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"content": "\u003cp>Mychal Denzel Smith was 25 years old when Trayvon Martin was killed by George Zimmerman, a citizen vigilante with too-easy access to a gun and protection from Florida’s bizarre stand-your-ground law. Martin was 17, on his way home from 7-11, with a pack of Skittles in his pocket and an Arizona iced tea in his hand.\u003c/p>\n\u003cp>For Smith, a contributing writer for \u003cem>The Nation\u003c/em> magazine, the killing of Trayvon Martin marked a turning point; the moment when he began a conscious interrogation of the social forces that had shaped him up to that moment.\u003c/p>\n\u003cp>“I looked at the face of the boy who became a symbol and wanted more,” Smith writes in his powerful new memoir \u003cem>Invisible Man, Got the Whole World Watching: A Young Black Man’s Education\u003c/em>. “I wanted more for him than the choice between martyr and token. I wanted more for him than eulogies and praise songs. I wanted more for him than just an opportunity to create himself. I wanted for him, for all the Trayvons in waiting, a world where they didn’t have to grow up broken or not grow up at all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691989 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26195970.jpg\" alt=\"26195970\" width=\"263\" height=\"400\">\u003c/p>\n\u003cp>Thus sets off a journey of discovery for Smith, of how he learns to be a black man in a world of social and psychological time bombs: white supremacy, misogyny, homophobia, transphobia, class-based elitism, self-hatred, violence, untreated mental illness. Smith, 29, writes with impressive grace and power. After a few pages, the book is nearly impossible to put down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in 1986 as the son of a career Navy man, Smith admits to growing up with a comfortable, relatively apolitical middle-class existence — until pop culture, first in the form of \u003cem>The Boondocks\u003c/em>, revealed a different way of thinking. “It was as if the blackness messiah had come down to lay hands on me personally,” Smith writes about his first encounter with Aaron McGruder’s political comic strip, which was first printed in \u003cem>The Source\u003c/em> magazine.\u003c/p>\n\u003cp>From there, Smith threads smoothly into Malcolm X, whose self-taught radical form of truth-telling about white supremacy and black pride fired up a young Smith in a way that Martin Luther King Jr. never did. Hip-hop came next: Public Enemy, Ice Cube, KRS-One, Dead Prez, the Roots and Mos Def; more truth-tellers blowing up Smith’s nascent political imagination.\u003c/p>\n\u003cp>And then came Barack Obama. In Obama, Smith finds a fascinating foil. When his father gifts a copy of Obama’s first book, Smith isn’t much interested.\u003c/p>\n\u003cblockquote>\u003cp>I wasn’t impressed by Barack Obama because he wasn’t Tupac. He wasn’t Mos Def or Aaron McGruder. He wasn’t Malcolm X. Barack Obama was my parents’ idea of black excellence: “well” dressed, “well” spoken, advanced degrees from prestigious universities, successful professional, ambitious, nonthreatening, a rebuke to the stereotypes, Twice as good. But he was a politician, and politicians didn’t tell the truth. My heroes were truth-tellers, the people who exposed racism and were committed to fighting in the name of black liberation. They knew there was no sense in asking for freedom. Barack Obama, the speech that made him famous, seemed to be denying the need for the fight. He wasn’t even asking — he was accepting.\u003c/p>\u003c/blockquote>\n\u003cp>Smith looks elsewhere to answer the main question taking up all his headspace: \u003cem>What does it mean to be a black man in America\u003c/em>? He learns how to engage critically with text from an English professor at Hampton University. He learns how to live by his ethics from Dave Chappelle, who memorably walked away from a $50 million contract with Comedy Central in the mid-aughts. He learns about the radical black left by reading Angela Davis and Assata Shakur. And, in a reminder that Kanye West once did more than design overpriced clothes, Smith learns about surrendering to black rage from watching Kanye tell a television audience of millions that “\u003ca href=\"https://www.youtube.com/watch?v=zIUzLpO1kxI\" target=\"_blank\" rel=\"noopener\">George Bush doesn’t care about black people\u003c/a>.”\u003c/p>\n\u003cp>“I couldn’t have loved him any more,” writes Smith. “I was no longer alone.”\u003c/p>\n\u003cp>Smith spends the rest of the chapter arguing for black rage as a political tool, analyzing all of the ways it’s been overtly and systematically suppressed in the U.S. He doesn’t stop there: by the book’s end, he’s taken a hard look at how black men and women in this country are shaped by homophobia, patriarchy, misogyny, “survivor’s guilt” and racism. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mychal Denzel Smith was 25 years old when Trayvon Martin was killed by George Zimmerman, a citizen vigilante with too-easy access to a gun and protection from Florida’s bizarre stand-your-ground law. Martin was 17, on his way home from 7-11, with a pack of Skittles in his pocket and an Arizona iced tea in his hand.\u003c/p>\n\u003cp>For Smith, a contributing writer for \u003cem>The Nation\u003c/em> magazine, the killing of Trayvon Martin marked a turning point; the moment when he began a conscious interrogation of the social forces that had shaped him up to that moment.\u003c/p>\n\u003cp>“I looked at the face of the boy who became a symbol and wanted more,” Smith writes in his powerful new memoir \u003cem>Invisible Man, Got the Whole World Watching: A Young Black Man’s Education\u003c/em>. “I wanted more for him than the choice between martyr and token. I wanted more for him than eulogies and praise songs. I wanted more for him than just an opportunity to create himself. I wanted for him, for all the Trayvons in waiting, a world where they didn’t have to grow up broken or not grow up at all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691989 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26195970.jpg\" alt=\"26195970\" width=\"263\" height=\"400\">\u003c/p>\n\u003cp>Thus sets off a journey of discovery for Smith, of how he learns to be a black man in a world of social and psychological time bombs: white supremacy, misogyny, homophobia, transphobia, class-based elitism, self-hatred, violence, untreated mental illness. Smith, 29, writes with impressive grace and power. After a few pages, the book is nearly impossible to put down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in 1986 as the son of a career Navy man, Smith admits to growing up with a comfortable, relatively apolitical middle-class existence — until pop culture, first in the form of \u003cem>The Boondocks\u003c/em>, revealed a different way of thinking. “It was as if the blackness messiah had come down to lay hands on me personally,” Smith writes about his first encounter with Aaron McGruder’s political comic strip, which was first printed in \u003cem>The Source\u003c/em> magazine.\u003c/p>\n\u003cp>From there, Smith threads smoothly into Malcolm X, whose self-taught radical form of truth-telling about white supremacy and black pride fired up a young Smith in a way that Martin Luther King Jr. never did. Hip-hop came next: Public Enemy, Ice Cube, KRS-One, Dead Prez, the Roots and Mos Def; more truth-tellers blowing up Smith’s nascent political imagination.\u003c/p>\n\u003cp>And then came Barack Obama. In Obama, Smith finds a fascinating foil. When his father gifts a copy of Obama’s first book, Smith isn’t much interested.\u003c/p>\n\u003cblockquote>\u003cp>I wasn’t impressed by Barack Obama because he wasn’t Tupac. He wasn’t Mos Def or Aaron McGruder. He wasn’t Malcolm X. Barack Obama was my parents’ idea of black excellence: “well” dressed, “well” spoken, advanced degrees from prestigious universities, successful professional, ambitious, nonthreatening, a rebuke to the stereotypes, Twice as good. But he was a politician, and politicians didn’t tell the truth. My heroes were truth-tellers, the people who exposed racism and were committed to fighting in the name of black liberation. They knew there was no sense in asking for freedom. Barack Obama, the speech that made him famous, seemed to be denying the need for the fight. He wasn’t even asking — he was accepting.\u003c/p>\u003c/blockquote>\n\u003cp>Smith looks elsewhere to answer the main question taking up all his headspace: \u003cem>What does it mean to be a black man in America\u003c/em>? He learns how to engage critically with text from an English professor at Hampton University. He learns how to live by his ethics from Dave Chappelle, who memorably walked away from a $50 million contract with Comedy Central in the mid-aughts. He learns about the radical black left by reading Angela Davis and Assata Shakur. And, in a reminder that Kanye West once did more than design overpriced clothes, Smith learns about surrendering to black rage from watching Kanye tell a television audience of millions that “\u003ca href=\"https://www.youtube.com/watch?v=zIUzLpO1kxI\" target=\"_blank\" rel=\"noopener\">George Bush doesn’t care about black people\u003c/a>.”\u003c/p>\n\u003cp>“I couldn’t have loved him any more,” writes Smith. “I was no longer alone.”\u003c/p>\n\u003cp>Smith spends the rest of the chapter arguing for black rage as a political tool, analyzing all of the ways it’s been overtly and systematically suppressed in the U.S. He doesn’t stop there: by the book’s end, he’s taken a hard look at how black men and women in this country are shaped by homophobia, patriarchy, misogyny, “survivor’s guilt” and racism. Smith saves his most brutally honest writing for last, when he recounts his years-long struggle with anxiety, depression and survivor’s guilt after the violent death of a favorite (male) cousin. Wisely, Smith weaves in references to a book by feminist public intellectual \u003ca href=\"http://www.goodreads.com/book/show/17587.Rock_My_Soul\" target=\"_blank\" rel=\"noopener\">bell hooks\u003c/a>, \u003cem>Rock My Soul: Black People and Self-Esteem\u003c/em>, in which she asserts that “mental health is the revolutionary anti-racist frontier African Americans must collectively explore.”\u003c/p>\n\u003cp>To truly heal, black Americans have to start with the right questions, demands Smith. By rigorously interrogating the forces that have shaped his own life from multiple entry points, Smith essentially demands the same of his readers. Ask and ask again. How did I become who I am?\u003c/p>\n\u003cblockquote>\u003cp>“We recreate white supremacy, misogyny, homophobia, transphobia, class-based elitism, self-hatred, violence, and untreated mental illness in part because we have failed to ask the right questions and about how to end them. So far, we’ve mostly asked how we can stop the bleeding.”\u003c/p>\u003c/blockquote>\n\u003cp>Every American should read this book. It provides hope that we can survive the violent growing pains of a nasty, brutal, adolescent America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mychal Denzel Smith appears at Book Passage in Corte Madera on June 30. \u003ca href=\"http://www.bookpassage.com/event/mychal-denzel-smith-invisible-man-got-whole-world-watching-corte-madera\">Details here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>I live by the beach, and we know that summer begins when the sun disappears towards the end of May, for about three months. That’s when it becomes the land of \u003cem>The Crawling Eye\u003c/em>, a z-budget movie from 1958 about a giant alien eyeball that crash lands in the Swiss alps and is accompanied by a fog bank as it crawls about, decapitating unsuspecting Swiss people.\u003c/p>\n\u003cp>When the fog rolls in, there’s no better time to kick back in your cozy living room and read some really weird books. This year has seen an assortment of titles published that would give H.P. Lovecraft the chills and if that’s your scene, I suggest pulling up a giant alien eyeball and checking out any of the strange tales below.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11670737\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/hurley-the_loney-400x644.jpg\" alt=\"'The Loney' by Andrew Michael Hurley \" width=\"400\" height=\"644\" class=\"size-thumbnail wp-image-11670737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-400x644.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-373x600.jpg 373w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-768x1237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-733x1180.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney.jpg 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Loney’ by Andrew Michael Hurley\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Loney\u003c/em>\u003c/h3>\n\u003ch5>by Andrew Michael Hurley\u003c/h5>\n\u003cp>We’ll start with \u003cem>The Loney\u003c/em>, a dark gothic novel set along “the loney,” a part of the English coast that might have hosted our all-seeing friend. Cold, windy, muddy, edged with dank scraps of dense, unfriendly vegetation, it’s just the place to take your family on an annual basis for an unpleasant and perhaps unholy Easter celebration. Smith, who tries to tell the story, but is prone to wind back and forth in his memory, recalls, as best he can, his brother Hanny, a mute whom his dangerously-devout mother hoped to cure with sinister rituals. There was a child’s body washed up in the mud and thorns that lined the shore. Did something fantastic intrude into these grim everyday lives, or were those lives simply worse than we care to imagine? Hurley’s powerful prose and his intense sense of place and character bring to mind the best that the Gothic fiction genre has to offer. Read it before booking that cottage on the coast.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689210\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/perri-the_assistants-1-400x603.jpg\" alt=\"'The Assistants' by Camille Perri\" width=\"400\" height=\"603\" class=\"size-thumbnail wp-image-11689210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/perri-the_assistants-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/perri-the_assistants-1-398x600.jpg 398w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Assistants’ by Camille Perri\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Assistants\u003c/em>\u003c/h3>\n\u003ch5>by Camille Perri\u003c/h5>\n\u003cp>Camille Perri’s debut novel, \u003cem>The Assistants\u003c/em>, is narrated by Tina Fontana, assistant to a billionaire media mogul who pays for an hors d’oeuvre what she pays in rent for her tiny apartment. The luxury gap is alive and well, and Tina is staring at a student loan debt of $20,000. Circumstances offer her an exit that she takes with the tiniest moral pivot, but one step away from the straight and narrow leads to another step and another debt-riddled ex-student. As Tina takes us down a rabbit-hole of cascading consequences, Perri crafts a novel that offers a charming look at friendship, courtship and corporate shenanigans in the early 21st century. You may guess where all this is going — a scheme, perhaps? — but not how far. And having Tina as your guide is the kind of bonus that even a benevolent corporation can’t offer. She’s witty and gritty, with a perfectly honed predilection for salty language that brings on the laughs. You may read it in a day or two, but it will play in your brain for much longer than that. There are a lot of ways to break the glass ceiling; some may involve breaking, or at least bending the law.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689212\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Race-TitanCover-400x625.jpg\" alt=\"'The Race' by Nina Allan\" width=\"400\" height=\"625\" class=\"size-thumbnail wp-image-11689212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-768x1200.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-755x1180.jpg 755w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Race’ by Nina Allan\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Race\u003c/em>\u003c/h3>\n\u003ch5>by Nina Allan\u003c/h5>\n\u003cp>On the other side of the debut universe, or more likely in one adjacent to ours, you can find Nina Allan’s remarkable \u003cem>The Race\u003c/em>. In admirably direct prose, we meet Jenna Hoolman, who tells us about her life in Sapphire in a devastated future. The only game in town is smartdog racing, which involves humans bonded to dogs. “There’s a lot of hard-science stuff I don’t understand fully,” Jenna tells us. In fact the future itself seems a bit blurry, until Allan snaps it into crystal clear focus. Our narrator may not be who we think she is. And the smartdog-runner relationship may prove to have parallels even the most literary aficionados may not suspect. Rest assured this is not the science fiction you thought you were buying, but something even stranger and more powerful. Stories unfold within stories, fiction begets even stranger fictions set in more familiar places. Here’s the good news: the best means of gaining any perspective requires one to step away from the object you are trying to understand. It’s essential to preserve the mysteries at the heart of this astonishing novel. But as Nina Allan whipsaws your mind from this world to the next and back to this one, upon your return to wherever you were when you started \u003cem>The Race\u003c/em>, you will realize that perspective cuts two ways. Try as you might, you can’t unsee the truth.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689387\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muladona_picture-210-400x612.jpg\" alt=\"'Muladona' by Eric Stener Carlson\" width=\"400\" height=\"612\" class=\"size-thumbnail wp-image-11689387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muladona_picture-210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muladona_picture-210-392x600.jpg 392w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Muladona’ by Eric Stener Carlson\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Muladona\u003c/em>\u003c/h3>\n\u003ch5>by Eric Stener Carlson\u003c/h5>\n\u003cp>Tartarus Press is a specialty publisher from the moors of Britain with a focus on the supernatural and the weird. They were the original publisher of Andrew Michael Hurley’s \u003cem>The Loney\u003c/em>, before it started winning prizes and acclaim. Eric Stener Carlson’s \u003cem>Muladona\u003c/em> unfolds in 1918, as the Spanish flu kills off the residents of Incarnation, Texas. Verge Strömberg is a bookworm and the son of an overbearing town pastor, who leaves him behind to tend church elsewhere. That’s when the Muladona begins coming to him – a fire-breathing winged mule from hell (and Mexican folklore). It begins to tell him stories, taunting him in true supernatural fashion to guess its name. It’s an upside-down, supernatural \u003cem>Scheherazade\u003c/em>, with a hardscrabble, western-dirt feel. Carlson captures the terror of an almost-remembered nightmare, juxtaposing the familiar and the strange with ease. While Tartarus hails from the darkest moors of Britain, \u003cem>Muladona\u003c/em> speaks the black heart of American greed.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689391\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Heavenly-Table-400x603.jpg\" alt=\"'The Heavenly Table' by Donald Ray Pollack\" width=\"400\" height=\"603\" class=\"size-thumbnail wp-image-11689391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Heavenly-Table.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Heavenly-Table-398x600.jpg 398w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Heavenly Table’ by Donald Ray Pollack\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Heavenly Table\u003c/em>\u003c/h3>\n\u003ch5>by Donald Ray Pollack\u003c/h5>\n\u003cp>Donald Ray Pollack’s \u003cem>The Heavenly Table\u003c/em> is not a cookbook, but it is every bit as disturbing as the tome \u003cem>To Serve Man\u003c/em> in the famous Damon Knight story adapted by Rod Serling for \u003cem>The Twilight Zone\u003c/em>. It’s 1917, the 20th century is finally coming into focus, and it is not a happy sight. Cane, Cob and Chimney Jewett lose everything and set off to kill, rob and pillage everything in their path, inspired by a dime novel that revels in blood. The Fiddlers, Ellsworth, Eula and their son Eddie, live hundreds of miles away from the Jewetts, but not far enough. Their paths will cross and it will not end well for Pollack’s characters, crafted from blood, steel and stone. We believe these people, and in them, even if they are despicable. There’s a point where despicable becomes easy — necessary even. Exciting and powerful, \u003cem>The Heavenly Table\u003c/em> offers the visionary pleasures of Flannery O’Connor with a hefty dose of gun (and other) violence. Pollack humanizes his most desperately terrible characters, even if we wish he would not. \u003cem>The Heavenly Table\u003c/em> is a serving of American literary ultra-violence that steps well beyond wild into weird.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689392\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris-400x608.jpg\" alt=\"'The Last Days of New Paris' by China Miéville\" width=\"400\" height=\"608\" class=\"size-thumbnail wp-image-11689392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris.jpg 701w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Last Days of New Paris’ by China Miéville\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Last Days of New Paris\u003c/em>\u003c/h3>\n\u003ch5>by China Miéville\u003c/h5>\n\u003cp>Let’s just get to the heart of weird, with the man who invented a genre he called “the New Weird,” China Miéville. \u003cem>The Last Days of New Paris\u003c/em> posits that in 1941, a surrealist bomb detonated in Nazi-occupied Paris. The horrific, disturbing, and yes, surreal images of those paintings were made real. In 1950, the war drags on and New Paris, as it is called, is under a new attack, as the Nazis have unsurprisingly made contact with Hell and managed to import demons to aid in their fight. Thibault is a soldier fighting for the surrealists, trying to keep track of the manifs, which is to say, those manifestations from the art. “Of those many manifs mentioned in the narrative, there are, I’m sure, many I’ve failed to identify. If I understand it correctly, it’s in the nature of the S-Blast that the great bulk of its results are random or manifest the work of unknown artists–by which in Surrealist fashion, I mean people.” So, yes, \u003cem>people are weird\u003c/em>. The book is both illustrated and annotated. Miéville is consistently brilliant and weird in equal measure. This is clearly the best book about surrealist art brought to life to fight in WWII ever written.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689394\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Where-The-Time-Goes__61GkSZ23AL-400x608.jpg\" alt=\"'Where the Time Goes' by Jeffrey E. Barlough\" width=\"400\" height=\"608\" class=\"size-thumbnail wp-image-11689394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Where-The-Time-Goes__61GkSZ23AL.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Where-The-Time-Goes__61GkSZ23AL-395x600.jpg 395w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Where the Time Goes’ by Jeffrey E. Barlough\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Where the Time Goes\u003c/em>\u003c/h3>\n\u003ch5>by Jeffrey E. Barlough\u003c/h5>\n\u003cp>The potential in fantasy literature for the weird is great, but the realization is low. We can thank Jeffrey E. Barlough, then, for his utterly unique Western Lights novels. They all stand alone, though they partake of the same backdrop — a sort of Victorian London plopped down in the American West and mid-west, sans gunpowder, but with mastodons, wooly mammoths and giant sloths roaming the hills. The latest entry, \u003cem>Where the Time Goes\u003c/em> finds Dr. Hugh Callender returning home to Dithering in the Lingonshire, to investigate the monster in Eldritch’s Cupboard, if indeed it even exists. The charm of Barlough’s work is that he writes as if he’s living in the world he has created with a lovely and enjoyably jolly faux-Victorian prose. He also loves his characters so much that you cannot help but feel the same. He creates real tension and when he dials up the creep factor, he can make your skin crawl with the merest suggestion. This is the ninth book in the series, so if you want to catch up while you wait for this one, there are plenty to read. Order is unimportant, but these books are an important reminder that the human imagination has no bounds. They also remind us that there is art in literature that simply cannot be experienced in any other way.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Really Weird Books for Fogged-in, Coast-Side Reading this Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>I live by the beach, and we know that summer begins when the sun disappears towards the end of May, for about three months. That’s when it becomes the land of \u003cem>The Crawling Eye\u003c/em>, a z-budget movie from 1958 about a giant alien eyeball that crash lands in the Swiss alps and is accompanied by a fog bank as it crawls about, decapitating unsuspecting Swiss people.\u003c/p>\n\u003cp>When the fog rolls in, there’s no better time to kick back in your cozy living room and read some really weird books. This year has seen an assortment of titles published that would give H.P. Lovecraft the chills and if that’s your scene, I suggest pulling up a giant alien eyeball and checking out any of the strange tales below.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11670737\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/hurley-the_loney-400x644.jpg\" alt=\"'The Loney' by Andrew Michael Hurley \" width=\"400\" height=\"644\" class=\"size-thumbnail wp-image-11670737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-400x644.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-373x600.jpg 373w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-768x1237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney-733x1180.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/hurley-the_loney.jpg 795w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Loney’ by Andrew Michael Hurley\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Loney\u003c/em>\u003c/h3>\n\u003ch5>by Andrew Michael Hurley\u003c/h5>\n\u003cp>We’ll start with \u003cem>The Loney\u003c/em>, a dark gothic novel set along “the loney,” a part of the English coast that might have hosted our all-seeing friend. Cold, windy, muddy, edged with dank scraps of dense, unfriendly vegetation, it’s just the place to take your family on an annual basis for an unpleasant and perhaps unholy Easter celebration. Smith, who tries to tell the story, but is prone to wind back and forth in his memory, recalls, as best he can, his brother Hanny, a mute whom his dangerously-devout mother hoped to cure with sinister rituals. There was a child’s body washed up in the mud and thorns that lined the shore. Did something fantastic intrude into these grim everyday lives, or were those lives simply worse than we care to imagine? Hurley’s powerful prose and his intense sense of place and character bring to mind the best that the Gothic fiction genre has to offer. Read it before booking that cottage on the coast.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689210\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/perri-the_assistants-1-400x603.jpg\" alt=\"'The Assistants' by Camille Perri\" width=\"400\" height=\"603\" class=\"size-thumbnail wp-image-11689210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/perri-the_assistants-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/perri-the_assistants-1-398x600.jpg 398w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Assistants’ by Camille Perri\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Assistants\u003c/em>\u003c/h3>\n\u003ch5>by Camille Perri\u003c/h5>\n\u003cp>Camille Perri’s debut novel, \u003cem>The Assistants\u003c/em>, is narrated by Tina Fontana, assistant to a billionaire media mogul who pays for an hors d’oeuvre what she pays in rent for her tiny apartment. The luxury gap is alive and well, and Tina is staring at a student loan debt of $20,000. Circumstances offer her an exit that she takes with the tiniest moral pivot, but one step away from the straight and narrow leads to another step and another debt-riddled ex-student. As Tina takes us down a rabbit-hole of cascading consequences, Perri crafts a novel that offers a charming look at friendship, courtship and corporate shenanigans in the early 21st century. You may guess where all this is going — a scheme, perhaps? — but not how far. And having Tina as your guide is the kind of bonus that even a benevolent corporation can’t offer. She’s witty and gritty, with a perfectly honed predilection for salty language that brings on the laughs. You may read it in a day or two, but it will play in your brain for much longer than that. There are a lot of ways to break the glass ceiling; some may involve breaking, or at least bending the law.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689212\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Race-TitanCover-400x625.jpg\" alt=\"'The Race' by Nina Allan\" width=\"400\" height=\"625\" class=\"size-thumbnail wp-image-11689212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-384x600.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-768x1200.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover-755x1180.jpg 755w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Race-TitanCover.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Race’ by Nina Allan\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Race\u003c/em>\u003c/h3>\n\u003ch5>by Nina Allan\u003c/h5>\n\u003cp>On the other side of the debut universe, or more likely in one adjacent to ours, you can find Nina Allan’s remarkable \u003cem>The Race\u003c/em>. In admirably direct prose, we meet Jenna Hoolman, who tells us about her life in Sapphire in a devastated future. The only game in town is smartdog racing, which involves humans bonded to dogs. “There’s a lot of hard-science stuff I don’t understand fully,” Jenna tells us. In fact the future itself seems a bit blurry, until Allan snaps it into crystal clear focus. Our narrator may not be who we think she is. And the smartdog-runner relationship may prove to have parallels even the most literary aficionados may not suspect. Rest assured this is not the science fiction you thought you were buying, but something even stranger and more powerful. Stories unfold within stories, fiction begets even stranger fictions set in more familiar places. Here’s the good news: the best means of gaining any perspective requires one to step away from the object you are trying to understand. It’s essential to preserve the mysteries at the heart of this astonishing novel. But as Nina Allan whipsaws your mind from this world to the next and back to this one, upon your return to wherever you were when you started \u003cem>The Race\u003c/em>, you will realize that perspective cuts two ways. Try as you might, you can’t unsee the truth.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689387\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muladona_picture-210-400x612.jpg\" alt=\"'Muladona' by Eric Stener Carlson\" width=\"400\" height=\"612\" class=\"size-thumbnail wp-image-11689387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muladona_picture-210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muladona_picture-210-392x600.jpg 392w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Muladona’ by Eric Stener Carlson\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Muladona\u003c/em>\u003c/h3>\n\u003ch5>by Eric Stener Carlson\u003c/h5>\n\u003cp>Tartarus Press is a specialty publisher from the moors of Britain with a focus on the supernatural and the weird. They were the original publisher of Andrew Michael Hurley’s \u003cem>The Loney\u003c/em>, before it started winning prizes and acclaim. Eric Stener Carlson’s \u003cem>Muladona\u003c/em> unfolds in 1918, as the Spanish flu kills off the residents of Incarnation, Texas. Verge Strömberg is a bookworm and the son of an overbearing town pastor, who leaves him behind to tend church elsewhere. That’s when the Muladona begins coming to him – a fire-breathing winged mule from hell (and Mexican folklore). It begins to tell him stories, taunting him in true supernatural fashion to guess its name. It’s an upside-down, supernatural \u003cem>Scheherazade\u003c/em>, with a hardscrabble, western-dirt feel. Carlson captures the terror of an almost-remembered nightmare, juxtaposing the familiar and the strange with ease. While Tartarus hails from the darkest moors of Britain, \u003cem>Muladona\u003c/em> speaks the black heart of American greed.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689391\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Heavenly-Table-400x603.jpg\" alt=\"'The Heavenly Table' by Donald Ray Pollack\" width=\"400\" height=\"603\" class=\"size-thumbnail wp-image-11689391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Heavenly-Table.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Heavenly-Table-398x600.jpg 398w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Heavenly Table’ by Donald Ray Pollack\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Heavenly Table\u003c/em>\u003c/h3>\n\u003ch5>by Donald Ray Pollack\u003c/h5>\n\u003cp>Donald Ray Pollack’s \u003cem>The Heavenly Table\u003c/em> is not a cookbook, but it is every bit as disturbing as the tome \u003cem>To Serve Man\u003c/em> in the famous Damon Knight story adapted by Rod Serling for \u003cem>The Twilight Zone\u003c/em>. It’s 1917, the 20th century is finally coming into focus, and it is not a happy sight. Cane, Cob and Chimney Jewett lose everything and set off to kill, rob and pillage everything in their path, inspired by a dime novel that revels in blood. The Fiddlers, Ellsworth, Eula and their son Eddie, live hundreds of miles away from the Jewetts, but not far enough. Their paths will cross and it will not end well for Pollack’s characters, crafted from blood, steel and stone. We believe these people, and in them, even if they are despicable. There’s a point where despicable becomes easy — necessary even. Exciting and powerful, \u003cem>The Heavenly Table\u003c/em> offers the visionary pleasures of Flannery O’Connor with a hefty dose of gun (and other) violence. Pollack humanizes his most desperately terrible characters, even if we wish he would not. \u003cem>The Heavenly Table\u003c/em> is a serving of American literary ultra-violence that steps well beyond wild into weird.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689392\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris-400x608.jpg\" alt=\"'The Last Days of New Paris' by China Miéville\" width=\"400\" height=\"608\" class=\"size-thumbnail wp-image-11689392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Last-DAys-of-NEw-PAris.jpg 701w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Last Days of New Paris’ by China Miéville\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Last Days of New Paris\u003c/em>\u003c/h3>\n\u003ch5>by China Miéville\u003c/h5>\n\u003cp>Let’s just get to the heart of weird, with the man who invented a genre he called “the New Weird,” China Miéville. \u003cem>The Last Days of New Paris\u003c/em> posits that in 1941, a surrealist bomb detonated in Nazi-occupied Paris. The horrific, disturbing, and yes, surreal images of those paintings were made real. In 1950, the war drags on and New Paris, as it is called, is under a new attack, as the Nazis have unsurprisingly made contact with Hell and managed to import demons to aid in their fight. Thibault is a soldier fighting for the surrealists, trying to keep track of the manifs, which is to say, those manifestations from the art. “Of those many manifs mentioned in the narrative, there are, I’m sure, many I’ve failed to identify. If I understand it correctly, it’s in the nature of the S-Blast that the great bulk of its results are random or manifest the work of unknown artists–by which in Surrealist fashion, I mean people.” So, yes, \u003cem>people are weird\u003c/em>. The book is both illustrated and annotated. Miéville is consistently brilliant and weird in equal measure. This is clearly the best book about surrealist art brought to life to fight in WWII ever written.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11689394\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Where-The-Time-Goes__61GkSZ23AL-400x608.jpg\" alt=\"'Where the Time Goes' by Jeffrey E. Barlough\" width=\"400\" height=\"608\" class=\"size-thumbnail wp-image-11689394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Where-The-Time-Goes__61GkSZ23AL.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Where-The-Time-Goes__61GkSZ23AL-395x600.jpg 395w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Where the Time Goes’ by Jeffrey E. Barlough\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Where the Time Goes\u003c/em>\u003c/h3>\n\u003ch5>by Jeffrey E. Barlough\u003c/h5>\n\u003cp>The potential in fantasy literature for the weird is great, but the realization is low. We can thank Jeffrey E. Barlough, then, for his utterly unique Western Lights novels. They all stand alone, though they partake of the same backdrop — a sort of Victorian London plopped down in the American West and mid-west, sans gunpowder, but with mastodons, wooly mammoths and giant sloths roaming the hills. The latest entry, \u003cem>Where the Time Goes\u003c/em> finds Dr. Hugh Callender returning home to Dithering in the Lingonshire, to investigate the monster in Eldritch’s Cupboard, if indeed it even exists. The charm of Barlough’s work is that he writes as if he’s living in the world he has created with a lovely and enjoyably jolly faux-Victorian prose. He also loves his characters so much that you cannot help but feel the same. He creates real tension and when he dials up the creep factor, he can make your skin crawl with the merest suggestion. This is the ninth book in the series, so if you want to catch up while you wait for this one, there are plenty to read. Order is unimportant, but these books are an important reminder that the human imagination has no bounds. They also remind us that there is art in literature that simply cannot be experienced in any other way.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lit Picks: Walter Mosley, Natashia Deon, Emma Cline, and More",
"headTitle": "Lit Picks: Walter Mosley, Natashia Deon, Emma Cline, and More | KQED",
"content": "\u003cp>\u003cstrong>Monday, June 13: Mary Roach at the Nourse Theater (City Arts & Lectures), SF\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11662654\" class=\"wp-caption alignleft\" style=\"max-width: 169px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11662654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/mary_roach-02.jpg\" alt=\"Mary Roach\" width=\"169\" height=\"244\">\u003cfigcaption class=\"wp-caption-text\">Mary Roach\u003c/figcaption>\u003c/figure>\n\u003cp>Have you heard about the latest literary game? It’s called “What topic will Mary Roach write about next?” Insects? Skateboarding? Beer? Chickens? Perms? Dancing? Nebraska? All good guesses. But all wrong. The correct answer is . . . war. Roach’s latest book, \u003cem>Grunt: The Curious Science of Humans at War\u003c/em>, explores the ways that soldier’s survive panic, exhaustion, heat, and noise, and other challenges in the midst of extreme battlefield conditions. The San Francisco-based writer has already covered outer space (\u003cem>Packing for Mars\u003c/em>), sex (\u003cem>Bonk\u003c/em>), dead bodies (\u003cem>Stiff\u003c/em>), and the alimentary canal (\u003cem>Gulp\u003c/em>). Really, there’s not much left. Roach will be in conversation with Adam Savage of \u003cem>Mythbusters\u003c/em> fame. \u003ca href=\"http://www.cityarts.net/event/the-curious-science-of-war/\">Details here. \u003c/a>She’ll also be at\u003ca href=\"http://www.keplers.com/event/premier-deep-radio-mary-roach\"> Kepler’s Books on June 22\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, June 16: Walter Mosley at Kepler’s Books, Menlo Park\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11662659\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Walter-Mosley-Grand-Master-3-450x410.jpg\" alt=\"Walter-Mosley-Grand-Master-3-450x410\" width=\"220\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Walter-Mosley-Grand-Master-3-450x410.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Walter-Mosley-Grand-Master-3-450x410-400x364.jpg 400w\" sizes=\"(max-width: 220px) 100vw, 220px\">In April, Walter Mosley was declared the 2016 Grand Master by the Mystery Writers of America. It’s an apt title for the prolific writer, who has written scads of acclaimed mystery books. He’s also written plays, non-fiction, cultural criticism, and one very popular book about \u003ca href=\"http://www.npr.org/books/titles/138319963/this-year-you-write-your-novel\">how to write a novel.\u003c/a> If anyone should give you advice about how to sit down and actually write that 300 pages you’ve been thinking about for the past ten years, it’s Walter Mosley. \u003cem>Charcoal Joe\u003c/em>, his latest, is the 14th Easy Rawlins mystery. It picks up where the last, \u003cem>Rose Gold\u003c/em>, left off. Easy Rawlins is about to start a new detective agency when a friend introduces him to Charcoal Joe. Rawlins is soon embroiled in a murder case that sees a young Stanford-bound black man charged with killing a white man. The event is sponsored by the San Francisco Bay Area chapter of the 100 Black Men of America, Inc. \u003ca href=\"http://www.keplers.com/event/premier-event-walter-mosley\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Monday, June 20: Natashia Deón at Alamo Drafthouse at the New Mission, SF\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11662650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/8defbcc7_natashia_deon_event.jpg\" alt=\"8defbcc7_natashia_deon_event\" width=\"246\" height=\"190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/8defbcc7_natashia_deon_event.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/8defbcc7_natashia_deon_event-400x309.jpg 400w\" sizes=\"(max-width: 246px) 100vw, 246px\">It’s no wonder that the LA Weekly crowned Natashia Deón one of the \u003ca href=\"http://www.laweekly.com/arts/natashia-deon-defense-attorney-by-day-novelist-by-night-4184377\">most fascinating Angelenos\u003c/a> in 2013. The Los Angeles-based mother of two is an attorney and law school professor, Sunday school teacher, novelist, and essayist. On top of it all, she founded the popular reading series \u003ca href=\"http://www.dirtylaundrylit.com/\">Dirty Laundry Lit.\u003c/a> She either never sleeps or doesn’t have a Netflix subscription (probably both). Deón’s debut novel \u003cem>Grace\u003c/em>, out this month, has been called a “classic” by Rebecca Solnit. Acclaimed novelist Susan Straight says that the “women and men of this novel transcend all notions of what we’ve read before.” The novel is narrated by the ghost of Naomi, a former slave who runs away from an Alabama plantation in the 1840s. She falls in with a with a Jewish madam named Cynthia and begins a love affair with a white gambler named Jeremy. They have a child together, Josey, who lives to see the Emancipation Proclamation. Put this one on your summer saga reading list. \u003ca href=\"http://www.litquake.org/events/epicenter-natashia-de%C3%B3n-conversation-kaitlin-solimine\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, June 21: Emma Cline at the Commonwealth Club, SF \u003c/strong>\u003c/p>\n\u003cp>\u003cem>(see additional Bay Area dates and locations below) \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11662666\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thegirls.jpg\" alt=\"thegirls\" width=\"183\" height=\"275\">Google “highly-anticipated” and “Emma Cline” and it’s fairly guaranteed you’ll come up with about 100 different results. Cline, who grew up in a Sonoma County as part of the family behind Cline Cellars, became \u003ca href=\"http://www.vulture.com/2014/10/faq-emma-cline-manson-family-novel.html\">quite the buzz \u003c/a>when she signed a million dollar book deal in 2014. \u003cem>The Girls\u003c/em>, her debut novel out this month, opens in Petaluma in the late 1960s. The novel’s 14-year-old narrator Evie spots a group of ragtag, sexy hippie girls in a park and soon inches her way into their tribe. As the novel takes its plot inspiration from the infamous Charles Manson stoked murders of Sharon Tate and others in 1969, you know \u003cem>The Girls\u003c/em> is heading for an equally heinous outcome. Cline has a number of Bay Area appearances planned in addition to her Commonwealth Club\u003ca href=\"https://www.facebook.com/events/1132303943455035/\"> date\u003c/a> (which makes sense since this is a homecoming of sorts). She’ll be \u003ca href=\"http://www.readersbooks.com/event/emma-cline-presents-girls\">Reader’s Books\u003c/a> in Sonoma on June 22, \u003ca href=\"http://www.booksmith.com/event/emma-cline-girls\">The Booksmith \u003c/a>in San Francisco on June 23, and \u003ca href=\"http://www.copperfieldsbooks.com/event/lit-night-emma-cline\">Copperfield’s Books\u003c/a> in Petaluma on June 24.\u003c/p>\n\u003cp>\u003cstrong>Friday, June 24: Sloane Crosley at Thumbprint Cellars (sponsored by Copperfield’s Books), Healdsburg\u003c/strong>\u003c/p>\n\u003cp>No doubt, you probably associate \u003ca href=\"http://www.eastoftheweb.com/short-stories/UBooks/Neck.shtml\">The Necklace\u003c/a>, that old story about vanity and tragic debt by Guy de Maupassant, with a dreaded 30-pound high school English textbook. Raise your hand if you confused it with that story about the lady who cuts her hair to buy to her husband a fancy doodad just at the moment that he is buying combs for \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11662841\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/sloane_crosley-1.jpg\" alt=\"sloane_crosley\" width=\"285\" height=\"161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/sloane_crosley-1.jpg 745w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/sloane_crosley-1-400x226.jpg 400w\" sizes=\"(max-width: 285px) 100vw, 285px\">her formerly long hair. With \u003cem>The Clasp\u003c/em>, Sloane Crosley has rewritten “The Necklace” for modern times. It’s not her first book. She’s written a couple of essays collections, including the funny \u003cem>I Was Told There’d Be Cake\u003c/em>. Crosley, a former book publicist turned accomplished writer, had this to say about her decision to base her novel on a dusty classic:\u003c/p>\n\u003cblockquote>\u003cp>I was sitting at home one night, pawing through old anthologies, and I reread “The Necklace.” I was surprised by how contemporary it felt. Not timeless — though it’s that, too — but contemporary in the motivations and depictions of the characters. I thought the story could possibly be the basic current I ran through each of my own characters.\u003c/p>\n\u003cp>And then I started to find out more about Guy. He was a vain, prolific, insensitive womanizing egotistical genius with a bushy moustache and a foul-mouthed parrot named “Jacqout.” I was sold.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.copperfieldsbooks.com/event/thumbprint-cellars-series-sloane-crosley\">Details here\u003c/a>. Crosley also appears at \u003ca href=\"http://www.bookpassage.com/event/sloane-crosley-clasp-corte-madera\">Book Passage in Corte Madera \u003c/a>on Saturday, June 25.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "June gloom? Get thee to a bookstore -- here are our literary critic's top picks for the rest of the month. ",
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"description": "June gloom? Get thee to a bookstore -- here are our literary critic's top picks for the rest of the month. ",
"title": "Lit Picks: Walter Mosley, Natashia Deon, Emma Cline, and More | KQED",
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"headline": "Lit Picks: Walter Mosley, Natashia Deon, Emma Cline, and More",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Monday, June 13: Mary Roach at the Nourse Theater (City Arts & Lectures), SF\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11662654\" class=\"wp-caption alignleft\" style=\"max-width: 169px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11662654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/mary_roach-02.jpg\" alt=\"Mary Roach\" width=\"169\" height=\"244\">\u003cfigcaption class=\"wp-caption-text\">Mary Roach\u003c/figcaption>\u003c/figure>\n\u003cp>Have you heard about the latest literary game? It’s called “What topic will Mary Roach write about next?” Insects? Skateboarding? Beer? Chickens? Perms? Dancing? Nebraska? All good guesses. But all wrong. The correct answer is . . . war. Roach’s latest book, \u003cem>Grunt: The Curious Science of Humans at War\u003c/em>, explores the ways that soldier’s survive panic, exhaustion, heat, and noise, and other challenges in the midst of extreme battlefield conditions. The San Francisco-based writer has already covered outer space (\u003cem>Packing for Mars\u003c/em>), sex (\u003cem>Bonk\u003c/em>), dead bodies (\u003cem>Stiff\u003c/em>), and the alimentary canal (\u003cem>Gulp\u003c/em>). Really, there’s not much left. Roach will be in conversation with Adam Savage of \u003cem>Mythbusters\u003c/em> fame. \u003ca href=\"http://www.cityarts.net/event/the-curious-science-of-war/\">Details here. \u003c/a>She’ll also be at\u003ca href=\"http://www.keplers.com/event/premier-deep-radio-mary-roach\"> Kepler’s Books on June 22\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Thursday, June 16: Walter Mosley at Kepler’s Books, Menlo Park\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11662659\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Walter-Mosley-Grand-Master-3-450x410.jpg\" alt=\"Walter-Mosley-Grand-Master-3-450x410\" width=\"220\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Walter-Mosley-Grand-Master-3-450x410.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Walter-Mosley-Grand-Master-3-450x410-400x364.jpg 400w\" sizes=\"(max-width: 220px) 100vw, 220px\">In April, Walter Mosley was declared the 2016 Grand Master by the Mystery Writers of America. It’s an apt title for the prolific writer, who has written scads of acclaimed mystery books. He’s also written plays, non-fiction, cultural criticism, and one very popular book about \u003ca href=\"http://www.npr.org/books/titles/138319963/this-year-you-write-your-novel\">how to write a novel.\u003c/a> If anyone should give you advice about how to sit down and actually write that 300 pages you’ve been thinking about for the past ten years, it’s Walter Mosley. \u003cem>Charcoal Joe\u003c/em>, his latest, is the 14th Easy Rawlins mystery. It picks up where the last, \u003cem>Rose Gold\u003c/em>, left off. Easy Rawlins is about to start a new detective agency when a friend introduces him to Charcoal Joe. Rawlins is soon embroiled in a murder case that sees a young Stanford-bound black man charged with killing a white man. The event is sponsored by the San Francisco Bay Area chapter of the 100 Black Men of America, Inc. \u003ca href=\"http://www.keplers.com/event/premier-event-walter-mosley\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Monday, June 20: Natashia Deón at Alamo Drafthouse at the New Mission, SF\u003c/strong>\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=\"alignleft wp-image-11662650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/8defbcc7_natashia_deon_event.jpg\" alt=\"8defbcc7_natashia_deon_event\" width=\"246\" height=\"190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/8defbcc7_natashia_deon_event.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/8defbcc7_natashia_deon_event-400x309.jpg 400w\" sizes=\"(max-width: 246px) 100vw, 246px\">It’s no wonder that the LA Weekly crowned Natashia Deón one of the \u003ca href=\"http://www.laweekly.com/arts/natashia-deon-defense-attorney-by-day-novelist-by-night-4184377\">most fascinating Angelenos\u003c/a> in 2013. The Los Angeles-based mother of two is an attorney and law school professor, Sunday school teacher, novelist, and essayist. On top of it all, she founded the popular reading series \u003ca href=\"http://www.dirtylaundrylit.com/\">Dirty Laundry Lit.\u003c/a> She either never sleeps or doesn’t have a Netflix subscription (probably both). Deón’s debut novel \u003cem>Grace\u003c/em>, out this month, has been called a “classic” by Rebecca Solnit. Acclaimed novelist Susan Straight says that the “women and men of this novel transcend all notions of what we’ve read before.” The novel is narrated by the ghost of Naomi, a former slave who runs away from an Alabama plantation in the 1840s. She falls in with a with a Jewish madam named Cynthia and begins a love affair with a white gambler named Jeremy. They have a child together, Josey, who lives to see the Emancipation Proclamation. Put this one on your summer saga reading list. \u003ca href=\"http://www.litquake.org/events/epicenter-natashia-de%C3%B3n-conversation-kaitlin-solimine\">Details here \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, June 21: Emma Cline at the Commonwealth Club, SF \u003c/strong>\u003c/p>\n\u003cp>\u003cem>(see additional Bay Area dates and locations below) \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11662666\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thegirls.jpg\" alt=\"thegirls\" width=\"183\" height=\"275\">Google “highly-anticipated” and “Emma Cline” and it’s fairly guaranteed you’ll come up with about 100 different results. Cline, who grew up in a Sonoma County as part of the family behind Cline Cellars, became \u003ca href=\"http://www.vulture.com/2014/10/faq-emma-cline-manson-family-novel.html\">quite the buzz \u003c/a>when she signed a million dollar book deal in 2014. \u003cem>The Girls\u003c/em>, her debut novel out this month, opens in Petaluma in the late 1960s. The novel’s 14-year-old narrator Evie spots a group of ragtag, sexy hippie girls in a park and soon inches her way into their tribe. As the novel takes its plot inspiration from the infamous Charles Manson stoked murders of Sharon Tate and others in 1969, you know \u003cem>The Girls\u003c/em> is heading for an equally heinous outcome. Cline has a number of Bay Area appearances planned in addition to her Commonwealth Club\u003ca href=\"https://www.facebook.com/events/1132303943455035/\"> date\u003c/a> (which makes sense since this is a homecoming of sorts). She’ll be \u003ca href=\"http://www.readersbooks.com/event/emma-cline-presents-girls\">Reader’s Books\u003c/a> in Sonoma on June 22, \u003ca href=\"http://www.booksmith.com/event/emma-cline-girls\">The Booksmith \u003c/a>in San Francisco on June 23, and \u003ca href=\"http://www.copperfieldsbooks.com/event/lit-night-emma-cline\">Copperfield’s Books\u003c/a> in Petaluma on June 24.\u003c/p>\n\u003cp>\u003cstrong>Friday, June 24: Sloane Crosley at Thumbprint Cellars (sponsored by Copperfield’s Books), Healdsburg\u003c/strong>\u003c/p>\n\u003cp>No doubt, you probably associate \u003ca href=\"http://www.eastoftheweb.com/short-stories/UBooks/Neck.shtml\">The Necklace\u003c/a>, that old story about vanity and tragic debt by Guy de Maupassant, with a dreaded 30-pound high school English textbook. Raise your hand if you confused it with that story about the lady who cuts her hair to buy to her husband a fancy doodad just at the moment that he is buying combs for \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11662841\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/sloane_crosley-1.jpg\" alt=\"sloane_crosley\" width=\"285\" height=\"161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/sloane_crosley-1.jpg 745w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/sloane_crosley-1-400x226.jpg 400w\" sizes=\"(max-width: 285px) 100vw, 285px\">her formerly long hair. With \u003cem>The Clasp\u003c/em>, Sloane Crosley has rewritten “The Necklace” for modern times. It’s not her first book. She’s written a couple of essays collections, including the funny \u003cem>I Was Told There’d Be Cake\u003c/em>. Crosley, a former book publicist turned accomplished writer, had this to say about her decision to base her novel on a dusty classic:\u003c/p>\n\u003cblockquote>\u003cp>I was sitting at home one night, pawing through old anthologies, and I reread “The Necklace.” I was surprised by how contemporary it felt. Not timeless — though it’s that, too — but contemporary in the motivations and depictions of the characters. I thought the story could possibly be the basic current I ran through each of my own characters.\u003c/p>\n\u003cp>And then I started to find out more about Guy. He was a vain, prolific, insensitive womanizing egotistical genius with a bushy moustache and a foul-mouthed parrot named “Jacqout.” I was sold.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.copperfieldsbooks.com/event/thumbprint-cellars-series-sloane-crosley\">Details here\u003c/a>. Crosley also appears at \u003ca href=\"http://www.bookpassage.com/event/sloane-crosley-clasp-corte-madera\">Book Passage in Corte Madera \u003c/a>on Saturday, June 25.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Sarah Hepola on Sex, Blackouts, and Alternative Routes to Freedom",
"title": "Sarah Hepola on Sex, Blackouts, and Alternative Routes to Freedom",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>I'm nearly a year behind on this, but I finally got around to watching \u003cem>I Am Chris Farley\u003c/em>, the 2015 documentary about the late, insanely talented comedian whose appetites for food, booze and cocaine ended his life far too soon, at the age of 33.\u003c/p>\n\u003cp>It was sweet, but it wasn't terribly illuminating. It was no surprise, certainly, to learn his over-the-top persona belied a well of insecurity, an almost compulsive need to be liked, to make others happy, often at the expense of his own well-being. In reading a few reviews, though, I saw one sentiment popping up repeatedly: that it was tough to reconcile the fiercely loving friend and practicing Catholic with the addict who died alone on a linoleum floor after a three-day binge, from a combination of cocaine and morphine, following more than a dozen attempts at rehab.\u003c/p>\n\u003cp>For various reasons, some of which I try not to think about too hard, I've simply never found this difficult to reconcile. Suffice it to say, it makes sense that the relationship between people-pleasing personality types and alcoholism was fresh on my mind a few days later when I called up Sarah Hepola, the author of the 2015 \u003ci>New York Times\u003c/i> best-selling memoir \u003cem>Blackout. \u003c/em>(Full disclosure: Hepola was my boss at my first job out of grad school, an internship at Salon.com, where she was an editor until last year.)\u003c/p>\n\u003cp>The book is a brutally honest, hilarious and devastating anthropological dig into Hepola's blacked-out drunk years -- what led to them, from her first sip of beer at age 11 to the cool-girl-who-can-hang-with-the-guys persona of her 20s, and what finally led her out of them. (Among other things: nearly burning her house down, a series of semi-existential crises, and a lot of support from friends and AA.)\u003c/p>\n\u003cp>\u003ci>Blackout \u003c/i>was published in paperback for the first time this week, so the writer's embarked on a mini book tour, including two stops in the Bay Area. \u003ca href=\"http://www.booksmith.com/event/sarah-hepola-blackout-remembering-things-i-drank-forget-peggy-orenstein\" target=\"_blank\">She'll appear at Booksmith\u003c/a> this Thursday, June 9, in conversation with \u003ca href=\"http://www.npr.org/sections/health-shots/2016/03/29/472211301/girls-sex-and-the-importance-of-talking-to-young-women-about-pleasure\" target=\"_blank\">Peggy Orenstein\u003c/a>, and again on Saturday, June 11, with \u003ca href=\"http://ww2.kqed.org/pop/2016/04/25/what-do-haikus-lesbians-and-cats-have-in-common-ask-anna-pulley/\" target=\"_blank\">Anna Pulley\u003c/a> and other very funny East Bay writers at \u003ca href=\"http://www.laurelbookstore.com/event/evening-anna-pulley-kelsey-beyer-and-special-guests\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_26164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-26164\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/arts_feature1-1-800x531.jpg\" alt=\"The author in her not-sober years. \" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/arts_feature1-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/arts_feature1-1-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/arts_feature1-1-768x510.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The author in her not-sober years.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED Pop: The addiction-recovery memoir is, obviously, far from a new thing -- especially when you look at writers talking about how alcohol helped fuel their craft. I'm curious what made you want to write \u003cem>Blackout. \u003c/em>What made you feel like your story had something new to add?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sarah Hepola:\u003c/strong> When I first started thinking about writing a book, I went to Barnes & Noble in Union Square [in New York], and I went to the addiction section and read everything I could find. I found this book about women and drinking, and the upshot was that women hide their drinking and there are no social rituals about drinking for women the way there are for men. And I just went, \"Hmm, this book is not true of my experience.\" By 2010, when I quit, there was the boom in wine for the last 15 or 20 years that's been driven by women, the growth of girls' night, or girls' drinking book clubs, bachelorette parties. All of it was around drinking. And I thought, \"I don't think this story's been told yet.\" We've all been living it, but it takes a while for the studies and the literature to catch up.\u003c/p>\n\u003cp>The other thing is I was reading a lot of books about addiction that would end when the character got sober. And I'd be thinking, \"What next?\" Okay, fine, I'm going to quit drinking, but my life's gonna be over? I needed to answer what was after that. That's the beginning of a story, not the end.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"http://www.npr.org/2016/06/03/480460363/a-path-from-blackout-drunkenness-to-sobriety-and-self-acceptance\" target=\"_blank\">Listen to Sarah Hepola talk about 'Blackout' on Fresh Air here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://www.npr.org/player/embed/427435929/427853008\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>One of the things that stuck with me about \u003cem>Blackout \u003c/em>is the way you talk about using alcohol to get out of your own head -- as a person who had always been the good girl, used to making everyone happy, that drinking provided a sort of way out.\u003c/strong>\u003c/p>\n\u003cp>It meant \u003cem>freedom\u003c/em>. Absolutely. I've always been oppressed by my own self-consciousness, by meeting other people's expectations of me and adapting to them -- 'Okay, I have to be cool with these people, and good with these people.' It was different performances on different stages and all of that stuff is so exhausting. Alcohol was the release from that. So when you're young and someone says, 'You have a drinking problem,' you think, 'No, I've got a drinking solution.' [Laughs.]\u003c/p>\n\u003cp>But then, of course, if you keep using that solution, and you over-rely on that solution and you don't find other ways to fix it, it will stop being a solution and start being a problem. It shifts.\u003c/p>\n\u003cp>And that's where I was [in 2010]. I didn't want to quit, but I had to, so I quit -- which, great. Yay, me. Let's all cheer for the heroine, right? But I'm still the same lousy person, oppressed by self-consciousness, desperate to be liked, and loved by men, and what do you do with all that when you don't have alcohol? [Figuring that out] has pretty much been the last six years of my life.\u003c/p>\n\u003cp>\u003cstrong>So, you basically just summarized the internal monologue of most women I know, regardless of age or alcohol use. What have you learned in six years? Any tricks we can steal?\u003c/strong>\u003c/p>\n\u003cp>First of all, I think you have to try to care less. As you get older, you start realizing you have a finite amount of mental energy and, you know, maybe I need to stop worrying what strangers on the street think of my outfit. You realize you do have choices, and you start making choices toward actual agency. When I wasn't drinking the discomfort away, I started to problem-solve a little bit. If I was getting ready to go out and I was feeling like 'I hate going out,' I'd have to go, 'Okay, why am I uncomfortable? Right, I hate putting on clothes, because I'm overweight.' Whereas before it would just be 'Okay, I'm going to drink until I feel better.'\u003c/p>\n\u003cp>I think it's a very female problem, too: I would tell everyone what they wanted to hear. And then it would be, 'Okay, how am I gonna get out of this?' \u003cem>You can say no\u003c/em>. I think my AA sponsor was the first person to tell me that. And it's so simple, but it's so hard. I would shake sometimes doing it. Learning not to get myself into situations that I had to drink away was big. And so was asking for what I wanted and needed. For example, let's say I have a relationship with a guy, and he doesn't text me back. Instead of building a story in my head about why, you can ask \"Is there something going on?\" And for a lot of my life, that didn't seem like a possible option. I am repeatedly struck by the fact that I am 41 years old and learning skills I wish I'd learned when I was 16.\u003c/p>\n\u003cp>\u003cstrong>The impact of sobriety on your dating and sex life definitely jumped out at me in the last third of the book. And it's interesting, because that's an area of life where I think even people who would never consider themselves to be problem drinkers are incredibly accustomed to using alcohol to self-medicate anxiety. It's acceptable, for some reason, in that context. \u003c/strong>\u003c/p>\n\u003cp>Yeah. I spoke with a friend who's a 27-year-old sex writer about this, and she does not have a drinking problem. She said \"I don't think I could [date] without it.\" She writes about sex for a living! That's telling us something. That doesn't mean we all have to get sober -- believe me, I'm not interested in what other people are drinking. But why is it that we feel we need to drink in order to be sexual, almost to a crippling degree? I've had to completely recalibrate the way I do business, rethink my stance on casual sex. There's a lot of emotional vulnerability that comes with being sober. I think if I want physical closeness with someone, unfortunately, it has to be someone I really feel comfortable with, and not a lot of people jump through that hoop. I keep my door locked now. The door was open for a long time. [Laughs.] The door didn't even have a lock.\u003c/p>\n\u003cp>\u003cstrong>Why does that almost feel like a thing you're not supposed to admit -- that sex involves feelings for you?\u003c/strong>\u003c/p>\n\u003cp>Right! Because feelings are seen as weak; we see it as too traditionally feminine. You're basically calling bullshit on the party, and nobody wants to call bullshit. It's been hard for me: Am I a prude? But you really do have to stop worrying what everyone thinks of you. I'd be on a date with a guy and think \"If I could just get drunk I could have sex with him,\" where, without drinking, I didn't even want to touch him. And I realized there was a really well-worn path there: if I felt natural reluctance or fear, bulldoze it until you're in fuck-it-ville. I lived in fuck-it-ville for a lot of years, and people who live there, more power to 'em. But it's been an interesting social experiment not to.\u003c/p>\n\u003cfigure id=\"attachment_26167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-26167\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-800x449.jpg\" alt=\"Blackout by Sarah Hepola\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blackout by Sarah Hepola\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I'm curious about your take on Amy Schumer in \u003cem>Trainwreck\u003c/em>, and how she handles the women-and-alcohol-and-casual-sex thing, since that film came out at almost exactly the same time as your book last year.\u003c/strong>\u003c/p>\n\u003cp>I like Amy Schumer so much, and it actually kind of creeps me out how many things we seem to have in common. It's really weird that my book, which starts with me coming out of a blackout in a Paris hotel room, came out during the same summer as Amy Schumer's movie, where she's coming out of a blackout in Staten Island -- but of course she's playing it for laughs.\u003c/p>\n\u003cp>I think both my book and that movie are reflecting, in our own ways, a cultural shift that has happened in the last 20 years, which is that it's seen as a position of power for women to drink and have sex like men. And I think that is both a position of power and a terrible handicap at times. One of the inspirations for my book -- I was reading Chelsea Handler's book, \u003cem>My Horizontal Life\u003c/em>, about sleeping with the wrong people, and that was also all played for laughs. I had just come out of that, and I didn't think it was that funny anymore.\u003c/p>\n\u003cp>During my drinking years I would tell those stories at parties and I always made people laugh, but I was curious: what was the emotional reality of those stories? If you didn't tell those stories at parties for a laugh, what would the real versions be? I mean, you could do that with Facebook, too: What's the real story here? Often, it'd be a lot of grisly shit. You hit some really raw places coming into sobriety. There's all this scar tissue around your sex life in a way I didn't see before.\u003c/p>\n\u003cp>\u003cstrong>It's funny, because in that movie, even though the ending (with Amy Schumer's character getting sober to work on her relationship) was clearly supposed to be good for her, part of me had this knee-jerk thing, like: Wait, why does she have to throw away her bong? For a \u003cem>guy\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I think a lot of people felt that way, and it makes sense: There's a certain disappointment among women that they are not allowed the freedom of being badly behaved. Bad behavior is power, that's cool, that's transgressive. My question is, why do we think being a jerk is aspirational? I did not experience the Amy Schumer character who says cruel things to her friends, who's rude and detached, as \"Yeah, she's so awesome.\" Who wants to stand in line to be a dick?\u003c/p>\n\u003cp>But I also get it. I really do understand that women have felt shoehorned into positions of nurturer and good girl and people-pleaser, these things that have got you and I looking to alcohol. There is this real longing to see freedom from that. And that's a big conversation, but one thing I know is that I, as an adult person, am tired of that freedom coming through alcohol. That's a narrative cliche, but it's true: There's got to be another way that women free themselves aside from taking shots.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.booksmith.com/event/sarah-hepola-blackout-remembering-things-i-drank-forget-peggy-orenstein\" target=\"_blank\">Sarah Hepola will appear at Booksmith\u003c/a> this Thursday, June 9 at 7:30pm, in conversation with Peggy Orenstein, and Saturday, June 11, with Anna Pulley at \u003ca href=\"http://www.laurelbookstore.com/event/evening-anna-pulley-kelsey-beyer-and-special-guests\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland. Read her award-winning piece for Texas Monthly on \u003ca href=\"http://www.texasmonthly.com/the-culture/the-alcohol-blackout/\" target=\"_blank\">campus sexual assault here\u003c/a>. She's also just begun a five-part series for Jezebel, \"\u003ca href=\"http://jezebel.com/ask-a-former-drunk-when-do-you-know-you-have-a-problem-1780859204\" target=\"_blank\">Ask a Former Drunk\u003c/a>.\"\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I'm nearly a year behind on this, but I finally got around to watching \u003cem>I Am Chris Farley\u003c/em>, the 2015 documentary about the late, insanely talented comedian whose appetites for food, booze and cocaine ended his life far too soon, at the age of 33.\u003c/p>\n\u003cp>It was sweet, but it wasn't terribly illuminating. It was no surprise, certainly, to learn his over-the-top persona belied a well of insecurity, an almost compulsive need to be liked, to make others happy, often at the expense of his own well-being. In reading a few reviews, though, I saw one sentiment popping up repeatedly: that it was tough to reconcile the fiercely loving friend and practicing Catholic with the addict who died alone on a linoleum floor after a three-day binge, from a combination of cocaine and morphine, following more than a dozen attempts at rehab.\u003c/p>\n\u003cp>For various reasons, some of which I try not to think about too hard, I've simply never found this difficult to reconcile. Suffice it to say, it makes sense that the relationship between people-pleasing personality types and alcoholism was fresh on my mind a few days later when I called up Sarah Hepola, the author of the 2015 \u003ci>New York Times\u003c/i> best-selling memoir \u003cem>Blackout. \u003c/em>(Full disclosure: Hepola was my boss at my first job out of grad school, an internship at Salon.com, where she was an editor until last year.)\u003c/p>\n\u003cp>The book is a brutally honest, hilarious and devastating anthropological dig into Hepola's blacked-out drunk years -- what led to them, from her first sip of beer at age 11 to the cool-girl-who-can-hang-with-the-guys persona of her 20s, and what finally led her out of them. (Among other things: nearly burning her house down, a series of semi-existential crises, and a lot of support from friends and AA.)\u003c/p>\n\u003cp>\u003ci>Blackout \u003c/i>was published in paperback for the first time this week, so the writer's embarked on a mini book tour, including two stops in the Bay Area. \u003ca href=\"http://www.booksmith.com/event/sarah-hepola-blackout-remembering-things-i-drank-forget-peggy-orenstein\" target=\"_blank\">She'll appear at Booksmith\u003c/a> this Thursday, June 9, in conversation with \u003ca href=\"http://www.npr.org/sections/health-shots/2016/03/29/472211301/girls-sex-and-the-importance-of-talking-to-young-women-about-pleasure\" target=\"_blank\">Peggy Orenstein\u003c/a>, and again on Saturday, June 11, with \u003ca href=\"http://ww2.kqed.org/pop/2016/04/25/what-do-haikus-lesbians-and-cats-have-in-common-ask-anna-pulley/\" target=\"_blank\">Anna Pulley\u003c/a> and other very funny East Bay writers at \u003ca href=\"http://www.laurelbookstore.com/event/evening-anna-pulley-kelsey-beyer-and-special-guests\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_26164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-26164\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/arts_feature1-1-800x531.jpg\" alt=\"The author in her not-sober years. \" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/arts_feature1-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/arts_feature1-1-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/arts_feature1-1-768x510.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The author in her not-sober years.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED Pop: The addiction-recovery memoir is, obviously, far from a new thing -- especially when you look at writers talking about how alcohol helped fuel their craft. I'm curious what made you want to write \u003cem>Blackout. \u003c/em>What made you feel like your story had something new to add?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sarah Hepola:\u003c/strong> When I first started thinking about writing a book, I went to Barnes & Noble in Union Square [in New York], and I went to the addiction section and read everything I could find. I found this book about women and drinking, and the upshot was that women hide their drinking and there are no social rituals about drinking for women the way there are for men. And I just went, \"Hmm, this book is not true of my experience.\" By 2010, when I quit, there was the boom in wine for the last 15 or 20 years that's been driven by women, the growth of girls' night, or girls' drinking book clubs, bachelorette parties. All of it was around drinking. And I thought, \"I don't think this story's been told yet.\" We've all been living it, but it takes a while for the studies and the literature to catch up.\u003c/p>\n\u003cp>The other thing is I was reading a lot of books about addiction that would end when the character got sober. And I'd be thinking, \"What next?\" Okay, fine, I'm going to quit drinking, but my life's gonna be over? I needed to answer what was after that. That's the beginning of a story, not the end.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"http://www.npr.org/2016/06/03/480460363/a-path-from-blackout-drunkenness-to-sobriety-and-self-acceptance\" target=\"_blank\">Listen to Sarah Hepola talk about 'Blackout' on Fresh Air here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://www.npr.org/player/embed/427435929/427853008\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>One of the things that stuck with me about \u003cem>Blackout \u003c/em>is the way you talk about using alcohol to get out of your own head -- as a person who had always been the good girl, used to making everyone happy, that drinking provided a sort of way out.\u003c/strong>\u003c/p>\n\u003cp>It meant \u003cem>freedom\u003c/em>. Absolutely. I've always been oppressed by my own self-consciousness, by meeting other people's expectations of me and adapting to them -- 'Okay, I have to be cool with these people, and good with these people.' It was different performances on different stages and all of that stuff is so exhausting. Alcohol was the release from that. So when you're young and someone says, 'You have a drinking problem,' you think, 'No, I've got a drinking solution.' [Laughs.]\u003c/p>\n\u003cp>But then, of course, if you keep using that solution, and you over-rely on that solution and you don't find other ways to fix it, it will stop being a solution and start being a problem. It shifts.\u003c/p>\n\u003cp>And that's where I was [in 2010]. I didn't want to quit, but I had to, so I quit -- which, great. Yay, me. Let's all cheer for the heroine, right? But I'm still the same lousy person, oppressed by self-consciousness, desperate to be liked, and loved by men, and what do you do with all that when you don't have alcohol? [Figuring that out] has pretty much been the last six years of my life.\u003c/p>\n\u003cp>\u003cstrong>So, you basically just summarized the internal monologue of most women I know, regardless of age or alcohol use. What have you learned in six years? Any tricks we can steal?\u003c/strong>\u003c/p>\n\u003cp>First of all, I think you have to try to care less. As you get older, you start realizing you have a finite amount of mental energy and, you know, maybe I need to stop worrying what strangers on the street think of my outfit. You realize you do have choices, and you start making choices toward actual agency. When I wasn't drinking the discomfort away, I started to problem-solve a little bit. If I was getting ready to go out and I was feeling like 'I hate going out,' I'd have to go, 'Okay, why am I uncomfortable? Right, I hate putting on clothes, because I'm overweight.' Whereas before it would just be 'Okay, I'm going to drink until I feel better.'\u003c/p>\n\u003cp>I think it's a very female problem, too: I would tell everyone what they wanted to hear. And then it would be, 'Okay, how am I gonna get out of this?' \u003cem>You can say no\u003c/em>. I think my AA sponsor was the first person to tell me that. And it's so simple, but it's so hard. I would shake sometimes doing it. Learning not to get myself into situations that I had to drink away was big. And so was asking for what I wanted and needed. For example, let's say I have a relationship with a guy, and he doesn't text me back. Instead of building a story in my head about why, you can ask \"Is there something going on?\" And for a lot of my life, that didn't seem like a possible option. I am repeatedly struck by the fact that I am 41 years old and learning skills I wish I'd learned when I was 16.\u003c/p>\n\u003cp>\u003cstrong>The impact of sobriety on your dating and sex life definitely jumped out at me in the last third of the book. And it's interesting, because that's an area of life where I think even people who would never consider themselves to be problem drinkers are incredibly accustomed to using alcohol to self-medicate anxiety. It's acceptable, for some reason, in that context. \u003c/strong>\u003c/p>\n\u003cp>Yeah. I spoke with a friend who's a 27-year-old sex writer about this, and she does not have a drinking problem. She said \"I don't think I could [date] without it.\" She writes about sex for a living! That's telling us something. That doesn't mean we all have to get sober -- believe me, I'm not interested in what other people are drinking. But why is it that we feel we need to drink in order to be sexual, almost to a crippling degree? I've had to completely recalibrate the way I do business, rethink my stance on casual sex. There's a lot of emotional vulnerability that comes with being sober. I think if I want physical closeness with someone, unfortunately, it has to be someone I really feel comfortable with, and not a lot of people jump through that hoop. I keep my door locked now. The door was open for a long time. [Laughs.] The door didn't even have a lock.\u003c/p>\n\u003cp>\u003cstrong>Why does that almost feel like a thing you're not supposed to admit -- that sex involves feelings for you?\u003c/strong>\u003c/p>\n\u003cp>Right! Because feelings are seen as weak; we see it as too traditionally feminine. You're basically calling bullshit on the party, and nobody wants to call bullshit. It's been hard for me: Am I a prude? But you really do have to stop worrying what everyone thinks of you. I'd be on a date with a guy and think \"If I could just get drunk I could have sex with him,\" where, without drinking, I didn't even want to touch him. And I realized there was a really well-worn path there: if I felt natural reluctance or fear, bulldoze it until you're in fuck-it-ville. I lived in fuck-it-ville for a lot of years, and people who live there, more power to 'em. But it's been an interesting social experiment not to.\u003c/p>\n\u003cfigure id=\"attachment_26167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-26167\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-800x449.jpg\" alt=\"Blackout by Sarah Hepola\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/blackout_7319edit_wide-4639bdb09322c0259cd530924d79472930b036da-e1465404626329.jpg 1326w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blackout by Sarah Hepola\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I'm curious about your take on Amy Schumer in \u003cem>Trainwreck\u003c/em>, and how she handles the women-and-alcohol-and-casual-sex thing, since that film came out at almost exactly the same time as your book last year.\u003c/strong>\u003c/p>\n\u003cp>I like Amy Schumer so much, and it actually kind of creeps me out how many things we seem to have in common. It's really weird that my book, which starts with me coming out of a blackout in a Paris hotel room, came out during the same summer as Amy Schumer's movie, where she's coming out of a blackout in Staten Island -- but of course she's playing it for laughs.\u003c/p>\n\u003cp>I think both my book and that movie are reflecting, in our own ways, a cultural shift that has happened in the last 20 years, which is that it's seen as a position of power for women to drink and have sex like men. And I think that is both a position of power and a terrible handicap at times. One of the inspirations for my book -- I was reading Chelsea Handler's book, \u003cem>My Horizontal Life\u003c/em>, about sleeping with the wrong people, and that was also all played for laughs. I had just come out of that, and I didn't think it was that funny anymore.\u003c/p>\n\u003cp>During my drinking years I would tell those stories at parties and I always made people laugh, but I was curious: what was the emotional reality of those stories? If you didn't tell those stories at parties for a laugh, what would the real versions be? I mean, you could do that with Facebook, too: What's the real story here? Often, it'd be a lot of grisly shit. You hit some really raw places coming into sobriety. There's all this scar tissue around your sex life in a way I didn't see before.\u003c/p>\n\u003cp>\u003cstrong>It's funny, because in that movie, even though the ending (with Amy Schumer's character getting sober to work on her relationship) was clearly supposed to be good for her, part of me had this knee-jerk thing, like: Wait, why does she have to throw away her bong? For a \u003cem>guy\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I think a lot of people felt that way, and it makes sense: There's a certain disappointment among women that they are not allowed the freedom of being badly behaved. Bad behavior is power, that's cool, that's transgressive. My question is, why do we think being a jerk is aspirational? I did not experience the Amy Schumer character who says cruel things to her friends, who's rude and detached, as \"Yeah, she's so awesome.\" Who wants to stand in line to be a dick?\u003c/p>\n\u003cp>But I also get it. I really do understand that women have felt shoehorned into positions of nurturer and good girl and people-pleaser, these things that have got you and I looking to alcohol. There is this real longing to see freedom from that. And that's a big conversation, but one thing I know is that I, as an adult person, am tired of that freedom coming through alcohol. That's a narrative cliche, but it's true: There's got to be another way that women free themselves aside from taking shots.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.booksmith.com/event/sarah-hepola-blackout-remembering-things-i-drank-forget-peggy-orenstein\" target=\"_blank\">Sarah Hepola will appear at Booksmith\u003c/a> this Thursday, June 9 at 7:30pm, in conversation with Peggy Orenstein, and Saturday, June 11, with Anna Pulley at \u003ca href=\"http://www.laurelbookstore.com/event/evening-anna-pulley-kelsey-beyer-and-special-guests\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland. Read her award-winning piece for Texas Monthly on \u003ca href=\"http://www.texasmonthly.com/the-culture/the-alcohol-blackout/\" target=\"_blank\">campus sexual assault here\u003c/a>. She's also just begun a five-part series for Jezebel, \"\u003ca href=\"http://jezebel.com/ask-a-former-drunk-when-do-you-know-you-have-a-problem-1780859204\" target=\"_blank\">Ask a Former Drunk\u003c/a>.\"\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’ve spent most of my life resenting the one percent — specifically, those living off the fruits of vast family inheritance, hedge funds, and other less industrious and sometimes nefarious methods of gaining wealth. If that offends, I’m \u003ca href=\"https://www.youtube.com/watch?v=I9M8av6LTxs&list=RDI9M8av6LTxs#t=147\">not sorry\u003c/a>. You could blame it on my communist father. You could blame it on jealousy. You could blame it on a stiff dose of working-class pride. All of the above would be true.\u003c/p>\n\u003cp>Or, you could blame it on intellectual laziness; the fact that I’m convinced the rich live and breathe in a totally different stratosphere, clueless to the concerns of those of us closer to the bottom of the income gap. Yet after reading Ramona Ausubel’s new novel \u003cem>Sons and Daughters of Ease and Plenty\u003c/em>, I’m forced to reconsider my position. Like all great fiction, Ausubel’s story of a once-wealthy couple’s plunge into poverty has gifted me with empathy toward characters I would likely disdain in real life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643918 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/51NpIiinnML._SY344_BO1204203200_.jpg\" alt=\"51NpIiinnML._SY344_BO1,204,203,200_\" width=\"230\" height=\"346\">\u003c/p>\n\u003cp>I’m not sure if Ausubel, who lives in the Bay Area, was raised in a wealthy family herself. (In \u003ca href=\"https://www.lareviewofbooks.org/article/life-inherited-conversation-cynthia-daprix-sweeney-ramona-ausubel/\">this interview\u003c/a>, she hints that her family was once wealthy but lost their money.) Whatever her background, she has a stealthy insight into the complicated nature of judgements around money and class, and the easy generalizations inherent therein. In the same interview, Ausubel addresses how wealth and poverty too easily become “weird, mythic realms” where real people are flattened by that which is projected onto them:\u003c/p>\n\u003cblockquote>\u003cp>But that difficulty, that fear, ended up being a big driver for me while writing \u003cem>Sons and Daughters of Ease and Plenty\u003c/em>. Does being impoverished make us more valuable emotionally? Are we allowed only one at a time, material wealth or emotional wealth? That seems problematic for lots of reasons. How rich does a person have to be to cease to deserve empathy? This disconnection is dehumanizing, and it turns both wealth and poverty into these weird, mythic realms.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Sons and Daughters of Ease and Plenty\u003c/em> tells the story of Fern, Edgar, and their respective families. Married with three children, they live in New England; both were born rich. Neither has had to work, in the truest sense, though Edgar spends years writing a loosely disguised autobiographical novel about a son who disavows his industrialist father’s legacy. The novel’s opening sentences are a perfect introduction to the ease and plenty that surrounds the family.\u003c/p>\n\u003cblockquote>\u003cp>Summer fattened everybody up. The family buttered without reserve; pie seemed to be everywhere.\u003c/p>\u003c/blockquote>\n\u003cp>With one phone call, everything changes. It turns out that Fern’s family money — the wealth that paid for the summer house, the fine house back home, the expensive Swedish furniture — it’s all gone, given away to various charities by Fern’s migraine-plagued father at the end of his life. There is a Plan B, though: Edgar could return, chastened, to his father, and ask to take the helm at Keating Steel, the very destiny he’s spent his life running from (but not running fast enough to prevent him from accepting gifts of money and material items from his parents).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thus begins a story of familial ties, old money versus new money, and what happens when the known world is stripped of its foundation. The old money/new money aspect of the story, to me, is one of its most fascinating layers. Fern comes from old money, “so old they only remembered the broad strokes of its origin (rum, cotton, slaves).”\u003c/p>\n\u003cblockquote>\u003cp>“Members of Fern’s Old Money family had met George Washington, served as senators and international ambassadors, seeded the burgeoning lands with their sons and daughters and cotton crops, tended to those children and crops with slave labor, a fact that they had ceased to mention by the times Fern’s generation had come along. The truest luxury of long-term wealth was that no one in the family thought about money anymore. As if comfort was joined with the Westwood cells. They had not learned anything new for a hundred years and no one went to college in order to get a job — instead they went to learn for the sake of learning, to deepen their reservoirs of language, culture, philosophy, art. They spent a significant amount of time giving money away.”\u003c/p>\u003c/blockquote>\n\u003cp>Fern’s mother is a gifted sculptor, resentful of the binds of marriage and motherhood. She buys her way out of caring for her children, hiring others to cook, clean, and raise her two twin children. Fern’s father is often sick, hidden away from the family while he suffers excruciating migraines. In short, they are emotionally absent parents. As a result, Fern and her twin brother Ben depend solely on each other for emotional bolstering. It’s a dependence that becomes fraught when Fern later abandons Ben in favor of her new husband and family.\u003c/p>\n\u003cp>Edgar’s family, on the other hand, comes from new money. Edgar’s mother first tries to follow the staid and strict rules set by the old moneyed class. Eventually — in a moment that surprisingly left me cheering for her — she realizes she’ll never be truly accepted as one of them, and dives headfirst into an ostentatious lifestyle of reveling in the luxuries (private islands, fancy cars, mansions) afforded her by her industrialist husband’s massive income.\u003c/p>\n\u003cp>It’s all Edgar knows, and it’s all that he hates.\u003c/p>\n\u003cblockquote>\u003cp>Even though Edgar’s family had once been poor, poverty for Edgar was impossible to imagine. Money was both disgusting and ever-present. He hated it but he did not know how to live without it. The puritanical New Englanders around him in Cambridge were just as rich but spent very little, watched the accumulating numbers in the bank account. They saved, drove older cars, wore their clothes for twenty years, the children only seeing the spoils of their family wealth when someone died. To them, Edgar probably looked frivolous, garish, but Edgar would have explained his purchases differently — he thought of spending as getting rid of money. The things he acquired had been secondary. He had an expensive English car, but look at those thousands of dollars he had spread out into the winds. He had managed to turn his money back into metal, back into mineral. And anyway, he hated expensive things so owning them was a kind of punishment. To him, his parents were the frivolous ones — not only owning but enjoying their spoils. He disbelieved everything they loved. Edgar’s intentions were entirely different from his parents’, though to someone on the outside, his life was nearly indistinguishable from theirs.\u003c/p>\u003c/blockquote>\n\u003cp>Can Edgar live without the ease of wealth? Can Fern? When the money goes, they are forced to grapple with these questions as reality — not as thought experiments, or as a mouse toy batted around by a bored cat. (This has been Edgar’s approach throughout his life: spouting Karl Marx to amused parents, befriending coal miners, joining the military but returning to the comforts of wealth as soon as possible). Both end up impulsively taking off on “voyage cures” to escape their new reality, each thinking the other is at home with the children. As a result, nine-year-old Cricket and her two little brothers must fend for themselves for days, abandoned accidentally by their clueless parents. The children are forced to survive in a way their parents never had to, with no safety net, no familial protection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The whole story is written in beautiful, sometimes poetic prose. And, as mentioned above, left me with a heart somewhat bigger toward a class of people for whom I don’t generally feel empathy. \u003cem>Sons and Daughters of Ease and Plenty\u003c/em> is a reminder that it’s easy to demonize someone when you see them as an alien. It’s easy to demonize when you don’t understand.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve spent most of my life resenting the one percent — specifically, those living off the fruits of vast family inheritance, hedge funds, and other less industrious and sometimes nefarious methods of gaining wealth. If that offends, I’m \u003ca href=\"https://www.youtube.com/watch?v=I9M8av6LTxs&list=RDI9M8av6LTxs#t=147\">not sorry\u003c/a>. You could blame it on my communist father. You could blame it on jealousy. You could blame it on a stiff dose of working-class pride. All of the above would be true.\u003c/p>\n\u003cp>Or, you could blame it on intellectual laziness; the fact that I’m convinced the rich live and breathe in a totally different stratosphere, clueless to the concerns of those of us closer to the bottom of the income gap. Yet after reading Ramona Ausubel’s new novel \u003cem>Sons and Daughters of Ease and Plenty\u003c/em>, I’m forced to reconsider my position. Like all great fiction, Ausubel’s story of a once-wealthy couple’s plunge into poverty has gifted me with empathy toward characters I would likely disdain in real life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643918 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/51NpIiinnML._SY344_BO1204203200_.jpg\" alt=\"51NpIiinnML._SY344_BO1,204,203,200_\" width=\"230\" height=\"346\">\u003c/p>\n\u003cp>I’m not sure if Ausubel, who lives in the Bay Area, was raised in a wealthy family herself. (In \u003ca href=\"https://www.lareviewofbooks.org/article/life-inherited-conversation-cynthia-daprix-sweeney-ramona-ausubel/\">this interview\u003c/a>, she hints that her family was once wealthy but lost their money.) Whatever her background, she has a stealthy insight into the complicated nature of judgements around money and class, and the easy generalizations inherent therein. In the same interview, Ausubel addresses how wealth and poverty too easily become “weird, mythic realms” where real people are flattened by that which is projected onto them:\u003c/p>\n\u003cblockquote>\u003cp>But that difficulty, that fear, ended up being a big driver for me while writing \u003cem>Sons and Daughters of Ease and Plenty\u003c/em>. Does being impoverished make us more valuable emotionally? Are we allowed only one at a time, material wealth or emotional wealth? That seems problematic for lots of reasons. How rich does a person have to be to cease to deserve empathy? This disconnection is dehumanizing, and it turns both wealth and poverty into these weird, mythic realms.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Sons and Daughters of Ease and Plenty\u003c/em> tells the story of Fern, Edgar, and their respective families. Married with three children, they live in New England; both were born rich. Neither has had to work, in the truest sense, though Edgar spends years writing a loosely disguised autobiographical novel about a son who disavows his industrialist father’s legacy. The novel’s opening sentences are a perfect introduction to the ease and plenty that surrounds the family.\u003c/p>\n\u003cblockquote>\u003cp>Summer fattened everybody up. The family buttered without reserve; pie seemed to be everywhere.\u003c/p>\u003c/blockquote>\n\u003cp>With one phone call, everything changes. It turns out that Fern’s family money — the wealth that paid for the summer house, the fine house back home, the expensive Swedish furniture — it’s all gone, given away to various charities by Fern’s migraine-plagued father at the end of his life. There is a Plan B, though: Edgar could return, chastened, to his father, and ask to take the helm at Keating Steel, the very destiny he’s spent his life running from (but not running fast enough to prevent him from accepting gifts of money and material items from his parents).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thus begins a story of familial ties, old money versus new money, and what happens when the known world is stripped of its foundation. The old money/new money aspect of the story, to me, is one of its most fascinating layers. Fern comes from old money, “so old they only remembered the broad strokes of its origin (rum, cotton, slaves).”\u003c/p>\n\u003cblockquote>\u003cp>“Members of Fern’s Old Money family had met George Washington, served as senators and international ambassadors, seeded the burgeoning lands with their sons and daughters and cotton crops, tended to those children and crops with slave labor, a fact that they had ceased to mention by the times Fern’s generation had come along. The truest luxury of long-term wealth was that no one in the family thought about money anymore. As if comfort was joined with the Westwood cells. They had not learned anything new for a hundred years and no one went to college in order to get a job — instead they went to learn for the sake of learning, to deepen their reservoirs of language, culture, philosophy, art. They spent a significant amount of time giving money away.”\u003c/p>\u003c/blockquote>\n\u003cp>Fern’s mother is a gifted sculptor, resentful of the binds of marriage and motherhood. She buys her way out of caring for her children, hiring others to cook, clean, and raise her two twin children. Fern’s father is often sick, hidden away from the family while he suffers excruciating migraines. In short, they are emotionally absent parents. As a result, Fern and her twin brother Ben depend solely on each other for emotional bolstering. It’s a dependence that becomes fraught when Fern later abandons Ben in favor of her new husband and family.\u003c/p>\n\u003cp>Edgar’s family, on the other hand, comes from new money. Edgar’s mother first tries to follow the staid and strict rules set by the old moneyed class. Eventually — in a moment that surprisingly left me cheering for her — she realizes she’ll never be truly accepted as one of them, and dives headfirst into an ostentatious lifestyle of reveling in the luxuries (private islands, fancy cars, mansions) afforded her by her industrialist husband’s massive income.\u003c/p>\n\u003cp>It’s all Edgar knows, and it’s all that he hates.\u003c/p>\n\u003cblockquote>\u003cp>Even though Edgar’s family had once been poor, poverty for Edgar was impossible to imagine. Money was both disgusting and ever-present. He hated it but he did not know how to live without it. The puritanical New Englanders around him in Cambridge were just as rich but spent very little, watched the accumulating numbers in the bank account. They saved, drove older cars, wore their clothes for twenty years, the children only seeing the spoils of their family wealth when someone died. To them, Edgar probably looked frivolous, garish, but Edgar would have explained his purchases differently — he thought of spending as getting rid of money. The things he acquired had been secondary. He had an expensive English car, but look at those thousands of dollars he had spread out into the winds. He had managed to turn his money back into metal, back into mineral. And anyway, he hated expensive things so owning them was a kind of punishment. To him, his parents were the frivolous ones — not only owning but enjoying their spoils. He disbelieved everything they loved. Edgar’s intentions were entirely different from his parents’, though to someone on the outside, his life was nearly indistinguishable from theirs.\u003c/p>\u003c/blockquote>\n\u003cp>Can Edgar live without the ease of wealth? Can Fern? When the money goes, they are forced to grapple with these questions as reality — not as thought experiments, or as a mouse toy batted around by a bored cat. (This has been Edgar’s approach throughout his life: spouting Karl Marx to amused parents, befriending coal miners, joining the military but returning to the comforts of wealth as soon as possible). Both end up impulsively taking off on “voyage cures” to escape their new reality, each thinking the other is at home with the children. As a result, nine-year-old Cricket and her two little brothers must fend for themselves for days, abandoned accidentally by their clueless parents. The children are forced to survive in a way their parents never had to, with no safety net, no familial protection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The whole story is written in beautiful, sometimes poetic prose. And, as mentioned above, left me with a heart somewhat bigger toward a class of people for whom I don’t generally feel empathy. \u003cem>Sons and Daughters of Ease and Plenty\u003c/em> is a reminder that it’s easy to demonize someone when you see them as an alien. It’s easy to demonize when you don’t understand.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Muhammad Ali enlivened many of his news conference and training sessions with poems. They caused many people to laugh, some to cringe.\u003c/p>\n\u003cp>Ali could be Robert Frost in a robe; Maya Angelou with a championship belt, though his sometimes simplistic stanzas sometimes leaned more toward something out of a Dr. Seuss book. He was a true beat poet — as in, he loved having a rhyme to have a reason to thump his latest rival.\u003c/p>\n\u003cp>These helped make Ali one of the poet laureates of boxing.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“Everyone knew when I stepped in town,\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was the greatest fighter around.\u003c/p>\n\u003cp>A lot of people called me a clown,\u003c/p>\n\u003cp>But I am the one who called the round.\u003c/p>\n\u003cp>The people came to see a great fight,\u003c/p>\n\u003cp>But all I did was put out the light.\u003c/p>\n\u003cp>Never put your money against Cassius Clay,\u003c/p>\n\u003cp>For you will never have a lucky day.”\u003c/p>\n\u003cp>— In 1962, when Ali was still Cassius Clay.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“Now Clay swings with a right, what a beautiful swing.\u003c/p>\n\u003cp>And the punch raises the Bear clear out of the ring.\u003c/p>\n\u003cp>Liston is still rising, and the ref wears a frown.\u003c/p>\n\u003cp>For he can’t start counting ’til Sonny comes down.\u003c/p>\n\u003cp>Now Liston disappears from view.\u003c/p>\n\u003cp>The crowd is getting frantic,\u003c/p>\n\u003cp>But our radar stations have picked him up. He’s somewhere over the Atlantic.\u003c/p>\n\u003cp>Who would have thought when they came to the fight\u003c/p>\n\u003cp>That they’d witness the launching of a human satellite.\u003c/p>\n\u003cp>Yes, the crowd did not dream when they lay down their money\u003c/p>\n\u003cp>That they would see a total eclipse of the Sonny.\u003c/p>\n\u003cp>I am the greatest.”\u003c/p>\n\u003cp>— Part of a poem before his upset title victory over Sonny Liston Feb. 25, 1964.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“Joe’s gonna come out smokin’,\u003c/p>\n\u003cp>But I ain’t gonna be jokin’.\u003c/p>\n\u003cp>This might shock and amaze ya,\u003c/p>\n\u003cp>But I’m going to destroy Joe Frazier.”\u003c/p>\n\u003cp>— Before losing to Joe Frazier in their first fight March 8, 1971.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“You think the world was shocked when Nixon resigned?\u003c/p>\n\u003cp>Wait ’til I whup George Foreman’s behind.\u003c/p>\n\u003cp>Float like a butterfly, sting like a bee.\u003c/p>\n\u003cp>His hand can’t hit what his eyes can’t see.\u003c/p>\n\u003cp>Now you see me, now you don’t.\u003c/p>\n\u003cp>George thinks he will, but I know he won’t.\u003c/p>\n\u003cp>I done wrassled with an alligator, I done tussled with a whale.\u003c/p>\n\u003cp>Only last week I murdered a rock, injured a stone, hospitalized a brick.\u003c/p>\n\u003cp>I’m so mean, I make medicine sick.”\u003c/p>\n\u003cp>— Before regaining the title by upsetting George Foreman Oct. 30, 1974.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“I got speed and endurance.\u003c/p>\n\u003cp>You’d better increase your insurance.”\u003c/p>\n\u003cp>— To Larry Holmes before his one-sided loss in a bid to become a heavyweight champion for the fourth time Oct. 2, 1980.\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>\u003c/p>\n\u003cp>I was the greatest fighter around.\u003c/p>\n\u003cp>A lot of people called me a clown,\u003c/p>\n\u003cp>But I am the one who called the round.\u003c/p>\n\u003cp>The people came to see a great fight,\u003c/p>\n\u003cp>But all I did was put out the light.\u003c/p>\n\u003cp>Never put your money against Cassius Clay,\u003c/p>\n\u003cp>For you will never have a lucky day.”\u003c/p>\n\u003cp>— In 1962, when Ali was still Cassius Clay.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“Now Clay swings with a right, what a beautiful swing.\u003c/p>\n\u003cp>And the punch raises the Bear clear out of the ring.\u003c/p>\n\u003cp>Liston is still rising, and the ref wears a frown.\u003c/p>\n\u003cp>For he can’t start counting ’til Sonny comes down.\u003c/p>\n\u003cp>Now Liston disappears from view.\u003c/p>\n\u003cp>The crowd is getting frantic,\u003c/p>\n\u003cp>But our radar stations have picked him up. He’s somewhere over the Atlantic.\u003c/p>\n\u003cp>Who would have thought when they came to the fight\u003c/p>\n\u003cp>That they’d witness the launching of a human satellite.\u003c/p>\n\u003cp>Yes, the crowd did not dream when they lay down their money\u003c/p>\n\u003cp>That they would see a total eclipse of the Sonny.\u003c/p>\n\u003cp>I am the greatest.”\u003c/p>\n\u003cp>— Part of a poem before his upset title victory over Sonny Liston Feb. 25, 1964.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“Joe’s gonna come out smokin’,\u003c/p>\n\u003cp>But I ain’t gonna be jokin’.\u003c/p>\n\u003cp>This might shock and amaze ya,\u003c/p>\n\u003cp>But I’m going to destroy Joe Frazier.”\u003c/p>\n\u003cp>— Before losing to Joe Frazier in their first fight March 8, 1971.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“You think the world was shocked when Nixon resigned?\u003c/p>\n\u003cp>Wait ’til I whup George Foreman’s behind.\u003c/p>\n\u003cp>Float like a butterfly, sting like a bee.\u003c/p>\n\u003cp>His hand can’t hit what his eyes can’t see.\u003c/p>\n\u003cp>Now you see me, now you don’t.\u003c/p>\n\u003cp>George thinks he will, but I know he won’t.\u003c/p>\n\u003cp>I done wrassled with an alligator, I done tussled with a whale.\u003c/p>\n\u003cp>Only last week I murdered a rock, injured a stone, hospitalized a brick.\u003c/p>\n\u003cp>I’m so mean, I make medicine sick.”\u003c/p>\n\u003cp>— Before regaining the title by upsetting George Foreman Oct. 30, 1974.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>“I got speed and endurance.\u003c/p>\n\u003cp>You’d better increase your insurance.”\u003c/p>\n\u003cp>— To Larry Holmes before his one-sided loss in a bid to become a heavyweight champion for the fourth time Oct. 2, 1980.\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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"title": "L.A.'s Punk History Comes to Light in 'Under the Big Black Sun'",
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"content": "\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of “Under the Big Black Sun: A Personal History of L.A. Punk,” a book wrangled together by Doe and music industry veteran Tom DeSavia.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/266809431″ 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>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Under the Big Black Sun” co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.’\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called ‘Beyond and Back.’ ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, ‘John, you got to write a book.’ He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It’s hard. It’s discipline. I’m not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I’ll get other people to write, ’cause I’m also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman — the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill — reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s Saturday night in 1977, and I would be in a room either at somebody’s apartment, like Joan Jett’s apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.”\u003c/p>\n\u003cp>“There’d be the Clash or the Damned playing on the stereo and we’d all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can’t differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There’s this scene up in Hollywood where people write their own songs. We’re like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>“We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn’t sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don’t fit in, and you make a kind of parallel universe.”\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn’t it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle — which was very in your face and aggressive — just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn’t a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn’t have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?”\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn’t what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, ‘Uh, we got a band, we sorta play blues and rockabilly, ya know …’ and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music… was kind of invigorating because it wasn’t what people expected.’\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I’m going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn’t born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you’ll find a way to get there. And I think that’s what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of “Under the Big Black Sun: A Personal History of L.A. Punk.” \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka — Doe’s partner in X for 39 years and counting — sums it up in her chapter in the audio version of “Under the Big Black Sun”:\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n",
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"excerpt": "A new book co-authored by John Doe of X features chapters written by musicians, scene makers and music critics who populated the early L.A. punk scene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of “Under the Big Black Sun: A Personal History of L.A. Punk,” a book wrangled together by Doe and music industry veteran Tom DeSavia.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/266809431″&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/266809431″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Under the Big Black Sun” co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.’\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called ‘Beyond and Back.’ ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, ‘John, you got to write a book.’ He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It’s hard. It’s discipline. I’m not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I’ll get other people to write, ’cause I’m also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman — the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill — reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s Saturday night in 1977, and I would be in a room either at somebody’s apartment, like Joan Jett’s apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.”\u003c/p>\n\u003cp>“There’d be the Clash or the Damned playing on the stereo and we’d all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can’t differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There’s this scene up in Hollywood where people write their own songs. We’re like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>“We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn’t sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don’t fit in, and you make a kind of parallel universe.”\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn’t it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle — which was very in your face and aggressive — just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn’t a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn’t have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?”\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn’t what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, ‘Uh, we got a band, we sorta play blues and rockabilly, ya know …’ and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music… was kind of invigorating because it wasn’t what people expected.’\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I’m going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn’t born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you’ll find a way to get there. And I think that’s what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of “Under the Big Black Sun: A Personal History of L.A. Punk.” \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka — Doe’s partner in X for 39 years and counting — sums it up in her chapter in the audio version of “Under the Big Black Sun”:\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lit Picks: Bay Area Book Festival, Yaa Gyasi, Emma Straub and more",
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"content": "\u003cp>\u003cstrong>Saturday, June 4 and Sunday, June 5: The Second Annual Bay Area Book Festival, Berkeley\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11619343\" class=\"wp-caption alignleft\" style=\"max-width: 174px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11619343 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174.jpg\" alt=\"AR-160529860.jpg&maxW=174\" width=\"174\" height=\"174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174.jpg 174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-150x150.jpg 150w\" sizes=\"(max-width: 174px) 100vw, 174px\">\u003cfigcaption class=\"wp-caption-text\">Sherman Alexie will read from his new children’s book on Sunday at 11am.\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Bay Area Book Festival should be epic. The list of authors making appearances is a veritable who’s who in contemporary U.S. literature today: William Finnegan, Yaa Gyasi, Juan Felipe Herrera, Jensen Beach, Adam Johnson, Dana Spiotta, Sunil Yapa – and that’s only the start. (Check out the full weekend lineup \u003ca href=\"http://www.baybookfest.org/content/schedule/schedule.html\">here\u003c/a>.) Along with the standard thought-provoking panels and presentations and dozens of diverse exhibitors, the festival includes family-friendly activities, art installations, and a film festival. Book people, BABF is our literary version of Coachella, only with less drugs and ’90s throwback fashion. You don’t want to miss this. Plus, it’s mostly free! \u003ca href=\"http://www.baybookfest.org/\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, June 7: Yaa Gyasi book launch at Green Apple Books on the Park, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11619354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/homecoming.jpg\" alt=\"homecoming\" width=\"183\" height=\"276\">Yaa Gyasi, the 26-year-old Berkeley-based author of \u003cem>Homegoing\u003c/em>, has been getting mad props from literary stars and \u003ca href=\"http://www.vogue.com/13439278/emma-cline-the-girls-yaa-gyasi-homegoing-novel-authors/\">national publications\u003c/a> on the release of her first novel. National Book Award winner Ta-Nehisi Coates live-tweeted his three-day process of reading the novel from start to finish: “I’m not the most well-read person in the world but this is the book I’d give my kid if he asked about the trans-atlantic slave trade,” he wrote.\u003c/p>\n\u003cp>https://twitter.com/tanehisicoates/status/664287997005697025\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Homegoing\u003c/em> tells the story of two half-sisters, Effia and Esi, who are born into different villages in 18th century Ghana. Effia is married off to a British slave trader, and goes to live and raise children in the velvet confines of the Cape Coast Castle. Esi has a different fate. Captured by slave traders, she’s imprisoned in the woman’s dungeon below Effia’s palatial quarters, and then shipped on a boat to America to be sold into slavery. And the story doesn’t stop there. Gyasi has written an ambitious, multi-generational tale about how our ancestral inheritances remain an influence on the present day, no matter how many centuries have gone by. Gyasi is absolutely a writer to watch out for. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-yaa-gyasi-book-launch\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, June 7: J. Ryan Stradal at the Wine Steward, Pleasanton.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11619381\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/kitchens.jpg\" alt=\"kitchens\" width=\"183\" height=\"276\">J. Ryan Stradal’s debut novel\u003cem> Kitchens of the Great Midwest\u003c/em> comes out in paperback this month, and he’ll be celebrating with a couple of Bay Area appearances. Quirky, food-obsessed, and smartly plotted, the novel focuses on the life of Eva Thorvald, a native Minnesotan with a serious food obsession. Stradal, fiction editor at \u003ca href=\"http://www.thenervousbreakdown.com/\">The Nervous Breakdown\u003c/a>, structures the book in a clever manner by establishing key ingredients — hydroponic habaneros, Scandinavian Lutefish — as the centerpiece to each chapter, all the while illuminating the formative moments in Eva’s spirited, semi-tragic life. It culminates with her magnum opus meal as the chef at a legendary pop-up supper club. This event is sponsored by Towne Center Books. \u003ca href=\"http://www.townecenterbooks.com/townecenternews.html\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, June 10: Emma Straub at Copperfield’s Books, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11619375\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/n2yTtrrB.jpg\" alt=\"n2yTtrrB\" width=\"252\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-150x150.jpg 150w\" sizes=\"(max-width: 252px) 100vw, 252px\">You might be tempted to hate novelist Emma Straub for her adorably cute and charmed life in Brooklyn. Exhibit A: Straub will be wearing \u003ca href=\"https://www.instagram.com/p/BFwTLFYDUYe/\">a jumpsuit that matches the book cover \u003c/a>of her latest novel \u003cem>Modern Lovers\u003c/em> on her book tour. Exhibit B: the \u003ca href=\"http://www.nytimes.com/2016/05/22/nyregion/how-emma-straub-novelist-spends-her-sundays.html?_r=0\">breezy way she spends her Sundays\u003c/a> with her adorable little family, all pizza, pancakes, and bookstores with nary a chore to be done. But here’s the thing — Straub has the writing chops to back up the hype. I first came across her work with the excellent short-story collection \u003cem>Other People We Married.\u003c/em> Her second novel, \u003cem>The Vacationers\u003c/em>, earned great reviews and netted a spot on the \u003cem>New York Times’\u003c/em> bestseller list. \u003cem>Modern Lovers\u003c/em>, released this month, follows aging indie rockers, sexual intrigue, and insight into real life as a privileged adult in gentrified Brooklyn. \u003ca href=\"http://www.copperfieldsbooks.com/event/emma-straub\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Saturday, June 4 and Sunday, June 5: The Second Annual Bay Area Book Festival, Berkeley\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11619343\" class=\"wp-caption alignleft\" style=\"max-width: 174px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11619343 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174.jpg\" alt=\"AR-160529860.jpg&maxW=174\" width=\"174\" height=\"174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174.jpg 174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/AR-160529860.jpgmaxW174-150x150.jpg 150w\" sizes=\"(max-width: 174px) 100vw, 174px\">\u003cfigcaption class=\"wp-caption-text\">Sherman Alexie will read from his new children’s book on Sunday at 11am.\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Bay Area Book Festival should be epic. The list of authors making appearances is a veritable who’s who in contemporary U.S. literature today: William Finnegan, Yaa Gyasi, Juan Felipe Herrera, Jensen Beach, Adam Johnson, Dana Spiotta, Sunil Yapa – and that’s only the start. (Check out the full weekend lineup \u003ca href=\"http://www.baybookfest.org/content/schedule/schedule.html\">here\u003c/a>.) Along with the standard thought-provoking panels and presentations and dozens of diverse exhibitors, the festival includes family-friendly activities, art installations, and a film festival. Book people, BABF is our literary version of Coachella, only with less drugs and ’90s throwback fashion. You don’t want to miss this. Plus, it’s mostly free! \u003ca href=\"http://www.baybookfest.org/\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, June 7: Yaa Gyasi book launch at Green Apple Books on the Park, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11619354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/homecoming.jpg\" alt=\"homecoming\" width=\"183\" height=\"276\">Yaa Gyasi, the 26-year-old Berkeley-based author of \u003cem>Homegoing\u003c/em>, has been getting mad props from literary stars and \u003ca href=\"http://www.vogue.com/13439278/emma-cline-the-girls-yaa-gyasi-homegoing-novel-authors/\">national publications\u003c/a> on the release of her first novel. National Book Award winner Ta-Nehisi Coates live-tweeted his three-day process of reading the novel from start to finish: “I’m not the most well-read person in the world but this is the book I’d give my kid if he asked about the trans-atlantic slave trade,” he wrote.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Homegoing\u003c/em> tells the story of two half-sisters, Effia and Esi, who are born into different villages in 18th century Ghana. Effia is married off to a British slave trader, and goes to live and raise children in the velvet confines of the Cape Coast Castle. Esi has a different fate. Captured by slave traders, she’s imprisoned in the woman’s dungeon below Effia’s palatial quarters, and then shipped on a boat to America to be sold into slavery. And the story doesn’t stop there. Gyasi has written an ambitious, multi-generational tale about how our ancestral inheritances remain an influence on the present day, no matter how many centuries have gone by. Gyasi is absolutely a writer to watch out for. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-yaa-gyasi-book-launch\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, June 7: J. Ryan Stradal at the Wine Steward, Pleasanton.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11619381\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/kitchens.jpg\" alt=\"kitchens\" width=\"183\" height=\"276\">J. Ryan Stradal’s debut novel\u003cem> Kitchens of the Great Midwest\u003c/em> comes out in paperback this month, and he’ll be celebrating with a couple of Bay Area appearances. Quirky, food-obsessed, and smartly plotted, the novel focuses on the life of Eva Thorvald, a native Minnesotan with a serious food obsession. Stradal, fiction editor at \u003ca href=\"http://www.thenervousbreakdown.com/\">The Nervous Breakdown\u003c/a>, structures the book in a clever manner by establishing key ingredients — hydroponic habaneros, Scandinavian Lutefish — as the centerpiece to each chapter, all the while illuminating the formative moments in Eva’s spirited, semi-tragic life. It culminates with her magnum opus meal as the chef at a legendary pop-up supper club. This event is sponsored by Towne Center Books. \u003ca href=\"http://www.townecenterbooks.com/townecenternews.html\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, June 10: Emma Straub at Copperfield’s Books, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11619375\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/n2yTtrrB.jpg\" alt=\"n2yTtrrB\" width=\"252\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/n2yTtrrB-150x150.jpg 150w\" sizes=\"(max-width: 252px) 100vw, 252px\">You might be tempted to hate novelist Emma Straub for her adorably cute and charmed life in Brooklyn. Exhibit A: Straub will be wearing \u003ca href=\"https://www.instagram.com/p/BFwTLFYDUYe/\">a jumpsuit that matches the book cover \u003c/a>of her latest novel \u003cem>Modern Lovers\u003c/em> on her book tour. Exhibit B: the \u003ca href=\"http://www.nytimes.com/2016/05/22/nyregion/how-emma-straub-novelist-spends-her-sundays.html?_r=0\">breezy way she spends her Sundays\u003c/a> with her adorable little family, all pizza, pancakes, and bookstores with nary a chore to be done. But here’s the thing — Straub has the writing chops to back up the hype. I first came across her work with the excellent short-story collection \u003cem>Other People We Married.\u003c/em> Her second novel, \u003cem>The Vacationers\u003c/em>, earned great reviews and netted a spot on the \u003cem>New York Times’\u003c/em> bestseller list. \u003cem>Modern Lovers\u003c/em>, released this month, follows aging indie rockers, sexual intrigue, and insight into real life as a privileged adult in gentrified Brooklyn. \u003ca href=\"http://www.copperfieldsbooks.com/event/emma-straub\">\u003cstrong>Details here.\u003c/strong>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[contextly_sidebar id=\"O3E9gNtNXhMiBS54fqa2feXPywzaY0X6\"]The comediennes of the modern era certainly have a lot to thank Jane Austen for. While her humor is much milder than the Schumers and Dunhams of this modern era, Austen was witty before women showing off their funny bone was socially acceptable. Her undeniable mark on popular culture has inspired a slew of adaptations, from everyone’s favorite '90s teen flick, \u003cem>Clueless, \u003c/em>to the deplorably tasteless \u003cem>Pride and Prejudice and Zombies\u003c/em>. With the offensiveness of the latter still lingering on our palettes, the latest Austen film adaptation, \u003cem>Love and Friendship\u003c/em>, could not have arrived at a better time.\u003c/p>\n\u003cp>Based on one of Austen’s lesser-known works, the early epistolary novella, \u003cem>Lady Susan,\u003c/em> tells the tale of an unscrupulous, newly widowed woman and her quest to marry off her lackluster daughter to a wealthy man and to bag an even richer husband for herself. Written as a series of letters, some have argued that this is perhaps Austen’s wittiest work, which would explain why audiences and critics have been so pleased with the film adaptation.\u003c/p>\n\u003cp>Directed by Whit Stillman, \u003cem>Love and Friendship\u003c/em> finds Kate Beckinsale portraying the beguiling Lady Susan Vernon with her confidante, Alicia Johnson, played by Chloë Sevigny (for those who may have forgotten, Chloë and Kate were also paired up in Stillman’s 1998 cult classic \u003cem>The Last Days of Disco\u003c/em>). Without delving too much into the plot, Beckinsale delivers an exquisite performance that captures the charmingly appalling nature of Lady Susan, serving up memorable line after memorable line – my personal favorite being Susan’s description of Alicia’s husband as “too old to be governed and too young to die.” It is this wit that takes center stage in the film and will leave theater-goers with an appreciation of the subtlety of Austen’s humor that is rarely found in modern times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8MaSK3POHI0\u003c/p>\n\u003cp>For Austen aficionados, the film is obviously a must see and will probably spit them out of the theater wishing they could find the essence of Austen in the real world. To figure out how to do that best, we caught up with the Coordinator of the Jane Austen Society of North America’s Northern California Region, Danine Cozzens, for her insights into the latest film and beyond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: \u003cem>What characteristics of Jane Austen's writing do you think give it such timeless appeal for the young and old alike? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Danine Cozzens:\u003c/strong> Jane Austen saw into the truth of the human heart. What truly drives character, and causes us to make decisions that may not have the best outcome? You can read the novels over and over and see this happen anew each time. The characters, their motivations, all the fine points the narrator's voice was telling you point blank were there all along, even while you were captivated by the unfolding plot line.\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>As the English countryside and its estates are several thousand miles in distance from our beloved Bay Area, which locales and establishments would you recommend for an Austen-inspired sojourn? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>We are fortunate to have some grand estates in the Bay Area that are open to the public, with the scale and elegance of a Georgian manor house. You can't stay there, but do take a day trip to \u003ca href=\"http://www.filoli.org/\">Filoli \u003c/a>(near Woodside). Although built in 1915, it was modeled on a Georgian estate in Ireland, and has the grand expanse of gardens and woodlands of an English estate. If you can get into \u003ca href=\"http://carolands.org/\">Carolands\u003c/a>, which has very limited hours, it is more French but Mr. Darcy would have felt quite at home there.\u003c/p>\n\u003cp>\u003ca href=\"http://montalvoarts.org/\">Villa Montalvo\u003c/a> (near Saratoga) is Mediterranean in style, but has an excellent Regency-style \"folly\" -- a charming wedding cake of a pavilion -- at the bottom of the great lawn. \u003ca href=\"http://www.pelicaninn.com/\">The Pelican Inn\u003c/a> in Muir Beach replicates an English coaching inn. \u003ca href=\"http://berkeleycityclub.com/\">The Berkeley City Club\u003c/a> provided a gracious site for an afternoon ball. All worth a visit.\u003c/p>\n\u003cp>Each fall, our friends in Oregon take over the \u003ca href=\"http://www.oregoncaveschateau.com/\">Oregon Caves Chateau\u003c/a>, a small rustic lodge from the 1930s, for a \"great house\" weekend. We dress in Regency era attire and enjoy various period activities. Another memorable experience has been sailing on the tall ships (Lady Washington and Hawaiian Chieftain) on their semi-annual tour, with everyone -- passengers and crew -- in costume. And of course teas, balls, and picnics are held in many places. \u003ca href=\"http://janeaustenevening.org/\">The Los Angeles Jane Austen Evening\u003c/a> sells out every year.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Though a fantastic piece of literature, \u003c/em>Lady Susan\u003cem> is one of Jane's lesser-known works. Out of her novels that haven't received a worthy film adaptation, which would you be most excited to see produced (or reproduced) and why? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Personally, I'd vote for \u003cem>Mansfield\u003c/em> \u003cem>Park\u003c/em>, because the anachronisms and plot alterations set my teeth on edge. I'm fine with adaptations like \u003cem>Clueless\u003c/em> or \u003cem>Bride and Prejudice\u003c/em>, but when you are playing it straight, please do not introduce nonsensical plot changes and impossible things which make no sense, like tiered wedding cakes in a world where baking powder had not yet been invented. Don't turn Fanny's ball into a picnic.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What scene in \u003c/em>Love and Friendship\u003cem> are you most excited for viewers to watch brought to the screen? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This may sound odd, but what blew me away was the attention to detail in all the costumes. No skimping on horses and carriages, either. The costumes on the servants -- the starched caps and fichus on the maids, the livery and wigs on the footmen -- just as much care was taken with them as with the principal actors. And the working people underfoot, laying paving stones in their filthy smocks -- it was transporting to see the entire screen come alive.\u003c/p>\n\u003cp>I loved the scene in which Sir Reginald De Courcy is reading a letter aloud to Lady De Courcy. Letter writing was such a key part of life for the leisured class; it was the social media of the day. I thought that scene, with the handwriting projected over the screen, conveyed how intense letters were at the time. Quite fitting, since Lady Susan was constructed as a series of letters.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Love and Friendship\u003cem> is out now in select theaters. If you would like more information on the Jane Austen Society of North America’s Northern California Region, please visit \u003ca href=\"http://www.jasnanorcal.org/\">jasnanorcal.org\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>The comediennes of the modern era certainly have a lot to thank Jane Austen for. While her humor is much milder than the Schumers and Dunhams of this modern era, Austen was witty before women showing off their funny bone was socially acceptable. Her undeniable mark on popular culture has inspired a slew of adaptations, from everyone’s favorite '90s teen flick, \u003cem>Clueless, \u003c/em>to the deplorably tasteless \u003cem>Pride and Prejudice and Zombies\u003c/em>. With the offensiveness of the latter still lingering on our palettes, the latest Austen film adaptation, \u003cem>Love and Friendship\u003c/em>, could not have arrived at a better time.\u003c/p>\n\u003cp>Based on one of Austen’s lesser-known works, the early epistolary novella, \u003cem>Lady Susan,\u003c/em> tells the tale of an unscrupulous, newly widowed woman and her quest to marry off her lackluster daughter to a wealthy man and to bag an even richer husband for herself. Written as a series of letters, some have argued that this is perhaps Austen’s wittiest work, which would explain why audiences and critics have been so pleased with the film adaptation.\u003c/p>\n\u003cp>Directed by Whit Stillman, \u003cem>Love and Friendship\u003c/em> finds Kate Beckinsale portraying the beguiling Lady Susan Vernon with her confidante, Alicia Johnson, played by Chloë Sevigny (for those who may have forgotten, Chloë and Kate were also paired up in Stillman’s 1998 cult classic \u003cem>The Last Days of Disco\u003c/em>). Without delving too much into the plot, Beckinsale delivers an exquisite performance that captures the charmingly appalling nature of Lady Susan, serving up memorable line after memorable line – my personal favorite being Susan’s description of Alicia’s husband as “too old to be governed and too young to die.” It is this wit that takes center stage in the film and will leave theater-goers with an appreciation of the subtlety of Austen’s humor that is rarely found in modern times.\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/8MaSK3POHI0'\n title='//www.youtube.com/embed/8MaSK3POHI0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Austen aficionados, the film is obviously a must see and will probably spit them out of the theater wishing they could find the essence of Austen in the real world. To figure out how to do that best, we caught up with the Coordinator of the Jane Austen Society of North America’s Northern California Region, Danine Cozzens, for her insights into the latest film and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: \u003cem>What characteristics of Jane Austen's writing do you think give it such timeless appeal for the young and old alike? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Danine Cozzens:\u003c/strong> Jane Austen saw into the truth of the human heart. What truly drives character, and causes us to make decisions that may not have the best outcome? You can read the novels over and over and see this happen anew each time. The characters, their motivations, all the fine points the narrator's voice was telling you point blank were there all along, even while you were captivated by the unfolding plot line.\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>As the English countryside and its estates are several thousand miles in distance from our beloved Bay Area, which locales and establishments would you recommend for an Austen-inspired sojourn? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>We are fortunate to have some grand estates in the Bay Area that are open to the public, with the scale and elegance of a Georgian manor house. You can't stay there, but do take a day trip to \u003ca href=\"http://www.filoli.org/\">Filoli \u003c/a>(near Woodside). Although built in 1915, it was modeled on a Georgian estate in Ireland, and has the grand expanse of gardens and woodlands of an English estate. If you can get into \u003ca href=\"http://carolands.org/\">Carolands\u003c/a>, which has very limited hours, it is more French but Mr. Darcy would have felt quite at home there.\u003c/p>\n\u003cp>\u003ca href=\"http://montalvoarts.org/\">Villa Montalvo\u003c/a> (near Saratoga) is Mediterranean in style, but has an excellent Regency-style \"folly\" -- a charming wedding cake of a pavilion -- at the bottom of the great lawn. \u003ca href=\"http://www.pelicaninn.com/\">The Pelican Inn\u003c/a> in Muir Beach replicates an English coaching inn. \u003ca href=\"http://berkeleycityclub.com/\">The Berkeley City Club\u003c/a> provided a gracious site for an afternoon ball. All worth a visit.\u003c/p>\n\u003cp>Each fall, our friends in Oregon take over the \u003ca href=\"http://www.oregoncaveschateau.com/\">Oregon Caves Chateau\u003c/a>, a small rustic lodge from the 1930s, for a \"great house\" weekend. We dress in Regency era attire and enjoy various period activities. Another memorable experience has been sailing on the tall ships (Lady Washington and Hawaiian Chieftain) on their semi-annual tour, with everyone -- passengers and crew -- in costume. And of course teas, balls, and picnics are held in many places. \u003ca href=\"http://janeaustenevening.org/\">The Los Angeles Jane Austen Evening\u003c/a> sells out every year.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Though a fantastic piece of literature, \u003c/em>Lady Susan\u003cem> is one of Jane's lesser-known works. Out of her novels that haven't received a worthy film adaptation, which would you be most excited to see produced (or reproduced) and why? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Personally, I'd vote for \u003cem>Mansfield\u003c/em> \u003cem>Park\u003c/em>, because the anachronisms and plot alterations set my teeth on edge. I'm fine with adaptations like \u003cem>Clueless\u003c/em> or \u003cem>Bride and Prejudice\u003c/em>, but when you are playing it straight, please do not introduce nonsensical plot changes and impossible things which make no sense, like tiered wedding cakes in a world where baking powder had not yet been invented. Don't turn Fanny's ball into a picnic.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What scene in \u003c/em>Love and Friendship\u003cem> are you most excited for viewers to watch brought to the screen? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This may sound odd, but what blew me away was the attention to detail in all the costumes. No skimping on horses and carriages, either. The costumes on the servants -- the starched caps and fichus on the maids, the livery and wigs on the footmen -- just as much care was taken with them as with the principal actors. And the working people underfoot, laying paving stones in their filthy smocks -- it was transporting to see the entire screen come alive.\u003c/p>\n\u003cp>I loved the scene in which Sir Reginald De Courcy is reading a letter aloud to Lady De Courcy. Letter writing was such a key part of life for the leisured class; it was the social media of the day. I thought that scene, with the handwriting projected over the screen, conveyed how intense letters were at the time. Quite fitting, since Lady Susan was constructed as a series of letters.\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>Love and Friendship\u003cem> is out now in select theaters. If you would like more information on the Jane Austen Society of North America’s Northern California Region, please visit \u003ca href=\"http://www.jasnanorcal.org/\">jasnanorcal.org\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent Tuesday evening at \u003ca href=\"http://www.cafecoppola.com/cafezoetrope/\">Cafe Zoetrope\u003c/a> in San Francisco’s green, triangle-shaped Sentinel building, Cousin Phun approached the new short-story vending machine hiding in plain sight near the crowded bar. She deliberated between three shiny silver buttons numbered one, three, or five. Eventually, she pushed five. Within seconds, the machine spat out a long, narrow scroll printed with “Escape in Two Phases” by Zann; an original story that would take Phun approximately five minutes to read.\u003c/p>\n\u003cp>The \u003ca href=\"http://short-edition.com/\" target=\"_blank\" rel=\"noopener\">Short Edition\u003c/a> vending machine is already popular in France, where Oscar-winning director Francis Ford Coppola initially encountered the novel concept. The machine prints original stories on demand, of various length, depending on how much time the user wants to spend reading. Intrigued, Coppola ordered a model for his Cafe Zoetrope, in San Francisco’s North Beach. Installed on May 10, it’s the first of its kind in the United States.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597404 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5943-e1463683880573.jpg\" alt=\"IMG_5943\" width=\"400\" height=\"533\">\u003c/p>\n\u003cp>“This intriguing short story machine gives us a great opportunity to merge the innovation of today’s world with the nostalgic allure of classic manuscripts,” said Coppola in a statement.\u003c/p>\n\u003cp>Cousin Phun, already a huge fan of short stories by the likes of Alice Munro, Ray Bradbury and Franz Kafka, read through the story as she sipped on a cocktail. The scene seemed archaic: a woman frozen in concentration, in the middle of a buzzing crowd, reading from a line of print instead of scrolling through Instagram, as one might do normally do while sitting solo at a bar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what was the verdict?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597255 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5945-e1463682366236.jpg\" alt=\"IMG_5945\" width=\"400\" height=\"533\">\u003c/p>\n\u003cp>“The story was labeled as humor, but it wasn’t humorous to me,” Phun said. “It was a little sad, but it was well-crafted.”\u003c/p>\n\u003cp>But what of the vending machine concept itself? “I love it,” she said. “What’s not to love? For one, it’s free. I’d pay a quarter or even a dollar for this, but it’s free. Second, anything to get your eyes of a screen is a good thing. There is always a difference between that and the written word.”\u003c/p>\n\u003cp>Later that evening, one young man expressed disappointment about the machine’s aesthetics: glossy, cylindrical, modern. He’d imagined it would more closely resemble an old-fashioned fortune telling apparatus.\u003c/p>\n\u003cp>“Like the one in \u003cem>Big\u003c/em>,” he said, referring to that movie’s mysterious ‘\u003ca href=\"https://www.youtube.com/watch?v=z48_DSKh1Hw\">Zoltar Says Make Your Wish\u003c/a>‘ machine.\u003c/p>\n\u003cp>Yet despite their subdued exterior, the machines have been a big hit in France. The city of Grenoble, where Short Edition is headquartered, has eight machines installed at places like the city center, library, and tourism office. They’ve emerged as\u003ca href=\"http://www.newyorker.com/books/page-turner/how-a-city-in-france-got-the-worlds-first-short-story-vending-machines\"> somewhat of a phenomenon\u003c/a>.\u003c/p>\n\u003cp>Manjula Martin is the new managing editor of \u003ca href=\"http://www.all-story.com/\">Zoetrope: All-Story\u003c/a>, the lauded fiction magazine which recently won the 2016 National Magazine Award for Fiction for Anthony Marra’s \u003ca href=\"http://www.all-story.com/issues.cgi?action=show_story&story_id=550\">The Grozny Tourist Bureau\u003c/a>. Martin and longtime editor Michael Ray are in charge of the care and feeding of the Short Edition; they’ll see to it that the little machine is stocked with stories.\u003c/p>\n\u003cp>“The idea of making storytelling and literature just a part of the landscape is kind of lovely,” Martin said.\u003c/p>\n\u003cfigure id=\"attachment_11597251\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5942-e1463681363567.jpg\" alt=\"Photo by Cousin Phun\" width=\"400\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Photo by Cousin Phun\u003c/figcaption>\u003c/figure>\n\u003cp>For now, Short Edition supplies the machine’s stories, all of them translated from French by an apparently hard-working translator named Wendy Cross. As they get going, according to Martin, the bulk of the stories will come from Zoetrope’s \u003ca href=\"http://www.zoetrope.com/\">Virtual Studio\u003c/a> flash fiction community, which offers free critique and support for apprentice writers. Upon group vote, the top-rated pieces will make it into the vending machine. Others will come from \u003ca href=\"http://vendettawine.com/\">Vendetta\u003c/a>, Coppola’s wine and story project. Eventually, they’ll partner with local literary organizations for special theme months.\u003c/p>\n\u003cp>It’s an exciting proposition: imagine local writers trekking to Cafe Zoetrope to see their story emerge from the machine, not to mention the random strangers who might discover those writers after pushing a button out of sheer curiosity.\u003c/p>\n\u003cp>“People have been incredibly enthusiastic about it,” said Martin. A launch party earlier this month drew the likes of former Mayor Willie Brown, Dave Eggers, and Vendela Vida, who showed up to welcome San Francisco’s literary \u003ca href=\"https://www.youtube.com/watch?v=WjeptaI2T8E\">Number Five\u003c/a>.\u003c/p>\n\u003cp>Francis Ford Coppola, never one to step down from a challenge, hopes to see the machines’ presence multiply.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’d like to see the city of San Francisco put them everywhere,” he stated, “so that while waiting for a bus, or marriage license, or lunch, you could get an artistic lift free of charge.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Tuesday evening at \u003ca href=\"http://www.cafecoppola.com/cafezoetrope/\">Cafe Zoetrope\u003c/a> in San Francisco’s green, triangle-shaped Sentinel building, Cousin Phun approached the new short-story vending machine hiding in plain sight near the crowded bar. She deliberated between three shiny silver buttons numbered one, three, or five. Eventually, she pushed five. Within seconds, the machine spat out a long, narrow scroll printed with “Escape in Two Phases” by Zann; an original story that would take Phun approximately five minutes to read.\u003c/p>\n\u003cp>The \u003ca href=\"http://short-edition.com/\" target=\"_blank\" rel=\"noopener\">Short Edition\u003c/a> vending machine is already popular in France, where Oscar-winning director Francis Ford Coppola initially encountered the novel concept. The machine prints original stories on demand, of various length, depending on how much time the user wants to spend reading. Intrigued, Coppola ordered a model for his Cafe Zoetrope, in San Francisco’s North Beach. Installed on May 10, it’s the first of its kind in the United States.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597404 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5943-e1463683880573.jpg\" alt=\"IMG_5943\" width=\"400\" height=\"533\">\u003c/p>\n\u003cp>“This intriguing short story machine gives us a great opportunity to merge the innovation of today’s world with the nostalgic allure of classic manuscripts,” said Coppola in a statement.\u003c/p>\n\u003cp>Cousin Phun, already a huge fan of short stories by the likes of Alice Munro, Ray Bradbury and Franz Kafka, read through the story as she sipped on a cocktail. The scene seemed archaic: a woman frozen in concentration, in the middle of a buzzing crowd, reading from a line of print instead of scrolling through Instagram, as one might do normally do while sitting solo at a bar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what was the verdict?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597255 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5945-e1463682366236.jpg\" alt=\"IMG_5945\" width=\"400\" height=\"533\">\u003c/p>\n\u003cp>“The story was labeled as humor, but it wasn’t humorous to me,” Phun said. “It was a little sad, but it was well-crafted.”\u003c/p>\n\u003cp>But what of the vending machine concept itself? “I love it,” she said. “What’s not to love? For one, it’s free. I’d pay a quarter or even a dollar for this, but it’s free. Second, anything to get your eyes of a screen is a good thing. There is always a difference between that and the written word.”\u003c/p>\n\u003cp>Later that evening, one young man expressed disappointment about the machine’s aesthetics: glossy, cylindrical, modern. He’d imagined it would more closely resemble an old-fashioned fortune telling apparatus.\u003c/p>\n\u003cp>“Like the one in \u003cem>Big\u003c/em>,” he said, referring to that movie’s mysterious ‘\u003ca href=\"https://www.youtube.com/watch?v=z48_DSKh1Hw\">Zoltar Says Make Your Wish\u003c/a>‘ machine.\u003c/p>\n\u003cp>Yet despite their subdued exterior, the machines have been a big hit in France. The city of Grenoble, where Short Edition is headquartered, has eight machines installed at places like the city center, library, and tourism office. They’ve emerged as\u003ca href=\"http://www.newyorker.com/books/page-turner/how-a-city-in-france-got-the-worlds-first-short-story-vending-machines\"> somewhat of a phenomenon\u003c/a>.\u003c/p>\n\u003cp>Manjula Martin is the new managing editor of \u003ca href=\"http://www.all-story.com/\">Zoetrope: All-Story\u003c/a>, the lauded fiction magazine which recently won the 2016 National Magazine Award for Fiction for Anthony Marra’s \u003ca href=\"http://www.all-story.com/issues.cgi?action=show_story&story_id=550\">The Grozny Tourist Bureau\u003c/a>. Martin and longtime editor Michael Ray are in charge of the care and feeding of the Short Edition; they’ll see to it that the little machine is stocked with stories.\u003c/p>\n\u003cp>“The idea of making storytelling and literature just a part of the landscape is kind of lovely,” Martin said.\u003c/p>\n\u003cfigure id=\"attachment_11597251\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5942-e1463681363567.jpg\" alt=\"Photo by Cousin Phun\" width=\"400\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Photo by Cousin Phun\u003c/figcaption>\u003c/figure>\n\u003cp>For now, Short Edition supplies the machine’s stories, all of them translated from French by an apparently hard-working translator named Wendy Cross. As they get going, according to Martin, the bulk of the stories will come from Zoetrope’s \u003ca href=\"http://www.zoetrope.com/\">Virtual Studio\u003c/a> flash fiction community, which offers free critique and support for apprentice writers. Upon group vote, the top-rated pieces will make it into the vending machine. Others will come from \u003ca href=\"http://vendettawine.com/\">Vendetta\u003c/a>, Coppola’s wine and story project. Eventually, they’ll partner with local literary organizations for special theme months.\u003c/p>\n\u003cp>It’s an exciting proposition: imagine local writers trekking to Cafe Zoetrope to see their story emerge from the machine, not to mention the random strangers who might discover those writers after pushing a button out of sheer curiosity.\u003c/p>\n\u003cp>“People have been incredibly enthusiastic about it,” said Martin. A launch party earlier this month drew the likes of former Mayor Willie Brown, Dave Eggers, and Vendela Vida, who showed up to welcome San Francisco’s literary \u003ca href=\"https://www.youtube.com/watch?v=WjeptaI2T8E\">Number Five\u003c/a>.\u003c/p>\n\u003cp>Francis Ford Coppola, never one to step down from a challenge, hopes to see the machines’ presence multiply.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’d like to see the city of San Francisco put them everywhere,” he stated, “so that while waiting for a bus, or marriage license, or lunch, you could get an artistic lift free of charge.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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