that’s transformational in the long term.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So a political play may succeed simply if the audience is talking about the play, arguing about the issues, and caring about their fellow human beings as they leave the theater.\u003c/p>\n\n",
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"excerpt": "Republican nominee Donald Trump is a recurring character on Bay Area stages this summer and fall.",
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"title": "Politics Takes Center Stage at Bay Area Theaters | KQED",
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"headline": "Politics Takes Center Stage at Bay Area Theaters",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/275966310″&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/275966310″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s no coincidence that a number of plays on Bay Area stages this summer and fall are featuring the same character, one with a strong resemblance to a certain Republican presidential nominee. The most explicit is Dan Hoyle’s one man show \u003cem>The Real Americans,\u003c/em> which he is performing \u003ca href=\"https://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\"> at the Marsh in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“Donald Trump, he gonna be president,” says Hoyle in the role of Roy, an African-American, with his t-shirt pulled up and a pack of cigarettes rolled in a sleeve. “I like a president that’s bold. That has some balls. I mean Obama. He was a good president. But they didn’t let him do nothing. They gave him the keys to the city and he locked up the doors.”\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hoyle plays a dozen or so characters, based on interviews he did driving around the country during the recession, in 2008, and again last spring.\u003c/p>\n\u003cp>“If anything,” he said, “the desperation is greater. Especially for working class folks if they lost their jobs. And people’s sense of disenfranchisement makes them think things that probably aren’t all based in fact.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, many of his interviewees, mirroring the national mood, were passionate about Republican nominee Donald Trump or former Vermont Senator Bernie Sanders. Democratic nominee, Hillary Clinton, not so much. And that goes for the characters he portrays from the Bay Area as well.\u003c/p>\n\u003cp>“One of my Lyft customers was telling me that she was going to vote for Bernie,” says Hoyle in the role of a gig economy underachiever. “But now she’ll vote for Trump because he understands her anger.”\u003c/p>\n\u003cp>The Bay Area has long supported political theater. “We believe in the public square,” \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theater Bay Area Executive Director Brad Ericson\u003c/a> says, “we believe that our voices can make a difference.”\u003c/p>\n\u003cp>It’s often hard for theater companies to respond quickly to current events, as plays can take years to develop. But Ericson, who’s worked in the Bay Area theater scene since the early 1980s, can’t remember a time when so many shows focused on an upcoming election.\u003c/p>\n\u003cp>“We’re seeing a real flurry of political theater,” Ericson says, “just because the stakes seem to be so high. This is such a bizarre political season.”\u003c/p>\n\u003cp>\u003cstrong>The First American Play\u003c/strong>\u003c/p>\n\u003cp>Still, American Theater has often been a forum for both partisan politics and debates about race and class.\u003c/p>\n\u003cp>“The very \u003ca href=\"https://padavisblog.wordpress.com/2013/08/27/today-in-theatre-history-american-theatres-first-really-bad-review-august-27-1665/\" target=\"_blank\" rel=\"noopener\">first known play was called \u003cem>Ye Bare and Ye Cubb\u003c/em>\u003c/a>, which was a political tract about why colonists should not have to pay taxes,” says \u003ca href=\"https://www.usfca.edu/faculty/christine-young\" target=\"_blank\" rel=\"noopener\">Christine Young\u003c/a>, an assistant professor and chair of the performing arts and social justice program at the University of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11868272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg\" alt=\"A poster for a stage version of "Uncle Tom's Cabin' \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-960x638.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a stage version of “Uncle Tom’s Cabin’ \u003ccite>(Photo: Lithograph courtesy of the Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was 1655. Scholars say millions of people saw theatrical versions of the anti-slavery novel \u003cem>Uncle Tom’s Cabin\u003c/em>. And in the 1930s, the Federal Theater project produced plays supporting Roosevelt’s New Deal.\u003c/p>\n\u003cp>“There were plays that opened in cities all across the country,” Young says, “and thousands if not millions of people saw the same plays.”\u003c/p>\n\u003cp>\u003cstrong>Can It Happen Here?\u003c/strong>\u003c/p>\n\u003cp>The prime example was \u003ca href=\"http://www.salon.com/2015/09/29/it_really_can_happen_here_the_novel_that_foreshadowed_donald_trumps_authoritarian_appeal/\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, based on Sinclair Lewis’ novel, in which the populist senator Buzz Windrip wins the presidency with an “America First” campaign, then imposes a fascist state. The Federal Theater Project opened the show in 21 theaters across the country in 1936, with the Depression gripping America, and Hitler and Mussolini on the rise in Europe. And the novel is getting a fresh look in September from the Berkeley Repertory Theater.\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/-c7CPvoMKnU'\n title='//www.youtube.com/embed/-c7CPvoMKnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A group of actors and members of the stage crew gathered recently for a first ever reading of the script, with dialogue that could be the transcription of a modern political talk show about the candidacy of Donald Trump.\u003c/p>\n\u003cp>“Philip,” a woman says of Buzz Windrip, “the man’s a racist and a misogynist.”\u003c/p>\n\u003cp>“Yes, Lorinda,” the character Philip answers, “he’s said some terrible and inflammatory things, but why do you think so many people support him. And it’s not because they’re all stupid and blind. People want a voice.”\u003c/p>\n\u003cfigure id=\"attachment_11868290\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Tony-Taccone-co-playwright-for-It-Cant-Happen-Here-an-adaptation-of-the-Sinclair-Lewis-novel.jpg\" alt=\"Tony Taccone co-playwright for 'It Can't Happen Here,' an adaptation of the Sinclair Lewis novel\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Tony Taccone co-playwright for ‘It Can’t Happen Here,’ an adaptation of the Sinclair Lewis novel \u003ccite>(Photo: kevinberne.com/Berkeley Repertory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett Cohen wrote this new adaptation of Lewis’ book with Berkeley Rep’s Artistic Director Tony Taccone. “It was just so clear,” Taccone says, “that the book was screaming to be done.\u003c/p>\n\u003cp>“The similarities between Buzz Windrip and Donald Trump are astonishing,” Taccone says. “In the sense that what Trump has done, like the character in the book, he’s taken this unadorned self, and put it out there, as something that’s more “real” than any politician. And there’s a significant portion of the population that buys it.”\u003c/p>\n\u003cp>Beyond that mirroring, Taccone says \u003cem>It Can’t Happen Here\u003c/em> fits well with Berkeley Rep’s mission.\u003c/p>\n\u003cp>“It’s critical for a theater to be in dialogue with its community about what’s going on” Taccone says, “and between climate change and terrorism, we’re embedded in a very, very fearful time in the history of the world.”\u003c/p>\n\u003cp>\u003cstrong>The People Want a Voice\u003c/strong>\u003c/p>\n\u003cp>That ideal of community engagement matters a lot for most theater companies, but few are so clear in their politics as The San Francisco Mime Troupe.\u003c/p>\n\u003cp>“Theater is a hammer with which you shape the world,” says the Mime Troupe’s Resident Playwright Michael Gene Sullivan. “All theater is political in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_11868291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11868291 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg\" alt=\"An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe's new show 'Schooled'\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe’s new show ‘Schooled’ \u003ccite>(Photo: Mike@mikemelnyk.com/San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Mime Troupe show, \u003cem>Schooled\u003c/em>, features an orange0haired candidate running for the school board against a moderate (think Hillary Clinton) and a leftie (think Bernie Sanders).\u003c/p>\n\u003cp>The Mime Troupe makes explicitly \u003ca href=\"https://en.wikipedia.org/wiki/Agitprop\" target=\"_blank\" rel=\"noopener\">agitprop theater\u003c/a>, Sullivan says, which is meant to whip up the audience and get them to join a cause.\u003c/p>\n\u003cp>“If the audience leaves the theater basically the same people when they entered,” Sullivan says, “the show failed. Because your job is to change them.”\u003c/p>\n\u003cp>But most theater artists say they aspire to a more modest ambition, to inspire a sense of compassion and connection to people who may hold very different views.\u003c/p>\n\u003cp>“The long game for me is all about empathy,” Dan Hoyle says. “And you might not agree with the people on stage, but if you try to understand the world thru their eyes, I think that’s transformational in the long term.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jack Davis, the prolific Mad magazine illustrator, cartoonist and movie poster artist, has died.\u003c/p>\n\u003cp>He died Wednesday morning, according to his son-in-law, Chris Lloyd. He passed away in St. Simons, Georgia, of natural causes. He was 91.\u003c/p>\n\u003cp>As a struggling young artist in New York, Davis was “about ready to give up, go home to Georgia and be either a forest ranger or a farmer,” he recalled in an interview a few years ago. Then, in 1950, he scored the first of many sales of his artwork to EC Comics, which published a line of horror titles including \u003cem>Tales from the Crypt\u003c/em>.\u003c/p>\n\u003cp>He stuck with its editors — William M. Gaines, Albert B. Feldstein and Harvey Kurtzman — when they launched the pioneering satire magazine Mad in 1952. He remained a member of “The Usual Gang of Idiots” (as the magazine billed them) for the next six decades. His far-flung illustrations poked fun at politicians and celebrities along with countless portraits of the magazine’s perpetually grinning mascot, Alfred E. Neuman.\u003c/p>\n\u003cp>Along the way, Davis also created numerous covers for TV Guide and Time, and provided artwork for books, record jackets, and posters for films including \u003cem>It’s a Mad, Mad, Mad, Mad World\u003c/em>, \u003cem>American Graffiti\u003c/em> and Woody Allen’s \u003cem>Bananas\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1961, he wrote, drew, and edited his own comic book, “Yak Yak,” for Dell Comics.\u003c/p>\n\u003cp>While Davis was masterful at caricatures of recognizable figures, he took amusing liberties with all his subjects, endowing them with distinctly large heads, pipe-stem legs and snowshoe-size feet.\u003c/p>\n\u003cp>As a proud alumnus of the University of Georgia (which he attended on the G.I. Bill after three years in the U.S. Navy), he continued to produce innumerable billboards and other artwork celebrating the “Dawgs” throughout his life.\u003c/p>\n\u003cp>“Jack Davis was a seminal figure in illustration of the last century,” said Chris Garvin, director of the UGA Lamar Dodd School of Art. “His work was both timely and timeless. It perfectly expressed the era in which he worked.”\u003c/p>\n\u003cp>Davis is survived by his wife, Dena, of St. Simons, Georgia, as well as a daughter and a son.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jack Davis, the prolific Mad magazine illustrator, cartoonist and movie poster artist, has died.\u003c/p>\n\u003cp>He died Wednesday morning, according to his son-in-law, Chris Lloyd. He passed away in St. Simons, Georgia, of natural causes. He was 91.\u003c/p>\n\u003cp>As a struggling young artist in New York, Davis was “about ready to give up, go home to Georgia and be either a forest ranger or a farmer,” he recalled in an interview a few years ago. Then, in 1950, he scored the first of many sales of his artwork to EC Comics, which published a line of horror titles including \u003cem>Tales from the Crypt\u003c/em>.\u003c/p>\n\u003cp>He stuck with its editors — William M. Gaines, Albert B. Feldstein and Harvey Kurtzman — when they launched the pioneering satire magazine Mad in 1952. He remained a member of “The Usual Gang of Idiots” (as the magazine billed them) for the next six decades. His far-flung illustrations poked fun at politicians and celebrities along with countless portraits of the magazine’s perpetually grinning mascot, Alfred E. Neuman.\u003c/p>\n\u003cp>Along the way, Davis also created numerous covers for TV Guide and Time, and provided artwork for books, record jackets, and posters for films including \u003cem>It’s a Mad, Mad, Mad, Mad World\u003c/em>, \u003cem>American Graffiti\u003c/em> and Woody Allen’s \u003cem>Bananas\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1961, he wrote, drew, and edited his own comic book, “Yak Yak,” for Dell Comics.\u003c/p>\n\u003cp>While Davis was masterful at caricatures of recognizable figures, he took amusing liberties with all his subjects, endowing them with distinctly large heads, pipe-stem legs and snowshoe-size feet.\u003c/p>\n\u003cp>As a proud alumnus of the University of Georgia (which he attended on the G.I. Bill after three years in the U.S. Navy), he continued to produce innumerable billboards and other artwork celebrating the “Dawgs” throughout his life.\u003c/p>\n\u003cp>“Jack Davis was a seminal figure in illustration of the last century,” said Chris Garvin, director of the UGA Lamar Dodd School of Art. “His work was both timely and timeless. It perfectly expressed the era in which he worked.”\u003c/p>\n\u003cp>Davis is survived by his wife, Dena, of St. Simons, Georgia, as well as a daughter and a son.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Get Excited: Wonder Woman and Captain Marvel Are About to Save the Day",
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"content": "\u003cp>A little over a year ago, comic book-loving women all over the country sat down to watch the first trailers for CBS's brand-new \u003ca href=\"http://www.cbs.com/shows/supergirl/\">\u003cem>Supergirl\u003c/em>\u003c/a> series, only to find themselves filled with what can only be described as Hulk-levels of rage. Here was \u003ca href=\"http://www.dccomics.com/characters/supergirl\">Kara Zor-El\u003c/a>, a character easily as strong as her cousin Superman, reduced to a nervous, giggling office underling consumed with thoughts of cute guys and wardrobe dilemmas, instead of, oh, you know, flying and saving people and setting fire to things using her goddamn EYES.\u003c/p>\n\u003cp>It was a huge disappointment that came just a couple of weeks after \u003cem>Saturday Night Live\u003c/em> and Scarlett Johansson had brilliantly skewered sexist double standards for female comic book heroes in Hollywood, via a skit that stuck Black Widow in a rom-com. The skit was so on point, one can't help but wonder if someone at NBC got access to the \u003cem>Supergirl\u003c/em> trailer before it was released and copied it almost shot for shot.\u003c/p>\n\u003cp>Compare and contrast:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=j_5KgpN38hM]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=0Zmji_ioFXc]\u003c/p>\n\u003cp>At the time it felt like confirmation that women in comic books were simply never going to get their due on screen -- whether in movies or on TV. Then last week, a couple of truly amazing things emerged from this year's San Diego Comic Con. The first was this little slice of character-faithful, Amazonian baddassery:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=5lGoQhFb4NM]\u003c/p>\n\u003cp>(It's okay. Take a moment to catch your breath. We know. It's awesome.)\u003c/p>\n\u003cp>The second was the news that the rather magnificent Brie Larson is going to be playing Captain Marvel. That's right, folks: the same comic book giant that has steadfastly refused to give Black Widow (or any other woman) her own movie just decided that the Captain Marvel of their new project would be female.\u003c/p>\n\u003cp>For context, in the Marvel Universe, four out of the six Captain Marvel incarnations have been male, and the Carol Danvers character only graduated to the title of Captain Marvel three years ago, having spent the preceding 40 years with the moniker Ms. Marvel. Sure, we have to wait until 2019 to see this thing, but knowing it's happening at all is comforting for everyone who's been desperate to see Marvel do right by its female fans -- and characters -- for literally years now.\u003c/p>\n\u003cp>Marvel has apparently, finally, taken notice. The giant has been making several overdue efforts to level the playing field recently. After announcing the great feminist writer \u003ca href=\"http://www.nytimes.com/2016/07/23/books/black-panther-marvel-comics-roxane-gay-ta-nehisi-coates-wakanda.html?_r=0\" target=\"_blank\">Roxane Gay had been brought on to pen a new book for the \u003cem>Black Panther\u003c/em> series\u003c/a>, they closed last week's Comic Con in San Diego with the now-annual \"Women of Marvel\" panel, which shines a light on all Marvel women -- be they characters or behind the scenes -- while also seeking to empower women in the audience to work in the industry. This is, frankly, huge.\u003c/p>\n\u003cp>It seems that, finally, just when we'd all but given up hope, comic book giants are at last making an effort to tap into the section of their audience that has existed forever, but been woefully underrepresented on the big screen. One theory: It's possible that the success of \u003cem>Star Wars: The Force Awakens\u003c/em> has made comic bigwigs realize that sci-fi and fantasy movies don't necessarily lose money by putting a penis-less human in the lead role.\u003c/p>\n\u003cp>Teen markets have been ahead of the equality curve for years now. \u003cem>The Hunger Games\u003c/em> and \u003cem>Divergent\u003c/em> series proved that female leads -- teenage ones, no less! -- can kick ass all the way to a multi-billion dollar franchise while appealing to all genders. Sounds like a no-brainer, right? Well, yeah. But just as the toy industry assumes no one wants to play with a girl action figure -- even when she's the star of the movie (\u003ca href=\"http://ww2.kqed.org/pop/2016/01/06/whereisrey-shes-on-her-way-says-hasbro/\" target=\"_blank\">#WhereIsRey\u003c/a>, anyone?) -- so has the comic book industry persisted with the assumption that women don't \"get\" superheroes, or even like them.\u003c/p>\n\u003cp>If Wonder Woman and Captain Marvel are big enough hits, it could change the face of movie superheroes forever -- which is more important than you might think. Because if women aren't given the space to be big and brave and bold, even in a fantasy world on a screen, what hope is there for the rest of us?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A little over a year ago, comic book-loving women all over the country sat down to watch the first trailers for CBS's brand-new \u003ca href=\"http://www.cbs.com/shows/supergirl/\">\u003cem>Supergirl\u003c/em>\u003c/a> series, only to find themselves filled with what can only be described as Hulk-levels of rage. Here was \u003ca href=\"http://www.dccomics.com/characters/supergirl\">Kara Zor-El\u003c/a>, a character easily as strong as her cousin Superman, reduced to a nervous, giggling office underling consumed with thoughts of cute guys and wardrobe dilemmas, instead of, oh, you know, flying and saving people and setting fire to things using her goddamn EYES.\u003c/p>\n\u003cp>It was a huge disappointment that came just a couple of weeks after \u003cem>Saturday Night Live\u003c/em> and Scarlett Johansson had brilliantly skewered sexist double standards for female comic book heroes in Hollywood, via a skit that stuck Black Widow in a rom-com. The skit was so on point, one can't help but wonder if someone at NBC got access to the \u003cem>Supergirl\u003c/em> trailer before it was released and copied it almost shot for shot.\u003c/p>\n\u003cp>Compare and contrast:\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/j_5KgpN38hM'\n title='//www.youtube.com/embed/j_5KgpN38hM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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/0Zmji_ioFXc'\n title='//www.youtube.com/embed/0Zmji_ioFXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the time it felt like confirmation that women in comic books were simply never going to get their due on screen -- whether in movies or on TV. Then last week, a couple of truly amazing things emerged from this year's San Diego Comic Con. The first was this little slice of character-faithful, Amazonian baddassery:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/5lGoQhFb4NM'\n title='//www.youtube.com/embed/5lGoQhFb4NM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>(It's okay. Take a moment to catch your breath. We know. It's awesome.)\u003c/p>\n\u003cp>The second was the news that the rather magnificent Brie Larson is going to be playing Captain Marvel. That's right, folks: the same comic book giant that has steadfastly refused to give Black Widow (or any other woman) her own movie just decided that the Captain Marvel of their new project would be female.\u003c/p>\n\u003cp>For context, in the Marvel Universe, four out of the six Captain Marvel incarnations have been male, and the Carol Danvers character only graduated to the title of Captain Marvel three years ago, having spent the preceding 40 years with the moniker Ms. Marvel. Sure, we have to wait until 2019 to see this thing, but knowing it's happening at all is comforting for everyone who's been desperate to see Marvel do right by its female fans -- and characters -- for literally years now.\u003c/p>\n\u003cp>Marvel has apparently, finally, taken notice. The giant has been making several overdue efforts to level the playing field recently. After announcing the great feminist writer \u003ca href=\"http://www.nytimes.com/2016/07/23/books/black-panther-marvel-comics-roxane-gay-ta-nehisi-coates-wakanda.html?_r=0\" target=\"_blank\">Roxane Gay had been brought on to pen a new book for the \u003cem>Black Panther\u003c/em> series\u003c/a>, they closed last week's Comic Con in San Diego with the now-annual \"Women of Marvel\" panel, which shines a light on all Marvel women -- be they characters or behind the scenes -- while also seeking to empower women in the audience to work in the industry. This is, frankly, huge.\u003c/p>\n\u003cp>It seems that, finally, just when we'd all but given up hope, comic book giants are at last making an effort to tap into the section of their audience that has existed forever, but been woefully underrepresented on the big screen. One theory: It's possible that the success of \u003cem>Star Wars: The Force Awakens\u003c/em> has made comic bigwigs realize that sci-fi and fantasy movies don't necessarily lose money by putting a penis-less human in the lead role.\u003c/p>\n\u003cp>Teen markets have been ahead of the equality curve for years now. \u003cem>The Hunger Games\u003c/em> and \u003cem>Divergent\u003c/em> series proved that female leads -- teenage ones, no less! -- can kick ass all the way to a multi-billion dollar franchise while appealing to all genders. Sounds like a no-brainer, right? Well, yeah. But just as the toy industry assumes no one wants to play with a girl action figure -- even when she's the star of the movie (\u003ca href=\"http://ww2.kqed.org/pop/2016/01/06/whereisrey-shes-on-her-way-says-hasbro/\" target=\"_blank\">#WhereIsRey\u003c/a>, anyone?) -- so has the comic book industry persisted with the assumption that women don't \"get\" superheroes, or even like them.\u003c/p>\n\u003cp>If Wonder Woman and Captain Marvel are big enough hits, it could change the face of movie superheroes forever -- which is more important than you might think. Because if women aren't given the space to be big and brave and bold, even in a fantasy world on a screen, what hope is there for the rest of us?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lit Picks: Evan Ratliff of The Atavist, Krys Lee, Lindsay Hatton, Melanie Gideon, and more",
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"headTitle": "Lit Picks: Evan Ratliff of The Atavist, Krys Lee, Lindsay Hatton, Melanie Gideon, and more | KQED",
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"content": "\u003cp>\u003cstrong>Wednesday, July 27: Get Lit at Corkscrew Wine Bar, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620.jpg\" alt=\"Rodriguez-620x620\" width=\"216\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-150x150.jpg 150w\" sizes=\"(max-width: 216px) 100vw, 216px\">Daniel Riddle Rodriguez has said that he writes about the “gritty things” of life: sex work, petty crime, drug abuse and more. Just take a look at his short story “\u003ca href=\"http://prairieschooner.unl.edu/excerpt/lemonade\">Lemonade\u003c/a>,” which ran in \u003cem>Prairie Schooner \u003c/em>and is narrated by a Demerol-swigging narrator who’s tasked with looking after his very old grandmother. Like the writing of Riddle Rodriguez’s literary hero Amy Hempel, the story is built of swift, tight sentences and lots of juicy subtext. Another story, “\u003ca href=\"https://gulfstreamlitmag.com/archives/online-archives/current-issue/fiction/even-the-ostrich/\">Even the Ostrich\u003c/a>,” which was published at \u003cem>Gulf Stream\u003c/em>, has a bang-up opening sentence that dares you not to keep reading.\u003c/p>\n\u003cblockquote>\u003cp>So I was sitting on the front porch, chewing on my nail beds, thinking about nothing, when black Kelly from up the street asked did I want to flirt with crime.\u003c/p>\u003c/blockquote>\n\u003cp>Rodriguez lives in San Lorenzo, but he’ll make the trek up to Petaluma to read at this month’s Get Lit alongside fellow Bay Area writers Hilary Zaid and Michelle Cruz Gonzales; the former wrote \u003cem>The Spitboy Rule\u003c/em>, which I \u003ca href=\"http://ww2.kqed.org/arts/2016/04/10/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band/\">reviewed\u003c/a> earlier this year. \u003ca href=\"https://www.facebook.com/events/1586777541619855/\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, July 28: Evan Ratliff in conversation with Jennifer Kahn at the Alamo Drafthouse, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/51aQkbKtoNL._SX331_BO1204203200_.jpg\" alt=\"51aQkbKtoNL._SX331_BO1,204,203,200_\" width=\"212\" height=\"318\">I’m a big fan of Evan Ratliff. And not just because\u003ca href=\"http://portraitofacreative.com/evanratliff_atavist/\"> he’s cute, wears cool shoes, and loves cats\u003c/a>. For one, he’s a co-host of the \u003ca href=\"https://longform.org/podcast\">Longform Podcast,\u003c/a> which has allowed me to nerd out on meandering conversations about the nuts-and-bolts of feature journalism with the likes of Kathryn Schulz, Mac McClelland, and Margo Jefferson. Secondly, as founder of \u003ca href=\"https://magazine.atavist.com/\">The Atavist Magazine,\u003c/a> he ushered in a new era of digital long-form journalism – at a time when most argued that bite-sized nuggets were all that readers could handle. Five years and 50 issues later, there’s no denying that the internet can support (with readers if not dollars) The Atavist’s uniquely designed storytelling. The online magazine has been nominated for eight National Magazine Awards — and was the first all-digital publication to win in feature writing, for “Love and Ruin” by James Verini, a story of romance and dedication in Afghanistan. A new print anthology \u003cem>Love and Ruin: Stories of Obsession, Danger, and Heartbreak from The Atavist Magazine\u003c/em>, edited by Ratliff, collects 10 of the best stories to date. The anthology is worth the purchase price alone for Leslie Jamison’s “52 Blue,” in which we learn about the loneliest whale in the world and the significance of 52 hertz. The rest of the stories aren’t so bad either. \u003ca href=\"https://www.facebook.com/events/1141849515837536\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Aug. 2: Krys Lee at The Booksmith, SF\u003c/strong>\u003c/p>\n\u003cp>How mu\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841765\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/9780670025688.jpg\" alt=\"9780670025688\" width=\"185\" height=\"280\">ch do you know about North Korea? I’ll be the first to admit that I know embarrassingly little about a country that’s constantly in the news cycle. Thank goodness for fiction as a path to learning: In her debut novel \u003cem>How I Became a North Korean\u003c/em>, novelist and professor of creative writing Krys Lee draws on her real-life experiences as a humanitarian helping North Korean refugees to inform her gripping story. It follows the lives of three characters that live in the Chinese territory bordering North Korea. Yearning to build better lives, they individually hatch plans to escape, eventually meeting each other and forming an adoptive family. At the Booksmith, Lee appears in conversation with Adam Johnson, who won a Pulitzer for his novel \u003cem>The Orphan Master’s Son\u003c/em>, which also featured North Korea. \u003ca href=\"http://www.booksmith.com/event/krys-lee-how-i-became-north-korean-conversation-adam-johnson\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 4: Lindsay Hatton at Bookshop West Portal, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841800\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/9781594206788_custom-bb3923eeaffa02f7f6cb6d21375c275a7823f663-s400-c85.jpg\" alt=\"9781594206788_custom-bb3923eeaffa02f7f6cb6d21375c275a7823f663-s400-c85\" width=\"216\" height=\"326\">You’re not supposed to judge a book by its cover, but man, do I love the turquoise-washed jacket design of Lindsay Hatton’s debut novel \u003cem>Monterey Bay,\u003c/em> out this month. Luckily, the story inside lives up to its design’s promise. This holds especially true for anyone with a Steinbeck or \u003cem>Cannery Row\u003c/em> fascination. Born and raised in Monterey, Hatton is well-familiar with the town that inspired Steinbeck’s oft-assigned novella. The book takes place in 1940, as 15-year-old Margot Fiske arrives in California with her father. Through a dark turn of circumstances, she ends up working as a sketch artist in the lab of Ed Ricketts, a biologist and the basis for the “Doc” character in the Steinbeck novel. Emotional mayhem and controversial choices ensue.\u003c/p>\n\u003cp>From the finely crafted opening paragraph:\u003c/p>\n\u003cblockquote>\u003cp>When he’s fifty years dead, she dreams she’s gone back. Back to the small white house in the neighborhood that splits the difference between Monterey and Pacific Grove, back to the streets where the cannery workers used to live. She dreams of rising from the horsehair sofa in that bruised hour when the sky is still dark and the bay is still black. She dreams of the place where the old Monterey still exists, or at least the Monterey that’s found its way into stories: the last quarter mile of the bike trail – the one that starts in Seaside and then moves up slightly from the coastline before running parallel to Cannery Row – where there’s an odd, untended bit of land marked with the broken shell of an old steel storage cylinder. And here, in the weeds and ice plants, in the rusty metal that smells salty in the sun and bloody in the fog, she dreams of everything that has slipped away, everything that will never come back.\u003c/p>\u003c/blockquote>\n\u003cp>Details for Bookshop West Portal \u003ca href=\"http://www.bookshopwestportal.com/events-bookshop-west-portal\">here\u003c/a>. Hatton also \u003ca href=\"http://www.townecenterbooks.com/home.html\">appears at Towne Center Books\u003c/a> in Pleasanton on Aug. 5.\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 5: Melanie Gideon at Copperfield’s Books, Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11841778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/9780345539281.jpg\" alt=\"9780345539281\" width=\"180\" height=\"271\">When I was young, time travel was my jam. My obsession started with \u003ca href=\"https://en.wikipedia.org/wiki/Time_Bandits\">\u003cem>Time Bandits\u003c/em>\u003c/a>, grew wings with \u003ca href=\"https://www.youtube.com/watch?v=f2c-tMZSZtY\">\u003cem>Back to the Future\u003c/em>\u003c/a>, and took flight with \u003ca href=\"http://www.nbc.com/classic-tv/quantum-leap\">\u003cem>Quantum Leap\u003c/em>\u003c/a>. If a TV show or book featured time travel, I was all in. I had my own time-traveling fantasies, mainly involving a return to the olden days where I would live like Laura Ingalls, churning butter and running across the prairie in a calico bonnet and pinafore. A girl can dream. After reading \u003cem>Valley of the Moon\u003c/em>, the latest novel by Melanie Gideon, I’m pretty sure she had similar fantasies.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Here’s the premise: It’s 1975 in San Francisco, and Lux Lysander is an underpaid, overworked single mom who’s about to lose it. But then she takes a solo trip to Sonoma Valley, where she magically stumbles on Greengage, an idyllic community that appears to be from another era. Turns out, the farming village has been marooned in time — the early twentieth century, to be exact — ever since the 1906 earthquake, which somehow left its residents trapped in a time warp. Anyone who tries to leave gets offed by a killer fog… except for Lux. Will she stay with her new (old) friends, or will she return to a harried, unrewarding life in the modern world? Stay, Lux, stay! Details for Copperfield’s Books \u003ca href=\"http://www.copperfieldsbooks.com/event/melanie-gideon\">here\u003c/a>. Gideon also \u003ca href=\"http://www.booksinc.net/event/melanie-gideon-books-inc-palo-alto\">appears at Books Inc.\u003c/a> in Palo Alto on Friday, July 29.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Wednesday, July 27: Get Lit at Corkscrew Wine Bar, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620.jpg\" alt=\"Rodriguez-620x620\" width=\"216\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Rodriguez-620x620-150x150.jpg 150w\" sizes=\"(max-width: 216px) 100vw, 216px\">Daniel Riddle Rodriguez has said that he writes about the “gritty things” of life: sex work, petty crime, drug abuse and more. Just take a look at his short story “\u003ca href=\"http://prairieschooner.unl.edu/excerpt/lemonade\">Lemonade\u003c/a>,” which ran in \u003cem>Prairie Schooner \u003c/em>and is narrated by a Demerol-swigging narrator who’s tasked with looking after his very old grandmother. Like the writing of Riddle Rodriguez’s literary hero Amy Hempel, the story is built of swift, tight sentences and lots of juicy subtext. Another story, “\u003ca href=\"https://gulfstreamlitmag.com/archives/online-archives/current-issue/fiction/even-the-ostrich/\">Even the Ostrich\u003c/a>,” which was published at \u003cem>Gulf Stream\u003c/em>, has a bang-up opening sentence that dares you not to keep reading.\u003c/p>\n\u003cblockquote>\u003cp>So I was sitting on the front porch, chewing on my nail beds, thinking about nothing, when black Kelly from up the street asked did I want to flirt with crime.\u003c/p>\u003c/blockquote>\n\u003cp>Rodriguez lives in San Lorenzo, but he’ll make the trek up to Petaluma to read at this month’s Get Lit alongside fellow Bay Area writers Hilary Zaid and Michelle Cruz Gonzales; the former wrote \u003cem>The Spitboy Rule\u003c/em>, which I \u003ca href=\"http://ww2.kqed.org/arts/2016/04/10/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band/\">reviewed\u003c/a> earlier this year. \u003ca href=\"https://www.facebook.com/events/1586777541619855/\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, July 28: Evan Ratliff in conversation with Jennifer Kahn at the Alamo Drafthouse, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/51aQkbKtoNL._SX331_BO1204203200_.jpg\" alt=\"51aQkbKtoNL._SX331_BO1,204,203,200_\" width=\"212\" height=\"318\">I’m a big fan of Evan Ratliff. And not just because\u003ca href=\"http://portraitofacreative.com/evanratliff_atavist/\"> he’s cute, wears cool shoes, and loves cats\u003c/a>. For one, he’s a co-host of the \u003ca href=\"https://longform.org/podcast\">Longform Podcast,\u003c/a> which has allowed me to nerd out on meandering conversations about the nuts-and-bolts of feature journalism with the likes of Kathryn Schulz, Mac McClelland, and Margo Jefferson. Secondly, as founder of \u003ca href=\"https://magazine.atavist.com/\">The Atavist Magazine,\u003c/a> he ushered in a new era of digital long-form journalism – at a time when most argued that bite-sized nuggets were all that readers could handle. Five years and 50 issues later, there’s no denying that the internet can support (with readers if not dollars) The Atavist’s uniquely designed storytelling. The online magazine has been nominated for eight National Magazine Awards — and was the first all-digital publication to win in feature writing, for “Love and Ruin” by James Verini, a story of romance and dedication in Afghanistan. A new print anthology \u003cem>Love and Ruin: Stories of Obsession, Danger, and Heartbreak from The Atavist Magazine\u003c/em>, edited by Ratliff, collects 10 of the best stories to date. The anthology is worth the purchase price alone for Leslie Jamison’s “52 Blue,” in which we learn about the loneliest whale in the world and the significance of 52 hertz. The rest of the stories aren’t so bad either. \u003ca href=\"https://www.facebook.com/events/1141849515837536\">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>Tuesday, Aug. 2: Krys Lee at The Booksmith, SF\u003c/strong>\u003c/p>\n\u003cp>How mu\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841765\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/9780670025688.jpg\" alt=\"9780670025688\" width=\"185\" height=\"280\">ch do you know about North Korea? I’ll be the first to admit that I know embarrassingly little about a country that’s constantly in the news cycle. Thank goodness for fiction as a path to learning: In her debut novel \u003cem>How I Became a North Korean\u003c/em>, novelist and professor of creative writing Krys Lee draws on her real-life experiences as a humanitarian helping North Korean refugees to inform her gripping story. It follows the lives of three characters that live in the Chinese territory bordering North Korea. Yearning to build better lives, they individually hatch plans to escape, eventually meeting each other and forming an adoptive family. At the Booksmith, Lee appears in conversation with Adam Johnson, who won a Pulitzer for his novel \u003cem>The Orphan Master’s Son\u003c/em>, which also featured North Korea. \u003ca href=\"http://www.booksmith.com/event/krys-lee-how-i-became-north-korean-conversation-adam-johnson\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 4: Lindsay Hatton at Bookshop West Portal, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11841800\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/9781594206788_custom-bb3923eeaffa02f7f6cb6d21375c275a7823f663-s400-c85.jpg\" alt=\"9781594206788_custom-bb3923eeaffa02f7f6cb6d21375c275a7823f663-s400-c85\" width=\"216\" height=\"326\">You’re not supposed to judge a book by its cover, but man, do I love the turquoise-washed jacket design of Lindsay Hatton’s debut novel \u003cem>Monterey Bay,\u003c/em> out this month. Luckily, the story inside lives up to its design’s promise. This holds especially true for anyone with a Steinbeck or \u003cem>Cannery Row\u003c/em> fascination. Born and raised in Monterey, Hatton is well-familiar with the town that inspired Steinbeck’s oft-assigned novella. The book takes place in 1940, as 15-year-old Margot Fiske arrives in California with her father. Through a dark turn of circumstances, she ends up working as a sketch artist in the lab of Ed Ricketts, a biologist and the basis for the “Doc” character in the Steinbeck novel. Emotional mayhem and controversial choices ensue.\u003c/p>\n\u003cp>From the finely crafted opening paragraph:\u003c/p>\n\u003cblockquote>\u003cp>When he’s fifty years dead, she dreams she’s gone back. Back to the small white house in the neighborhood that splits the difference between Monterey and Pacific Grove, back to the streets where the cannery workers used to live. She dreams of rising from the horsehair sofa in that bruised hour when the sky is still dark and the bay is still black. She dreams of the place where the old Monterey still exists, or at least the Monterey that’s found its way into stories: the last quarter mile of the bike trail – the one that starts in Seaside and then moves up slightly from the coastline before running parallel to Cannery Row – where there’s an odd, untended bit of land marked with the broken shell of an old steel storage cylinder. And here, in the weeds and ice plants, in the rusty metal that smells salty in the sun and bloody in the fog, she dreams of everything that has slipped away, everything that will never come back.\u003c/p>\u003c/blockquote>\n\u003cp>Details for Bookshop West Portal \u003ca href=\"http://www.bookshopwestportal.com/events-bookshop-west-portal\">here\u003c/a>. Hatton also \u003ca href=\"http://www.townecenterbooks.com/home.html\">appears at Towne Center Books\u003c/a> in Pleasanton on Aug. 5.\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 5: Melanie Gideon at Copperfield’s Books, Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11841778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/9780345539281.jpg\" alt=\"9780345539281\" width=\"180\" height=\"271\">When I was young, time travel was my jam. My obsession started with \u003ca href=\"https://en.wikipedia.org/wiki/Time_Bandits\">\u003cem>Time Bandits\u003c/em>\u003c/a>, grew wings with \u003ca href=\"https://www.youtube.com/watch?v=f2c-tMZSZtY\">\u003cem>Back to the Future\u003c/em>\u003c/a>, and took flight with \u003ca href=\"http://www.nbc.com/classic-tv/quantum-leap\">\u003cem>Quantum Leap\u003c/em>\u003c/a>. If a TV show or book featured time travel, I was all in. I had my own time-traveling fantasies, mainly involving a return to the olden days where I would live like Laura Ingalls, churning butter and running across the prairie in a calico bonnet and pinafore. A girl can dream. After reading \u003cem>Valley of the Moon\u003c/em>, the latest novel by Melanie Gideon, I’m pretty sure she had similar fantasies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the premise: It’s 1975 in San Francisco, and Lux Lysander is an underpaid, overworked single mom who’s about to lose it. But then she takes a solo trip to Sonoma Valley, where she magically stumbles on Greengage, an idyllic community that appears to be from another era. Turns out, the farming village has been marooned in time — the early twentieth century, to be exact — ever since the 1906 earthquake, which somehow left its residents trapped in a time warp. Anyone who tries to leave gets offed by a killer fog… except for Lux. Will she stay with her new (old) friends, or will she return to a harried, unrewarding life in the modern world? Stay, Lux, stay! Details for Copperfield’s Books \u003ca href=\"http://www.copperfieldsbooks.com/event/melanie-gideon\">here\u003c/a>. Gideon also \u003ca href=\"http://www.booksinc.net/event/melanie-gideon-books-inc-palo-alto\">appears at Books Inc.\u003c/a> in Palo Alto on Friday, July 29.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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