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"content": "\u003ch3>Review: ‘The Entropy of Bones’ by Ayize Jama-Everett\u003c/h3>\n\u003cp>One of the most interesting aspects of a superhero is their superpower itself. Spiderman’s superpower is the ability to walk up surfaces no human can traverse. For Quicksilver, it’s the ability to move and react at the speed of light. For Chabi, the heroine at the heart of \u003cem>The Entropy of Bones\u003c/em>, the latest work of sci-fi from Bay Area novelist Ayize Jama-Everett, it’s the ability to use the entropy of bones to disarm opponents. Like the author’s previous books, \u003cem>The Liminal People\u003c/em> and \u003cem>The Liminal War\u003c/em>, this new work, published by Small Beer Press in September, is concerned with the battle between good and evil, spearheaded by the Liminal people — a race of humans with supreme strength — who have the given ability, if they choose to employ it, to defend and protect humanity.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DDDB3A15-702E-4DEA-BFC8-4B8B679EF5D5Img400.jpg\" alt=\"{DDDB3A15-702E-4DEA-BFC8-4B8B679EF5D5}Img400\" width=\"300\" height=\"400\" class=\"alignright size-full wp-image-11006819\">\u003c/p>\n\u003cp>From the opening page it’s clear that Chabi, as a Liminal, is no ordinary teenager. She’s just completed a run from Sausalito, where she lives on a houseboat with her mother, to Napa — a cool 60 or so miles. Chabi runs the distance in half a day, cuts through the mountains, and then makes it to Calistoga in another three hours. She supplements the epic runs with swims from Larkspur to the Oakland harbor. Jama-Everett lives in the Bay Area and he uses locations across Northern California to strong effect. Aside from Calistoga, Chabi fights battles in Mendocino, Oakland, San Jose, and in the city proper. The reluctant teenaged superhero is nearly impossible to defeat in a fight, thanks to training from her adopted mentor, the possibly sinister and mysterious Narayana, a drunk warrior from India. Through it all, and despite uncanny physical displays of power, Chabi doesn’t realize that she’s a superhero, part of her scrappy charm.\u003c/p>\n\u003cp>Chabi breaks the mold for superheroes in more ways than one. She begins fight training with Narayana, while still in high school. She is Mongolian on her father’s side and Black on her mother’s side. She loves dubstep with an obsessive, almost propulsive force, and spends nights out at clubs dancing as a portal into bliss. And she’s got a sense of humor, with a strong voice that permeates the book and moves the narrative forward.\u003c/p>\n\u003cp>After Narayana disappears, Chabi is lost, though the hole in her life opens up opportunity to develop a better relationship with her mother, who has gone from drunk to sober in the course of a few years. Chabi is a hired gun, the muscle for a marijuana operation outside of Calistoga. Little does Chabi know the brothers that own the operation, out of a desire to make a load of cash, are going to pull her into a shady underworld populated by a tribe of Alters who want nothing more than the total destruction of humankind. This tribe, of course, is headquartered at a swanky, creepy hotel deep in the heart of San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Chabi meets A.C., a superhero with the power to travel on the back of the wind, she learns all about the seductive powers of the Alters. The warning is doubly meaningful since Chabi has discovered her kryptonite in Rice, the son of a powerful hotel magnate, thrower of rambunctious parties, and an Alter with an energy that she finds addictive.\u003c/p>\n\u003cp>“They are oxymorons. Creations of entropy. They exist… their sole purpose… is to hurry humanity to its eventual entropic end. To join with the cold of the universe,” A.C. warns Chabi. “It’s not evil I’m talking about. Evil exists to corrupt, pervert, transform. It can actually be useful in some cases. I’m talking entropy. The end of all things.”\u003c/p>\n\u003cp>Luckily, if the end of all things is a possibility, having a superhero around at least offers some modicum of comfort. If that superhero happens to be a twenty-something, old school hip-hop and dubstep-loving, half-Mongolian and half-Black woman who lives on a rusted old houseboat in Sausalito, all the better.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Boots Riley at Litquake\u003c/h3>\n\u003cp>Boots Riley always speaks his mind. The radical Oakland rapper, activist, and leader of the Coup is unabashedly political, a refreshing stance in this day of apolitical pop stars with more interest in crass consumerism than much else. So it’s appropriate that Haymarket Books, named for the \u003ca href=\"http://www.britannica.com/event/Haymarket-Riot\">Haymarket Riot\u003c/a> of 1886, recently published \u003cem>Tell Homeland Security — We Are the Bomb: Collected Lyrics and Writings\u003c/em>, the complete collection of Riley’s lyrics introduced by oral interviews in which Riley explains the thought process behind nearly every song in the Coup’s catalog. \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11006755 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/images.jpg\" alt=\"images\" width=\"224\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images.jpg 224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-75x75.jpg 75w\" sizes=\"(max-width: 224px) 100vw, 224px\">\u003c/a>The intros are pleasantly casual, and feel a bit like you’re just kicking back with Riley while he relays the stories behind the songs. He also reveals a diverse range of influences: from literary icons like Michael Ondaatje, Salmon Rushdie, and Pablo Neruda, to Occupy Oakland, and, of course, Prince.\u003c/p>\n\u003cp>On songs like “\u003ca href=\"https://www.youtube.com/watch?v=RQthFDpYCys\">Five Million Ways to Kill a CEO\u003c/a>,” from 2001’s \u003cem>Party Music\u003c/em>, Riley strikes a powerful balance between class awareness, sharp critiques of capitalism, and bombastic, danceable deep funk beats. “Often people see the title, and they picture a vicious attack on the system,” says Riley in the book. “I don’t know, it’s up to you to say whether this is a vicious attack on the system. I clearly do not like the system of capitalism, and to make it clear, would like there to be a world in which the people democratically control the profits they create, and that would be communism, socialism, whatever you want to call it. But ‘5 Million Ways to Kill a CEO,’ if you look at the last verse, I list 5 million ways to kill a CEO, and it’s basically them being killed by their own greed.”\u003c/p>\n\u003cp>Boots Riley \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\">appears\u003c/a> at Litquake on Oct. 15, in conversation with writer Adam Mansbach (who wrote the intro to \u003cem>Tell Homeland Security\u003c/em>), and comic W. Kamau Bell.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>My Bookish Bay Area with Nayomi Munaweera\u003c/h3>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nayomi-Munaweera-e1444266412897.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11001885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nayomi-Munaweera-e1444266412897.jpg\" alt=\"Nayomi Munaweera\" width=\"600\" height=\"400\">\u003c/a>\u003c/p>\n\u003cp>With just one novel under her belt, novelist Nayomi Munaweera has already racked up many accolades. Her debut \u003cem>Island of a Thousand Mirrors\u003c/em> won the 2013 Commonwealth Literary Prize for Asia and received high praise from the \u003cem>New York Times\u003c/em>. She appears at two Litquake events this week: \u003ca href=\"http://www.litquake.org/events/consciousness-past-night-historical-fiction\">A Night of Historical Fiction\u003c/a> on Oct. 15 and \u003ca href=\"http://www.litquake.org/events/hazel-all-stars\">Hazel All-Stars\u003c/a> at Lit Crawl on Oct. 17.\u003c/p>\n\u003cp>\u003cstrong>How long have you lived in the Bay Area and what city do you live in?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived in the Bay since 2001 when I escaped from LA. I’m in the Temescal District of Oakland now.\u003c/p>\n\u003cp>\u003cstrong>Where have you found writing and story inspiration in the bay?\u003c/strong>\u003c/p>\n\u003cp>My second novel \u003cem>What Lies Between Us \u003c/em>is very much a San Francisco novel. It’s out in February 2016. A large part of the book is inspired by this very beautiful and sometimes cold place we call home.\u003c/p>\n\u003cp>\u003cstrong>What are some of your favorite local bookstores and why?\u003c/strong>\u003c/p>\n\u003cp>I love Walden Books, Half Priced Books, Mrs. Dalloway’s, Diesel, Moe’s, Pegasus and of course City Lights. They all have such character — what’s not to love? When I first moved to the Bay as a young inspiring writer I spent hours in Moe’s. These felt like sacred hours and I always walked out of there with the sense of having lost time in the most wonderful way. I’m launching the second novel at City Lights which is absolutely thrilling to me.\u003c/p>\n\u003cp>\u003cstrong>Do you have a favorite cafe or someplace that you like to go to write?\u003c/strong>\u003c/p>\n\u003cp>I write at either Farley’s East or Arbor. I write at home a lot but when that gets too lonely and I’ve been talking to myself too long these are the places I end up. The coffee’s pretty mediocre but the sense of being around people doing interesting things is necessary.\u003c/p>\n\u003cp>\u003cstrong>Any favorite Bay Area writers? \u003c/strong>\u003c/p>\n\u003cp>Alice Walker’s around. I’ve been lucky enough to be at meditation classes she’s taught at the East Bay Meditation Center. Maxine Hong Kingston teaches at Berkeley. These are my favorites.\u003c/p>\n\u003cp>\u003cstrong>Favorite books that take place in Northern California/Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Micheal Ondatjee’s \u003cem>Divisadero.\u003c/em> Especially as I was living quite close to the street when I read it.\u003c/p>\n\u003cp>\u003cstrong>Is there any bit of local literary lore that you find particularly interesting?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not specifically, but it’s exciting to live in a place where people are constantly pushing the creative envelope in a thousand different ways. This is a place where anything is possible, where culture is created for the country and for the world, and I just adore being around all that explosive energy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Review: ‘The Entropy of Bones’ by Ayize Jama-Everett\u003c/h3>\n\u003cp>One of the most interesting aspects of a superhero is their superpower itself. Spiderman’s superpower is the ability to walk up surfaces no human can traverse. For Quicksilver, it’s the ability to move and react at the speed of light. For Chabi, the heroine at the heart of \u003cem>The Entropy of Bones\u003c/em>, the latest work of sci-fi from Bay Area novelist Ayize Jama-Everett, it’s the ability to use the entropy of bones to disarm opponents. Like the author’s previous books, \u003cem>The Liminal People\u003c/em> and \u003cem>The Liminal War\u003c/em>, this new work, published by Small Beer Press in September, is concerned with the battle between good and evil, spearheaded by the Liminal people — a race of humans with supreme strength — who have the given ability, if they choose to employ it, to defend and protect humanity.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DDDB3A15-702E-4DEA-BFC8-4B8B679EF5D5Img400.jpg\" alt=\"{DDDB3A15-702E-4DEA-BFC8-4B8B679EF5D5}Img400\" width=\"300\" height=\"400\" class=\"alignright size-full wp-image-11006819\">\u003c/p>\n\u003cp>From the opening page it’s clear that Chabi, as a Liminal, is no ordinary teenager. She’s just completed a run from Sausalito, where she lives on a houseboat with her mother, to Napa — a cool 60 or so miles. Chabi runs the distance in half a day, cuts through the mountains, and then makes it to Calistoga in another three hours. She supplements the epic runs with swims from Larkspur to the Oakland harbor. Jama-Everett lives in the Bay Area and he uses locations across Northern California to strong effect. Aside from Calistoga, Chabi fights battles in Mendocino, Oakland, San Jose, and in the city proper. The reluctant teenaged superhero is nearly impossible to defeat in a fight, thanks to training from her adopted mentor, the possibly sinister and mysterious Narayana, a drunk warrior from India. Through it all, and despite uncanny physical displays of power, Chabi doesn’t realize that she’s a superhero, part of her scrappy charm.\u003c/p>\n\u003cp>Chabi breaks the mold for superheroes in more ways than one. She begins fight training with Narayana, while still in high school. She is Mongolian on her father’s side and Black on her mother’s side. She loves dubstep with an obsessive, almost propulsive force, and spends nights out at clubs dancing as a portal into bliss. And she’s got a sense of humor, with a strong voice that permeates the book and moves the narrative forward.\u003c/p>\n\u003cp>After Narayana disappears, Chabi is lost, though the hole in her life opens up opportunity to develop a better relationship with her mother, who has gone from drunk to sober in the course of a few years. Chabi is a hired gun, the muscle for a marijuana operation outside of Calistoga. Little does Chabi know the brothers that own the operation, out of a desire to make a load of cash, are going to pull her into a shady underworld populated by a tribe of Alters who want nothing more than the total destruction of humankind. This tribe, of course, is headquartered at a swanky, creepy hotel deep in the heart of San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Chabi meets A.C., a superhero with the power to travel on the back of the wind, she learns all about the seductive powers of the Alters. The warning is doubly meaningful since Chabi has discovered her kryptonite in Rice, the son of a powerful hotel magnate, thrower of rambunctious parties, and an Alter with an energy that she finds addictive.\u003c/p>\n\u003cp>“They are oxymorons. Creations of entropy. They exist… their sole purpose… is to hurry humanity to its eventual entropic end. To join with the cold of the universe,” A.C. warns Chabi. “It’s not evil I’m talking about. Evil exists to corrupt, pervert, transform. It can actually be useful in some cases. I’m talking entropy. The end of all things.”\u003c/p>\n\u003cp>Luckily, if the end of all things is a possibility, having a superhero around at least offers some modicum of comfort. If that superhero happens to be a twenty-something, old school hip-hop and dubstep-loving, half-Mongolian and half-Black woman who lives on a rusted old houseboat in Sausalito, all the better.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Boots Riley at Litquake\u003c/h3>\n\u003cp>Boots Riley always speaks his mind. The radical Oakland rapper, activist, and leader of the Coup is unabashedly political, a refreshing stance in this day of apolitical pop stars with more interest in crass consumerism than much else. So it’s appropriate that Haymarket Books, named for the \u003ca href=\"http://www.britannica.com/event/Haymarket-Riot\">Haymarket Riot\u003c/a> of 1886, recently published \u003cem>Tell Homeland Security — We Are the Bomb: Collected Lyrics and Writings\u003c/em>, the complete collection of Riley’s lyrics introduced by oral interviews in which Riley explains the thought process behind nearly every song in the Coup’s catalog. \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11006755 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/images.jpg\" alt=\"images\" width=\"224\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images.jpg 224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/images-75x75.jpg 75w\" sizes=\"(max-width: 224px) 100vw, 224px\">\u003c/a>The intros are pleasantly casual, and feel a bit like you’re just kicking back with Riley while he relays the stories behind the songs. He also reveals a diverse range of influences: from literary icons like Michael Ondaatje, Salmon Rushdie, and Pablo Neruda, to Occupy Oakland, and, of course, Prince.\u003c/p>\n\u003cp>On songs like “\u003ca href=\"https://www.youtube.com/watch?v=RQthFDpYCys\">Five Million Ways to Kill a CEO\u003c/a>,” from 2001’s \u003cem>Party Music\u003c/em>, Riley strikes a powerful balance between class awareness, sharp critiques of capitalism, and bombastic, danceable deep funk beats. “Often people see the title, and they picture a vicious attack on the system,” says Riley in the book. “I don’t know, it’s up to you to say whether this is a vicious attack on the system. I clearly do not like the system of capitalism, and to make it clear, would like there to be a world in which the people democratically control the profits they create, and that would be communism, socialism, whatever you want to call it. But ‘5 Million Ways to Kill a CEO,’ if you look at the last verse, I list 5 million ways to kill a CEO, and it’s basically them being killed by their own greed.”\u003c/p>\n\u003cp>Boots Riley \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\">appears\u003c/a> at Litquake on Oct. 15, in conversation with writer Adam Mansbach (who wrote the intro to \u003cem>Tell Homeland Security\u003c/em>), and comic W. Kamau Bell.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-10905230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>My Bookish Bay Area with Nayomi Munaweera\u003c/h3>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nayomi-Munaweera-e1444266412897.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11001885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nayomi-Munaweera-e1444266412897.jpg\" alt=\"Nayomi Munaweera\" width=\"600\" height=\"400\">\u003c/a>\u003c/p>\n\u003cp>With just one novel under her belt, novelist Nayomi Munaweera has already racked up many accolades. Her debut \u003cem>Island of a Thousand Mirrors\u003c/em> won the 2013 Commonwealth Literary Prize for Asia and received high praise from the \u003cem>New York Times\u003c/em>. She appears at two Litquake events this week: \u003ca href=\"http://www.litquake.org/events/consciousness-past-night-historical-fiction\">A Night of Historical Fiction\u003c/a> on Oct. 15 and \u003ca href=\"http://www.litquake.org/events/hazel-all-stars\">Hazel All-Stars\u003c/a> at Lit Crawl on Oct. 17.\u003c/p>\n\u003cp>\u003cstrong>How long have you lived in the Bay Area and what city do you live in?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived in the Bay since 2001 when I escaped from LA. I’m in the Temescal District of Oakland now.\u003c/p>\n\u003cp>\u003cstrong>Where have you found writing and story inspiration in the bay?\u003c/strong>\u003c/p>\n\u003cp>My second novel \u003cem>What Lies Between Us \u003c/em>is very much a San Francisco novel. It’s out in February 2016. A large part of the book is inspired by this very beautiful and sometimes cold place we call home.\u003c/p>\n\u003cp>\u003cstrong>What are some of your favorite local bookstores and why?\u003c/strong>\u003c/p>\n\u003cp>I love Walden Books, Half Priced Books, Mrs. Dalloway’s, Diesel, Moe’s, Pegasus and of course City Lights. They all have such character — what’s not to love? When I first moved to the Bay as a young inspiring writer I spent hours in Moe’s. These felt like sacred hours and I always walked out of there with the sense of having lost time in the most wonderful way. I’m launching the second novel at City Lights which is absolutely thrilling to me.\u003c/p>\n\u003cp>\u003cstrong>Do you have a favorite cafe or someplace that you like to go to write?\u003c/strong>\u003c/p>\n\u003cp>I write at either Farley’s East or Arbor. I write at home a lot but when that gets too lonely and I’ve been talking to myself too long these are the places I end up. The coffee’s pretty mediocre but the sense of being around people doing interesting things is necessary.\u003c/p>\n\u003cp>\u003cstrong>Any favorite Bay Area writers? \u003c/strong>\u003c/p>\n\u003cp>Alice Walker’s around. I’ve been lucky enough to be at meditation classes she’s taught at the East Bay Meditation Center. Maxine Hong Kingston teaches at Berkeley. These are my favorites.\u003c/p>\n\u003cp>\u003cstrong>Favorite books that take place in Northern California/Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Micheal Ondatjee’s \u003cem>Divisadero.\u003c/em> Especially as I was living quite close to the street when I read it.\u003c/p>\n\u003cp>\u003cstrong>Is there any bit of local literary lore that you find particularly interesting?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not specifically, but it’s exciting to live in a place where people are constantly pushing the creative envelope in a thousand different ways. This is a place where anything is possible, where culture is created for the country and for the world, and I just adore being around all that explosive energy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sylvia Plath's Husband, Ted Hughes, Lived A Life Of Poetry And Tragedy",
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"content": "\u003cp>Ted Hughes left behind a path of personal tragedy and destruction — and also some of the most beautiful poetry in the English language. The British Poet Laureate was the husband of writer Sylvia Plath, who famously committed suicide following his affair with Assia Wevill. Just six years later, Wevill took her own life, and also the life of the young daughter she had with Hughes.\u003c/p>\n\u003cp>Jonathan Bate of Oxford University weighs the beauty and tragedy of this life in a new biography (disavowed by the Hughes estate) called \u003cem>Ted Hughes: The Unauthorised Life\u003c/em>. He tells NPR’s Scott Simon that, from a biographer’s perspective, “the quality of the work [and] the morality of the life, are not actually the same thing.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/player/embed/447156705/447451430\">\u003cb>Listen to NPR’s interview with Jonathan Bate here.\u003c/b>\u003c/a>\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what made his work extraordinary and enduring\u003c/strong>\u003c/p>\n\u003cp>He explored so many different cultures and traditions. He was fascinated by myths and stories, by anthropology, by ancient wisdom. But also by so many different poets like T.S. Eliot and W.B. Yeats. But also by the best new poetry coming out of Eastern Europe, coming out of America. And he just wrote and wrote and wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On what brought Hughes and Plath together\u003c/strong>\u003c/p>\n\u003cp>The simple answer is that they were both geniuses. They met as young poets just as their art was on the brink of taking off. And for six years they lived together, worked together, day and night. He helped her to develop her voice. She helped him to develop his. And the tragedy then was that the intensity of the relationship, the mental illness of Sylvia, and then Ted’s dalliance with this other woman, Assia Wevill, led to their tragic separation.\u003c/p>\n\u003cp>But he never ever forgot about Sylvia Plath, and never forgave himself for not being there when she took her own life. Everybody knows that in the final year of his life, he published \u003cem>Birthday Letters\u003c/em> — this collection of poems of memory about their marriage, of her death. What I discovered in the archive is he’d been working on it for nearly 30 years. Only at the very end of his life did he let those poems go.\u003c/p>\n\u003cp>\u003cstrong>On Hughes’ infidelity\u003c/strong>\u003c/p>\n\u003cp>He was capable of fidelity. Like I said, he was faithful to Sylvia for six years. … One of the things I say in the book is that on some level, his fidelity [was] to the idea of Sylvia as the ideal partner who, because of his mistake, he lost, and her life was lost. Because of that he was never able to remain faithful to another woman. That pretty well for the rest of his life, he had this kind of double life. The idea that infidelity to others is a form of fidelity to the true love that you’ve lost, as I say — not everybody would go along that.\u003c/p>\n\u003cp>\u003cstrong>On the destruction Hughes left in his wake\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt about that. But it seems to me the business of the literary biographer is to tell the story as truthfully and fully as possible. And to leave it to the reader to make judgments. What I’m in the business of making judgments about is the quality and endurance of the literary work. And it does seem to me that that sense that the trauma of Sylvia Plath’s death — leading on the one hand to extraordinary works of powerful but dark imagination, such as his great poem \u003ca href=\"http://www.npr.org/books/titles/447265387/crow-from-the-life-and-songs-of-the-crow\">“Crow”\u003c/a> — and on the other hand, to a wake of human destruction, is a key fact at the heart of Hughes’ life.\u003c/p>\n\u003cp>\u003cstrong>On whether he had the support and cooperation of Hughes’ widow \u003c/strong>\u003c/p>\n\u003cp>The origin of this project was a proposal to write what I called a “literary life” of Ted Hughes, to focus very much on the development of his literary voice, his poems, his plays, his children’s writing. The sheer scale of the archive meant that I found myself asking my publisher for a one-year extension. They were happy with that. But at that point, Carol Hughes, his widow, said that she was withdrawing support from the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reason for that was she said I’d not shown sufficient draft material for her to have the assurance that I wasn’t trespassing too much from the literary into the purely biographical. But in a way, I think what she was worried about was she would’ve known that [I’d] discovered in the archive that so much of his work does take the form of veiled autobiography, closet confession. And so inevitably that distinction between a purely literary life and a more no-holds-barred, more comprehensive biography, that that distinction was breaking down. And so I suspect a falling out with the estate was probably going to happen anyway. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ted Hughes left behind a path of personal tragedy and destruction — and also some of the most beautiful poetry in the English language. The British Poet Laureate was the husband of writer Sylvia Plath, who famously committed suicide following his affair with Assia Wevill. Just six years later, Wevill took her own life, and also the life of the young daughter she had with Hughes.\u003c/p>\n\u003cp>Jonathan Bate of Oxford University weighs the beauty and tragedy of this life in a new biography (disavowed by the Hughes estate) called \u003cem>Ted Hughes: The Unauthorised Life\u003c/em>. He tells NPR’s Scott Simon that, from a biographer’s perspective, “the quality of the work [and] the morality of the life, are not actually the same thing.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/player/embed/447156705/447451430\">\u003cb>Listen to NPR’s interview with Jonathan Bate here.\u003c/b>\u003c/a>\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what made his work extraordinary and enduring\u003c/strong>\u003c/p>\n\u003cp>He explored so many different cultures and traditions. He was fascinated by myths and stories, by anthropology, by ancient wisdom. But also by so many different poets like T.S. Eliot and W.B. Yeats. But also by the best new poetry coming out of Eastern Europe, coming out of America. And he just wrote and wrote and wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On what brought Hughes and Plath together\u003c/strong>\u003c/p>\n\u003cp>The simple answer is that they were both geniuses. They met as young poets just as their art was on the brink of taking off. And for six years they lived together, worked together, day and night. He helped her to develop her voice. She helped him to develop his. And the tragedy then was that the intensity of the relationship, the mental illness of Sylvia, and then Ted’s dalliance with this other woman, Assia Wevill, led to their tragic separation.\u003c/p>\n\u003cp>But he never ever forgot about Sylvia Plath, and never forgave himself for not being there when she took her own life. Everybody knows that in the final year of his life, he published \u003cem>Birthday Letters\u003c/em> — this collection of poems of memory about their marriage, of her death. What I discovered in the archive is he’d been working on it for nearly 30 years. Only at the very end of his life did he let those poems go.\u003c/p>\n\u003cp>\u003cstrong>On Hughes’ infidelity\u003c/strong>\u003c/p>\n\u003cp>He was capable of fidelity. Like I said, he was faithful to Sylvia for six years. … One of the things I say in the book is that on some level, his fidelity [was] to the idea of Sylvia as the ideal partner who, because of his mistake, he lost, and her life was lost. Because of that he was never able to remain faithful to another woman. That pretty well for the rest of his life, he had this kind of double life. The idea that infidelity to others is a form of fidelity to the true love that you’ve lost, as I say — not everybody would go along that.\u003c/p>\n\u003cp>\u003cstrong>On the destruction Hughes left in his wake\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt about that. But it seems to me the business of the literary biographer is to tell the story as truthfully and fully as possible. And to leave it to the reader to make judgments. What I’m in the business of making judgments about is the quality and endurance of the literary work. And it does seem to me that that sense that the trauma of Sylvia Plath’s death — leading on the one hand to extraordinary works of powerful but dark imagination, such as his great poem \u003ca href=\"http://www.npr.org/books/titles/447265387/crow-from-the-life-and-songs-of-the-crow\">“Crow”\u003c/a> — and on the other hand, to a wake of human destruction, is a key fact at the heart of Hughes’ life.\u003c/p>\n\u003cp>\u003cstrong>On whether he had the support and cooperation of Hughes’ widow \u003c/strong>\u003c/p>\n\u003cp>The origin of this project was a proposal to write what I called a “literary life” of Ted Hughes, to focus very much on the development of his literary voice, his poems, his plays, his children’s writing. The sheer scale of the archive meant that I found myself asking my publisher for a one-year extension. They were happy with that. But at that point, Carol Hughes, his widow, said that she was withdrawing support from the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reason for that was she said I’d not shown sufficient draft material for her to have the assurance that I wasn’t trespassing too much from the literary into the purely biographical. But in a way, I think what she was worried about was she would’ve known that [I’d] discovered in the archive that so much of his work does take the form of veiled autobiography, closet confession. And so inevitably that distinction between a purely literary life and a more no-holds-barred, more comprehensive biography, that that distinction was breaking down. And so I suspect a falling out with the estate was probably going to happen anyway. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sculptor Turns Rain, Ice and Trees into 'Ephemeral Works'",
"headTitle": "Sculptor Turns Rain, Ice and Trees into ‘Ephemeral Works’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/446731282/446931348\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>British artist Andy Goldsworthy works in the fields and forests near his home in Scotland using natural elements as his media. His pieces have a tendency to collapse, decay and melt, but, as he tells \u003cem>Fresh Air’s\u003c/em> Terry Gross, “It’s not about art. It’s just about life and the need to understand that a lot of things in life do not last.”\u003c/p>\n\u003cp>The list of elements Goldsworthy has worked with includes ice, snow, mud, wind and the rising tide. In one piece, he used twigs to fashion a giant spider web hanging from a tree. In another, he decorated a stone wall with sheets of ice. He has also lain in the rain to create “rain shadows” in the shape of his body on city streets.\u003c/p>\n\u003cp>Goldsworthy refers to his creations as “ephemeral works.” He says, “When I make an ephemeral work, when it’s finished, that’s the moment that it ends, in a way.”\u003c/p>\n\u003cp>Though Goldsworthy has also worked with more enduring materials, he says that using temporal materials is a reflection of the world we live in. His materials, he says, “Come raw from the ground and have all the irregularities and peculiarities because of that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Goldsworthy’s ephemeral creations aren’t completely lost to audiences upon completion; a new book, \u003cem>Andy Goldsworthy: Ephemeral Works: 2004-2014\u003c/em>, presents a collection of photographs of his work. There’s also an exhibition of Goldsworthy’s photos opening Oct. 22 at the \u003ca href=\"http://www.galerielelong.com/\" target=\"_blank\" rel=\"noopener\">Galerie Lelong\u003c/a> in New York.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he doesn’t see himself as “designing” his works\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11003563\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/goldsworthy-cover.jpg\" alt=\"Andy Goldsworthy, 'Ephemeral Works 2004-2014'\" width=\"400\" height=\"508\" class=\"size-full wp-image-11003563\">\u003cfigcaption class=\"wp-caption-text\">Andy Goldsworthy,\u003cbr>‘Ephemeral Works 2004-2014’\u003c/figcaption>\u003c/figure>\n\u003cp>Design implies a sense of mapping something out, and then you follow the plan; [but] these things grow, and the process of making it parallels that of growth. So in the making of a work — layer by layer, stone by stone, branch by branch, leaf by leaf, petal by petal, one being added to the next — something grows in front of you. And the process of growth is obviously critical to my understanding of the land and myself. … It’s a lot more unpredictable, the process is far more unpredictable, and with far more compromises with the day, the weather, the material.\u003c/p>\n\u003cp>\u003cstrong>On rebuilding a piece that keeps collapsing \u003c/strong>\u003c/p>\n\u003cp>This particular piece [a tree stump with a stone wall inside] — it has fallen down now three times: three days, three collapses. The actual act of collapse and the attempt is becoming interesting enough to become the work. I may have bitten off something I cannot make here. I don’t know if I will be able to achieve what I want to; or I will, with a huge amount of luck and chance. But if I don’t, I think the act of building and rebuilding, collapse, could become the work. …\u003c/p>\n\u003cp>Failure is really, really important, but failures have to hurt. … And if I start making this work with the intention of it collapsing, then I’ve lost that intensity of the will for it to succeed, which makes the failure that much more poignant and significant. So there’s a really odd sort of state of mind that I guess I get into when I’m making these works, that is necessary for me to extract the finished piece [and] extract the right kind of feeling for the work as I’m making it. …\u003c/p>\n\u003cp>To achieve what I want, to achieve the works that I make, I have to be fully committed to them succeeding. I couldn’t make them otherwise. And you cannot feel that commitment without feeling or having a deep sense of loss when they do collapse or fail, and that’s inevitable.\u003c/p>\n\u003cp>\u003cstrong>On working with ice\u003c/strong>\u003c/p>\n\u003cp>We generally don’t get these severe winters [in Britain] and when it does get below freezing and it’s cold enough for ice to form, then that changes the whole landscape and it makes the landscape a different landscape to the one that I’ve worked with previously. And I want to understand that — the relationship of cold, or what the cold is, to the land. Many of the things that I’ve done in ice almost reflect those things that I’ve done in stone, so you can learn a lot about stone by working with ice, and I can learn a lot about ice by working with stone.\u003c/p>\n\u003cp>But the big tension of the ice works is that they’re often made when it’s cold enough to freeze one piece of ice to another, and the temperature very rarely stays below freezing all day long in Britain. So I typically will get up very, very early, when it’s dark, and I’ll start working in the dark, which can be difficult because I can’t really see what I’m doing. So I can freeze ice to ice and I can work very, very quickly, and then the temperature starts to rise, and the work slows down. And then, if it stops freezing, the work collapses. But if I can get through the midday period, then I often try to find places where the sun can’t reach. … There’s a huge number of things that are occurring with the ice works which fascinate me enormously, but it’s driven by this kind of frantic race against time.\u003c/p>\n\u003cp>\u003cstrong>On “rain shadows” \u003c/strong>\u003c/p>\n\u003cp>These are outdoor works. So when it rains, I lay down or I find a surface quickly that I think will produce a good rain shadow, and I lay there, and when it’s wet enough, I get up and there is left me — my imprint, my shadow. That sounds really quite simple, but it is beautifully complex. … Sometimes it stops raining when I’m half-way through. Sometimes I can lie there for an hour waiting for the rain. And other times it’s over in four or five seconds. Often I do them on video, so you have the whole film of laying down and then me getting up and leaving the shadow. …\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I just concentrate on the rain. I’ve learned so much about rain — the different kinds of rains, the rhythms of rains. And people will say, “Oh, why don’t you just use a hose pipe?” That would be totally pointless. The point is not just to make the shadow, it’s to understand the rain that falls and the relationship with rain and the different rhythms of different rainfalls. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sculptor+Turns+Rain%2C+Ice+And+Trees+Into+%27Ephemeral+Works%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "British artist Andy Goldsworthy's sculptures melt and decay. \"It's not about art,\" he says. \"It's just about life, and the need to understand that a lot of things in life do not last.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/446731282/446931348\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>British artist Andy Goldsworthy works in the fields and forests near his home in Scotland using natural elements as his media. His pieces have a tendency to collapse, decay and melt, but, as he tells \u003cem>Fresh Air’s\u003c/em> Terry Gross, “It’s not about art. It’s just about life and the need to understand that a lot of things in life do not last.”\u003c/p>\n\u003cp>The list of elements Goldsworthy has worked with includes ice, snow, mud, wind and the rising tide. In one piece, he used twigs to fashion a giant spider web hanging from a tree. In another, he decorated a stone wall with sheets of ice. He has also lain in the rain to create “rain shadows” in the shape of his body on city streets.\u003c/p>\n\u003cp>Goldsworthy refers to his creations as “ephemeral works.” He says, “When I make an ephemeral work, when it’s finished, that’s the moment that it ends, in a way.”\u003c/p>\n\u003cp>Though Goldsworthy has also worked with more enduring materials, he says that using temporal materials is a reflection of the world we live in. His materials, he says, “Come raw from the ground and have all the irregularities and peculiarities because of that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Goldsworthy’s ephemeral creations aren’t completely lost to audiences upon completion; a new book, \u003cem>Andy Goldsworthy: Ephemeral Works: 2004-2014\u003c/em>, presents a collection of photographs of his work. There’s also an exhibition of Goldsworthy’s photos opening Oct. 22 at the \u003ca href=\"http://www.galerielelong.com/\" target=\"_blank\" rel=\"noopener\">Galerie Lelong\u003c/a> in New York.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he doesn’t see himself as “designing” his works\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11003563\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/goldsworthy-cover.jpg\" alt=\"Andy Goldsworthy, 'Ephemeral Works 2004-2014'\" width=\"400\" height=\"508\" class=\"size-full wp-image-11003563\">\u003cfigcaption class=\"wp-caption-text\">Andy Goldsworthy,\u003cbr>‘Ephemeral Works 2004-2014’\u003c/figcaption>\u003c/figure>\n\u003cp>Design implies a sense of mapping something out, and then you follow the plan; [but] these things grow, and the process of making it parallels that of growth. So in the making of a work — layer by layer, stone by stone, branch by branch, leaf by leaf, petal by petal, one being added to the next — something grows in front of you. And the process of growth is obviously critical to my understanding of the land and myself. … It’s a lot more unpredictable, the process is far more unpredictable, and with far more compromises with the day, the weather, the material.\u003c/p>\n\u003cp>\u003cstrong>On rebuilding a piece that keeps collapsing \u003c/strong>\u003c/p>\n\u003cp>This particular piece [a tree stump with a stone wall inside] — it has fallen down now three times: three days, three collapses. The actual act of collapse and the attempt is becoming interesting enough to become the work. I may have bitten off something I cannot make here. I don’t know if I will be able to achieve what I want to; or I will, with a huge amount of luck and chance. But if I don’t, I think the act of building and rebuilding, collapse, could become the work. …\u003c/p>\n\u003cp>Failure is really, really important, but failures have to hurt. … And if I start making this work with the intention of it collapsing, then I’ve lost that intensity of the will for it to succeed, which makes the failure that much more poignant and significant. So there’s a really odd sort of state of mind that I guess I get into when I’m making these works, that is necessary for me to extract the finished piece [and] extract the right kind of feeling for the work as I’m making it. …\u003c/p>\n\u003cp>To achieve what I want, to achieve the works that I make, I have to be fully committed to them succeeding. I couldn’t make them otherwise. And you cannot feel that commitment without feeling or having a deep sense of loss when they do collapse or fail, and that’s inevitable.\u003c/p>\n\u003cp>\u003cstrong>On working with ice\u003c/strong>\u003c/p>\n\u003cp>We generally don’t get these severe winters [in Britain] and when it does get below freezing and it’s cold enough for ice to form, then that changes the whole landscape and it makes the landscape a different landscape to the one that I’ve worked with previously. And I want to understand that — the relationship of cold, or what the cold is, to the land. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I just concentrate on the rain. I’ve learned so much about rain — the different kinds of rains, the rhythms of rains. And people will say, “Oh, why don’t you just use a hose pipe?” That would be totally pointless. The point is not just to make the shadow, it’s to understand the rain that falls and the relationship with rain and the different rhythms of different rainfalls. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sculptor+Turns+Rain%2C+Ice+And+Trees+Into+%27Ephemeral+Works%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sex Robots and Prison in Margaret Atwood's 'The Heart Goes Last'",
"headTitle": "Sex Robots and Prison in Margaret Atwood’s ‘The Heart Goes Last’ | KQED",
"content": "\u003cp>The future does not replace the present. It’s slathered on top of it, day by day, week by week, month by month, and year by year. But moment by moment, we struggle with the minutia of our lives. Our visions of the future are based firmly not on where we are headed, but instead on where we have come from.\u003c/p>\n\u003cp>Margaret Atwood understands all too well how the past infects the present. When she writes about the future, it feels real because any future she imagines consists mostly of its own past. Which is to say, our world as it is today.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-maddaddam.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10990329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-maddaddam.jpg\" alt=\"atwood-maddaddam\" width=\"225\" height=\"331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-maddaddam.jpg 466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-maddaddam-400x588.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-maddaddam-408x600.jpg 408w\" sizes=\"(max-width: 225px) 100vw, 225px\">\u003c/a>In her \u003cem>MaddAddam\u003c/em> trilogy (\u003cem>Oryx & Crake, The Year of the Flood, and MaddAddam\u003c/em>), Atwood crafts a piercing, poignant portrait of our world transformed by genetic pollution and global warming. The power of her vision stems from the fact that underneath all her invention, the skeletal remains of the present are clearly visible. In these books she embraces science fiction as extrapolation. Reading them as the world’s temperature inexorably increases, it’s hard not to feel like a frog being slowly boiled.\u003c/p>\n\u003cp>In her latest novel, \u003cem>The Heart Goes Last\u003c/em>, Atwood embraces different aspects of science fiction. First and foremost, this is what in the Golden Age of sci-fi (1938-1946) was called a “fix-up” novel. Ray Bradbury’s \u003cem>The Martian Chronicles\u003c/em> and Isaac Asimov’s\u003cem> I, Robot\u003c/em> are the best known examples of the genre — classics stitched together from previously published short fiction. Parts of \u003cem>The Heart Goes Last\u003c/em> first appeared at \u003ca href=\"http://Byliner.com\" target=\"_blank\" rel=\"noopener\">Byliner.com\u003c/a>. But the final product has the weird, organic feel of all pf Atwood’s work.\u003c/p>\n\u003cp>This time around, Atwood is not exploring the future as much as she is rewriting the present. We meet Stan and Charmaine sleeping in their car. Had things gone farther south on the economic front in 2008, it’s a scenario that might be much closer than many of us would care to admit. The crash and burn of Atwood’s “day after tomorrow” has left most of the U.S. population homeless, desperate and vulnerable. A once-working civilization has become prey to a nasty set of unseen predators we as readers know must exist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10990328\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last.jpg\" alt=\"atwood-=the_heart_goes_last\" width=\"238\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last-395x600.jpg 395w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003c/a>But Stan and Charmaine are lucky: they make it in to the “Positron Project.” It turns out that all those for-profit prisons popping up around the nation in the present have engineered a post-collapse economy that offers safety in the form of a Faustian bargain. Half of the time you live in the lovely little company town of Consilience, and the other half you spend in prison as an inmate. You’re employed and safe and…in prison. And the sex robots, they can’t be bad, can they?\u003c/p>\n\u003cp>Atwood works the Kafkaesque foreboding with impeccable prose, tightening the screws with an invisibly terrifying precision. Charmaine starts to fall for the man who lives in her house when she’s not there. Stan finds himself in limbo. It’s no metaphor, and the waiting room for hell is just about as much fun as Atwood can have. For those who expect a tour of the ninth circle, Atwood has some funny surprises in store. Eventually the tightest screws spring loose and Atwood’s penchant for dark humor and satire take center stage.\u003c/p>\n\u003cp>For those who look to Atwood for mere dread, which she does so well, \u003cem>The Heart Goes Last\u003c/em> may have more dimensions than they desire. But Atwood has always had a sense of humor, and when she decides to have fun, her prose and imagination are bolstered by the consistency of her characters. And for all her literary reputation and prowess, the author is perfectly happy to morph her economic parable into an unusual thriller.\u003c/p>\n\u003cp>But Atwood is too canny to stop at mere thrills. She certainly makes you turn those pages, but she’s also makes them pretty damn difficult to forget. It’s hard to put down\u003cem> The Heart Goes Last\u003c/em> and not see the seeds of her unhappy but sometimes funny future sprouting between the cracks in the asphalt of the present. We can slather over the cracks with another layer of cement and hope to forget what’s underneath. But the past has seeped into the present. And the present, to our dismay, will inform and infect the future.\u003c/p>\n\u003cp>\u003ca href=\"http://bookotron.com/agony/audio/2013/2013-interviews/margaret_atwood-2013.mp3\" target=\"_blank\" rel=\"noopener\">Hear an interview with Margaret Atwood about her MaddAddam trilogy here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The future does not replace the present. It’s slathered on top of it, day by day, week by week, month by month, and year by year. But moment by moment, we struggle with the minutia of our lives. Our visions of the future are based firmly not on where we are headed, but instead on where we have come from.\u003c/p>\n\u003cp>Margaret Atwood understands all too well how the past infects the present. When she writes about the future, it feels real because any future she imagines consists mostly of its own past. Which is to say, our world as it is today.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-maddaddam.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10990329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-maddaddam.jpg\" alt=\"atwood-maddaddam\" width=\"225\" height=\"331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-maddaddam.jpg 466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-maddaddam-400x588.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-maddaddam-408x600.jpg 408w\" sizes=\"(max-width: 225px) 100vw, 225px\">\u003c/a>In her \u003cem>MaddAddam\u003c/em> trilogy (\u003cem>Oryx & Crake, The Year of the Flood, and MaddAddam\u003c/em>), Atwood crafts a piercing, poignant portrait of our world transformed by genetic pollution and global warming. The power of her vision stems from the fact that underneath all her invention, the skeletal remains of the present are clearly visible. In these books she embraces science fiction as extrapolation. Reading them as the world’s temperature inexorably increases, it’s hard not to feel like a frog being slowly boiled.\u003c/p>\n\u003cp>In her latest novel, \u003cem>The Heart Goes Last\u003c/em>, Atwood embraces different aspects of science fiction. First and foremost, this is what in the Golden Age of sci-fi (1938-1946) was called a “fix-up” novel. Ray Bradbury’s \u003cem>The Martian Chronicles\u003c/em> and Isaac Asimov’s\u003cem> I, Robot\u003c/em> are the best known examples of the genre — classics stitched together from previously published short fiction. Parts of \u003cem>The Heart Goes Last\u003c/em> first appeared at \u003ca href=\"http://Byliner.com\" target=\"_blank\" rel=\"noopener\">Byliner.com\u003c/a>. But the final product has the weird, organic feel of all pf Atwood’s work.\u003c/p>\n\u003cp>This time around, Atwood is not exploring the future as much as she is rewriting the present. We meet Stan and Charmaine sleeping in their car. Had things gone farther south on the economic front in 2008, it’s a scenario that might be much closer than many of us would care to admit. The crash and burn of Atwood’s “day after tomorrow” has left most of the U.S. population homeless, desperate and vulnerable. A once-working civilization has become prey to a nasty set of unseen predators we as readers know must exist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10990328\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last.jpg\" alt=\"atwood-=the_heart_goes_last\" width=\"238\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/atwood-the_heart_goes_last-395x600.jpg 395w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003c/a>But Stan and Charmaine are lucky: they make it in to the “Positron Project.” It turns out that all those for-profit prisons popping up around the nation in the present have engineered a post-collapse economy that offers safety in the form of a Faustian bargain. Half of the time you live in the lovely little company town of Consilience, and the other half you spend in prison as an inmate. You’re employed and safe and…in prison. And the sex robots, they can’t be bad, can they?\u003c/p>\n\u003cp>Atwood works the Kafkaesque foreboding with impeccable prose, tightening the screws with an invisibly terrifying precision. Charmaine starts to fall for the man who lives in her house when she’s not there. Stan finds himself in limbo. It’s no metaphor, and the waiting room for hell is just about as much fun as Atwood can have. For those who expect a tour of the ninth circle, Atwood has some funny surprises in store. Eventually the tightest screws spring loose and Atwood’s penchant for dark humor and satire take center stage.\u003c/p>\n\u003cp>For those who look to Atwood for mere dread, which she does so well, \u003cem>The Heart Goes Last\u003c/em> may have more dimensions than they desire. But Atwood has always had a sense of humor, and when she decides to have fun, her prose and imagination are bolstered by the consistency of her characters. And for all her literary reputation and prowess, the author is perfectly happy to morph her economic parable into an unusual thriller.\u003c/p>\n\u003cp>But Atwood is too canny to stop at mere thrills. She certainly makes you turn those pages, but she’s also makes them pretty damn difficult to forget. It’s hard to put down\u003cem> The Heart Goes Last\u003c/em> and not see the seeds of her unhappy but sometimes funny future sprouting between the cracks in the asphalt of the present. We can slather over the cracks with another layer of cement and hope to forget what’s underneath. But the past has seeped into the present. And the present, to our dismay, will inform and infect the future.\u003c/p>\n\u003cp>\u003ca href=\"http://bookotron.com/agony/audio/2013/2013-interviews/margaret_atwood-2013.mp3\" target=\"_blank\" rel=\"noopener\">Hear an interview with Margaret Atwood about her MaddAddam trilogy here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIPaPiArbLI\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XKSQmYUaIyE\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time again, penny pinchers. We know you’re saving up to buy yourself a brand-new \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">“sexy pizza rat” costume for Halloween\u003c/a>, and with that completely necessary purchase coming in at $89.95, you’re going to have to tighten your belt in other places.\u003c/p>\n\u003cp>Without further ado: This week’s \u003cstrong>Cheap Date\u003c/strong>, the column in which we round up local events with a strict cap of $20. As always, we’re especially in favor of parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 8: \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Meklit at the Yerba Buena Gardens.\u003c/a>\u003c/strong> Meklit Hadero is a local treasure if there ever was one. The Ethiopian-born, Bay Area-dwelling songstress blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. Catch her for free as part of the Yerba Buena Gardens festival — all on your lunch break, from 12:30 to 1:30pm \u003ca href=\"http://ybgfestival.org/event/meklit/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Oct. 9: ‘The Devil’s Acre’: \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">Litquake Kickoff Party at Z Space. \u003c/a>\u003c/strong>The first of many literary-leaning parties that will shake up the Bay Area throughout October (get it? shake? sorry), this opening night event celebrates “the infamous and unhinged 1800s San Francisco,” featuring sea shanty singers San Francisco Maritime National Historical Park. The party doubles as a launch for \u003cem>Drinking the Devil’s Acre\u003c/em>, Duggan McDonnell’s illustrated history of cocktails from “the wild and wicked saloons of the Barbary Coast.” There will be booze, naturally. $20; \u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9: \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">Lyrics Born at the New Parish\u003c/a>.\u003c/strong> The East Bay hip-hop veteran headlines a special, jazz-inflected show in Oakland, featuring Galactic’s Robert Mercurio, Ben Ellman and Corey Henry (all of whom were instrumental in the production of LB’s\u003cem> Real People)\u003c/em>; DJ Shortkut, and special guests from the Jazz Mafia, like tireless musician-about-town Adam Theis. $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=212598\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZIPaPiArbLI'\n title='//www.youtube.com/embed/ZIPaPiArbLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Wing Wings Chicken Wing Eating Contest at SoMa StrEat Food Park. \u003c/a>\u003c/strong>Not like you really need an excuse to partake in — or just gawk at — this annual celebration of America’s favorite appetizer, but all funds raised at this glorious, gluttonous gathering will go to the arts education non-profit Precita Eyes. Participants are asked to raise $150 as an entry fee, but it’s free to attend, and you can count on food galore, live painting and music, kids’ activities, and a raffle from local businesses. \u003ca href=\"https://www.facebook.com/events/409497749241235/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 10: \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Ocean Beach Music and Art Festival\u003c/a>. \u003c/strong>The Outer Sunset doesn’t get enough love among SF’s newest residents — but for locals, that’s just fine: it keeps the rents (almost, kinda) reasonable, and makes (free!) festivals like this one totally manageable in size and attendance. That said this is a killer lineup, with Destroyer, Down Dirty Shake, Travis Hayes and others taking over six stages. Also featured: multiple beer gardens, more food vendors than a person could ever need, a mobile petting zoo, a pumpkin patch, and a chance to stroll leisurely up and down Noriega in the sunshine. Did we mention it’s free? \u003ca href=\"http://www.obmusicartfestival.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/545924935546128/\">\u003cem>Aliens\u003c/em> at the New Parkway (Bechdel Test Movie Night). \u003c/a>\u003c/strong>This excellent series focusing on films that feature at least two women who talk to each other about something other than a man also affords movie-goers the opportunity to take in one of the best sci-fi flicks of the last 50 years. There’s also the opportunity to learn a thing or two, if you stay for a post-film discussion with local artist and educator \u003ca href=\"http://www.cheryldunye.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Dunye\u003c/a>. Need a primer on the Bechdel Test before you go? \u003ca href=\"http://ww2.kqed.org/arts/2015/09/09/bechdel-test-gets-its-own-movie-night-at-the-new-parkway/\" target=\"_blank\" rel=\"noopener\">Read KQED Arts’ Sarah Hotchkiss in discussion with Dunye over here\u003c/a>. $10; \u003ca href=\"https://www.facebook.com/events/545924935546128/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XKSQmYUaIyE'\n title='//www.youtube.com/embed/XKSQmYUaIyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">1st Annual Gilman Reunion and Block Party\u003c/a>. \u003c/strong>If you’ve ever set foot inside Berkeley’s legendary punk club 924 Gilman, you know it’s so much more than a music venue. And if you haven’t? Well, no time like the present. This free event opens the space to the public, with a tour, presentations from DIY artists, musicians, food, and tables from local friend organizations like AK Press. Like all things Gilman, this one’s all-ages, to boot. \u003ca href=\"https://www.facebook.com/events/1669705513249600/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11 – Monday, Oct. 12: \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">\u003cem>Breaking a Monster\u003c/em> at the Mill Valley Film Festival.\u003c/a>\u003c/strong> There’s a seriously overwhelming slate of cinema at the Mill Valley Film Festival, but for months we’ve had our eye on this little documentary about a Brooklyn metal trio, Unlocking the Truth, who garnered international hype before they hit age 14. Bring a kid who dreams of rock stardom for a sneak peek at the possibilities (and pitfalls) of attaining fame at the same time as, uh, puberty. $15; \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=161616~6c2fb93e-c4b7-4a07-8efb-9cb331051591&epguid=3e8cf7a7-5095-4a32-8cb4-f42862162ee0&\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Punk Icon Patti Smith Releases Second Memoir, 'M Train'",
"headTitle": "Punk Icon Patti Smith Releases Second Memoir, ‘M Train’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Singer Patti Smith's latest book is a poetic, free-flowing memoir. In 2010, her memoir \u003cem>Just Kids\u003c/em> — about her relationship with photographer Robert Mapplethorpe — won a National Book Award.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "5 Lessons We Can Learn from the Long Life of Activist Grace Lee Boggs",
"title": "5 Lessons We Can Learn from the Long Life of Activist Grace Lee Boggs",
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"content": "\u003cp>Author, activist and feminist, Grace Lee Boggs passed away yesterday at the ripe age of 100 years old. After seeing Boggs speak at Stanford in March 2012, I wrote a rambly Tumblr post called “My new favorite lady is 96 years-old.” The post was mostly about her most recent book, \u003cspan style=\"font-weight: 400\">\u003cem>\u003ca href=\"http://www.amazon.com/The-Next-American-Revolution-Twenty-First/dp/0520272595\">The Next American Revolution\u003c/a>\u003c/em>, but there are other lessons from her life and work that are worth sharing\u003c/span>\u003cspan style=\"font-weight: 400\">. We seem to occasionally overlook those old and wise souls in our midst with so much to teach us. \u003c/span>\u003c/p>\n\u003cp>In honor of Grace Lee Boggs:\u003c/p>\n\u003cp>\u003cstrong>1. Remember: Life Is Long\u003c/strong>\u003c/p>\n\u003cp>Grace Lee Boggs lived to see 100 years. Can you even imagine? I can’t, that’s why we need to take care of our relationships, our bodies and our retirement plans, but also take risks while we are young and take advantage of the potential for life beyond the right now. It sounds like a cheesy retirement advertisement but life expectancy these days is about 78 years for a man and 81 for a woman. Life is long, we need to remember this and reimagine accordingly.\u003c/p>\n\u003cp>\u003cstrong>2. Have a Foundation in Community\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rooted in the Detroit community, Boggs founded the \u003c/span>\u003ca href=\"http://detroitsummer.wordpress.com/\">\u003cspan style=\"font-weight: 400\">Detroit Summer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a multi-racial, intergenerational collective working to transform communities. As she told her Stanford audience in 2012, she is a big believer in transformational organizing. “Linking love and revolution is an idea whose time has come,” she said. At the heart of movement building is “the concept of two-sided transformation, of ourselves and our institutions.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She encourages us all to reimagine community: “The social activists among us struggle to create actions that go beyond protest and negativity and build community because community is the most important thing that has been destroyed by the dominant culture.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How might we reimagine our various Bay Area communities? \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>3. Rethink Work\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It is not just about reimagining community, but work as well. In Detroit, and all over the country, there are very few jobs for people who want them, she told her Stanford audience. As a result, people think what we need are jobs. “They don’t realize that jobs have only existed for a few hundred years… before that, people didn’t work for pay.” Instead they worked for what the community needed. Boggs believes jobs have actually mangled us and “fragmented\" us, making us into machines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In \u003ca href=\"http://www.bentley.edu/newsroom/latest-headlines/mind-of-millennial\">a survey\u003c/a> released by Bentley University in 2014, 77% of millennials said that flexible work hours are key to boosting productivity within their generation. Grace Lee Boggs' ideas go beyond that. She asked, “How are we going to re-imagine work, so that it enhances our humanity?”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>4. Figure Out What Needs to Change\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://graceleeboggs.com/\">Grace Lee Boggs\u003c/a> \u003c/span>\u003cspan style=\"font-weight: 400\">has lived through both World Wars, the Civil Rights Movement, the Vietnam War and everything in between, an experience that cemented a deep understanding of the necessity of change in her. “What made me start to recognize that change was necessary in this country was that I was born during the first World War, to Chinese immigrant parents. I was born female, and when I cried, the waiters in my father’s Chinese restaurant used to say, leave her on the hillside to die, she’s only a girl baby.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her experiences growing up prompted her later activism and work on issues of race and poverty. In a statement released by the White House, Barack Obama said she understood \"the importance of bringing about change and getting people involved to shape their own destiny.\"\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>5. Create Something New\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her book, \u003cem>The Next American Revolution,\u003c/em> moves with ease, from art and activism to politics and creating sustainable communities. She writes, “We need artists to create new images that will liberate us from our preoccupations with constantly expanding production and consumption and open up space in our hearts and minds to imagine and create another America that will be viewed by the world as a beacon rather than as a danger.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In her talk three years ago, she implored people to reimagine. I think she would do the same today: “I hope that each of you will come away reimagining revolution, reimagining education, reimagining family, reimagining neighborhoods, reimagining security, reimagining economics… It’s such a wonderful time for imagination and reimagination.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rest in power, Grace Lee Boggs. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you need more Grace Lee Boggs in your life, \u003c/span>\u003cspan style=\"font-weight: 400\">c\u003c/span>\u003cspan style=\"font-weight: 400\">heck out the 2014\u003ca href=\"http://www.hulu.com/watch/779559\" target=\"_blank\"> documentary\u003c/a>, \u003cem>American Revolutionary: The Evolution of Grace Lee Boggs\u003c/em> on Hulu.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Author, activist and feminist, Grace Lee Boggs passed away yesterday at the ripe age of 100 years old. After seeing Boggs speak at Stanford in March 2012, I wrote a rambly Tumblr post called “My new favorite lady is 96 years-old.” The post was mostly about her most recent book, \u003cspan style=\"font-weight: 400\">\u003cem>\u003ca href=\"http://www.amazon.com/The-Next-American-Revolution-Twenty-First/dp/0520272595\">The Next American Revolution\u003c/a>\u003c/em>, but there are other lessons from her life and work that are worth sharing\u003c/span>\u003cspan style=\"font-weight: 400\">. We seem to occasionally overlook those old and wise souls in our midst with so much to teach us. \u003c/span>\u003c/p>\n\u003cp>In honor of Grace Lee Boggs:\u003c/p>\n\u003cp>\u003cstrong>1. Remember: Life Is Long\u003c/strong>\u003c/p>\n\u003cp>Grace Lee Boggs lived to see 100 years. Can you even imagine? I can’t, that’s why we need to take care of our relationships, our bodies and our retirement plans, but also take risks while we are young and take advantage of the potential for life beyond the right now. It sounds like a cheesy retirement advertisement but life expectancy these days is about 78 years for a man and 81 for a woman. Life is long, we need to remember this and reimagine accordingly.\u003c/p>\n\u003cp>\u003cstrong>2. Have a Foundation in Community\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rooted in the Detroit community, Boggs founded the \u003c/span>\u003ca href=\"http://detroitsummer.wordpress.com/\">\u003cspan style=\"font-weight: 400\">Detroit Summer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a multi-racial, intergenerational collective working to transform communities. As she told her Stanford audience in 2012, she is a big believer in transformational organizing. “Linking love and revolution is an idea whose time has come,” she said. At the heart of movement building is “the concept of two-sided transformation, of ourselves and our institutions.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She encourages us all to reimagine community: “The social activists among us struggle to create actions that go beyond protest and negativity and build community because community is the most important thing that has been destroyed by the dominant culture.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How might we reimagine our various Bay Area communities? \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>3. Rethink Work\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It is not just about reimagining community, but work as well. In Detroit, and all over the country, there are very few jobs for people who want them, she told her Stanford audience. As a result, people think what we need are jobs. “They don’t realize that jobs have only existed for a few hundred years… before that, people didn’t work for pay.” Instead they worked for what the community needed. Boggs believes jobs have actually mangled us and “fragmented\" us, making us into machines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In \u003ca href=\"http://www.bentley.edu/newsroom/latest-headlines/mind-of-millennial\">a survey\u003c/a> released by Bentley University in 2014, 77% of millennials said that flexible work hours are key to boosting productivity within their generation. Grace Lee Boggs' ideas go beyond that. She asked, “How are we going to re-imagine work, so that it enhances our humanity?”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>4. Figure Out What Needs to Change\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://graceleeboggs.com/\">Grace Lee Boggs\u003c/a> \u003c/span>\u003cspan style=\"font-weight: 400\">has lived through both World Wars, the Civil Rights Movement, the Vietnam War and everything in between, an experience that cemented a deep understanding of the necessity of change in her. “What made me start to recognize that change was necessary in this country was that I was born during the first World War, to Chinese immigrant parents. I was born female, and when I cried, the waiters in my father’s Chinese restaurant used to say, leave her on the hillside to die, she’s only a girl baby.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her experiences growing up prompted her later activism and work on issues of race and poverty. In a statement released by the White House, Barack Obama said she understood \"the importance of bringing about change and getting people involved to shape their own destiny.\"\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>5. Create Something New\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her book, \u003cem>The Next American Revolution,\u003c/em> moves with ease, from art and activism to politics and creating sustainable communities. She writes, “We need artists to create new images that will liberate us from our preoccupations with constantly expanding production and consumption and open up space in our hearts and minds to imagine and create another America that will be viewed by the world as a beacon rather than as a danger.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In her talk three years ago, she implored people to reimagine. I think she would do the same today: “I hope that each of you will come away reimagining revolution, reimagining education, reimagining family, reimagining neighborhoods, reimagining security, reimagining economics… It’s such a wonderful time for imagination and reimagination.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rest in power, Grace Lee Boggs. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you need more Grace Lee Boggs in your life, \u003c/span>\u003cspan style=\"font-weight: 400\">c\u003c/span>\u003cspan style=\"font-weight: 400\">heck out the 2014\u003ca href=\"http://www.hulu.com/watch/779559\" target=\"_blank\"> documentary\u003c/a>, \u003cem>American Revolutionary: The Evolution of Grace Lee Boggs\u003c/em> on Hulu.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When it opened, \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> Artistic Director Carey Perloff promised to offer more experimental fare at the company’s new \u003ca href=\"http://www.act-sf.org/home/box_office/strand.html\" target=\"_blank\" rel=\"noopener\">Strand Theater \u003c/a>on Market Street. And it looks, at least, like she’s delivering.\u003c/p>\n\u003cp>The Strand season opens with \u003ci>Monstress,\u003c/i> two one-act plays of contemporary Filipino-American life in California, adapted from the short story collection of the same name by San Francisco author \u003ca href=\"http://lysleytenorio.com/\" target=\"_blank\" rel=\"noopener\">Lysley Tenorio\u003c/a>.\u003c/p>\n\u003cp>For the adaptations, Perloff tapped Filipino-American playwright, director and actor \u003ca href=\"http://tdps.berkeley.edu/people/sean-san-jose/\" target=\"_blank\" rel=\"noopener\">Sean San Jose\u003c/a>, and the Japanese-American playwright and UC Berkeley Theater Professor \u003ca href=\"http://www.philipkangotanda.com/\" target=\"_blank\" rel=\"noopener\">Philip Kan Gotanda\u003c/a>. They’ve freely adapted two of the stories, with Tenorio’s blessing, adding some unexpected songs and music to these immigrant tales.\u003c/p>\n\u003cp>Here’s an edited transcript of my conversations with San Jose and Gotanda about bringing Tenorio’s stories to life on the Strand stage.\u003c/p>\n\u003cp>\u003cstrong>Philip Kan Gotanda, how did you get involved in this project?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was contacted by Carey Perloff… she came across Lysley’s short stories and was taken by them. And I read them and thought they were wonderful. And I was immediately drawn to “Save the I-Hotel.”\u003c/p>\n\u003cp>\u003cstrong>That’s the story about a pair of elderly Filipino men living in San Francisco’s I-Hotel in the 1970’s, about their frustrated love affair and the protests that occurred when the building’s owner tried to evict all the hotel residents. So what drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>I lived through that era. I was going to law school at UC Hastings at the time. Many of the Filipino American students there were involved in that struggle. So it’s a live historical moment for me. And I grew up in Stockton, all my friends were Filipino-Americans. So I was familiar with the foods and the smells and the culture.\u003c/p>\n\u003cp>The people who were inhabiting the I-Hotel were very like my next door neighbors growing up in Stockton. So I felt immediately that I knew these two men . I could hear their voices. Which was a good sign for me if I was going to adapt them for the stage. And I told Carey this is the story I wanted to tell.\u003c/p>\n\u003cp>\u003cstrong>How do you go about adapting a short story into a one act play? What’s the process?\u003c/strong>\u003c/p>\n\u003cp>Well for me initially I have to have a connection to it. Then I’ll begin to feel there are certain moments that I can use those to anchor the story. In this particular story, it had to do with when the two older gentlemen were touching each other. When one was shaving the other, or helping him dress. And the key moment when there is a kiss. And for me, this is what the story is all about. It’s a love story. And so those intimate moments are the starting points, and then I grow the piece from there, and I fill in the beginning and the end.\u003c/p>\n\u003cp>\u003cstrong>Sean San Jose, you picked “Monstress,” the title story from Tenorio’s collection. That’s also a love story, about a schlock filmmaker in Manila and his girlfriend and muse, who he always casts as the monstress in the films they make, and how the two follow their dreams to Hollywood.\u003c/strong>\u003c/p>\n\u003cp>To me what was really thrilling is that it did this fabulous thing that Tenorio does in his writing, he’s able to take events and capture the essence of the events, and of a people — who we are as Filipinos.\u003c/p>\n\u003cp>So it has this beautiful sense of longing and romance and dreaming and fabulousness.\u003c/p>\n\u003cp>And meanwhile it really is veiled in this strange version of an immigration story. So to me the whole (short story) collection is variations on an immigration story. And while this one story is about film making and the lust to create, it’s also really about landing in a place, and what it’s like to have lost your dreams and lost your home or have no sense of home anywhere.\u003c/p>\n\u003cfigure id=\"attachment_10990248\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10990248\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg\" alt=\"Playwright, actor, and director Sean San Jose \" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright, actor, and director Sean San Jose \u003ccite>(Courtesy Sean San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how do you turn a story into a play?\u003c/strong>\u003c/p>\n\u003cp>For me it’s always finding what is the thing that lives out loud the most in the story. Sometimes that’s a narrative voice. Sometimes a writer writes with a lot of dialogue. So I immediately took to this idea of creating a community of people reliving what happened to these two lovers.\u003c/p>\n\u003cp>And there was something thrilling about the two pieces that Philip and I worked on… one is very interior (“Save the I-Hotel”) and one is very energetic and exterior (“Monstress”). And we could do them with the same company of actors, and the intention of a narrating choruses in both of them, shaping the two pieces to live as a twin bill together.\u003c/p>\n\u003cp>\u003cstrong>What do you make of this classic idea that “Monstress” explores of Hollywood as a place where dreams are made and broken.\u003c/strong>\u003c/p>\n\u003cp>Having heartache, romance and dreaming, and reality live side-by-side is very familiar to me and many immigrants.\u003c/p>\n\u003cp>What it reminded me of was how my mom and my aunties watched movies a lot — especially \u003cem>West Side Story\u003c/em>. We would watch it and we all knew what’s going to happen to Tony and Maria, and yet you hope for a happy ending all the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So a lot of times we retell our family histories, even though we know the ending might be sad. There’s something about the reliving and the romance of it, that appeals to me.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it opened, \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> Artistic Director Carey Perloff promised to offer more experimental fare at the company’s new \u003ca href=\"http://www.act-sf.org/home/box_office/strand.html\" target=\"_blank\" rel=\"noopener\">Strand Theater \u003c/a>on Market Street. And it looks, at least, like she’s delivering.\u003c/p>\n\u003cp>The Strand season opens with \u003ci>Monstress,\u003c/i> two one-act plays of contemporary Filipino-American life in California, adapted from the short story collection of the same name by San Francisco author \u003ca href=\"http://lysleytenorio.com/\" target=\"_blank\" rel=\"noopener\">Lysley Tenorio\u003c/a>.\u003c/p>\n\u003cp>For the adaptations, Perloff tapped Filipino-American playwright, director and actor \u003ca href=\"http://tdps.berkeley.edu/people/sean-san-jose/\" target=\"_blank\" rel=\"noopener\">Sean San Jose\u003c/a>, and the Japanese-American playwright and UC Berkeley Theater Professor \u003ca href=\"http://www.philipkangotanda.com/\" target=\"_blank\" rel=\"noopener\">Philip Kan Gotanda\u003c/a>. They’ve freely adapted two of the stories, with Tenorio’s blessing, adding some unexpected songs and music to these immigrant tales.\u003c/p>\n\u003cp>Here’s an edited transcript of my conversations with San Jose and Gotanda about bringing Tenorio’s stories to life on the Strand stage.\u003c/p>\n\u003cp>\u003cstrong>Philip Kan Gotanda, how did you get involved in this project?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was contacted by Carey Perloff… she came across Lysley’s short stories and was taken by them. And I read them and thought they were wonderful. And I was immediately drawn to “Save the I-Hotel.”\u003c/p>\n\u003cp>\u003cstrong>That’s the story about a pair of elderly Filipino men living in San Francisco’s I-Hotel in the 1970’s, about their frustrated love affair and the protests that occurred when the building’s owner tried to evict all the hotel residents. So what drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>I lived through that era. I was going to law school at UC Hastings at the time. Many of the Filipino American students there were involved in that struggle. So it’s a live historical moment for me. And I grew up in Stockton, all my friends were Filipino-Americans. So I was familiar with the foods and the smells and the culture.\u003c/p>\n\u003cp>The people who were inhabiting the I-Hotel were very like my next door neighbors growing up in Stockton. So I felt immediately that I knew these two men . I could hear their voices. Which was a good sign for me if I was going to adapt them for the stage. And I told Carey this is the story I wanted to tell.\u003c/p>\n\u003cp>\u003cstrong>How do you go about adapting a short story into a one act play? What’s the process?\u003c/strong>\u003c/p>\n\u003cp>Well for me initially I have to have a connection to it. Then I’ll begin to feel there are certain moments that I can use those to anchor the story. In this particular story, it had to do with when the two older gentlemen were touching each other. When one was shaving the other, or helping him dress. And the key moment when there is a kiss. And for me, this is what the story is all about. It’s a love story. And so those intimate moments are the starting points, and then I grow the piece from there, and I fill in the beginning and the end.\u003c/p>\n\u003cp>\u003cstrong>Sean San Jose, you picked “Monstress,” the title story from Tenorio’s collection. That’s also a love story, about a schlock filmmaker in Manila and his girlfriend and muse, who he always casts as the monstress in the films they make, and how the two follow their dreams to Hollywood.\u003c/strong>\u003c/p>\n\u003cp>To me what was really thrilling is that it did this fabulous thing that Tenorio does in his writing, he’s able to take events and capture the essence of the events, and of a people — who we are as Filipinos.\u003c/p>\n\u003cp>So it has this beautiful sense of longing and romance and dreaming and fabulousness.\u003c/p>\n\u003cp>And meanwhile it really is veiled in this strange version of an immigration story. So to me the whole (short story) collection is variations on an immigration story. And while this one story is about film making and the lust to create, it’s also really about landing in a place, and what it’s like to have lost your dreams and lost your home or have no sense of home anywhere.\u003c/p>\n\u003cfigure id=\"attachment_10990248\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10990248\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg\" alt=\"Playwright, actor, and director Sean San Jose \" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright, actor, and director Sean San Jose \u003ccite>(Courtesy Sean San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how do you turn a story into a play?\u003c/strong>\u003c/p>\n\u003cp>For me it’s always finding what is the thing that lives out loud the most in the story. Sometimes that’s a narrative voice. Sometimes a writer writes with a lot of dialogue. So I immediately took to this idea of creating a community of people reliving what happened to these two lovers.\u003c/p>\n\u003cp>And there was something thrilling about the two pieces that Philip and I worked on… one is very interior (“Save the I-Hotel”) and one is very energetic and exterior (“Monstress”). And we could do them with the same company of actors, and the intention of a narrating choruses in both of them, shaping the two pieces to live as a twin bill together.\u003c/p>\n\u003cp>\u003cstrong>What do you make of this classic idea that “Monstress” explores of Hollywood as a place where dreams are made and broken.\u003c/strong>\u003c/p>\n\u003cp>Having heartache, romance and dreaming, and reality live side-by-side is very familiar to me and many immigrants.\u003c/p>\n\u003cp>What it reminded me of was how my mom and my aunties watched movies a lot — especially \u003cem>West Side Story\u003c/em>. We would watch it and we all knew what’s going to happen to Tony and Maria, and yet you hope for a happy ending all the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So a lot of times we retell our family histories, even though we know the ending might be sad. There’s something about the reliving and the romance of it, that appeals to me.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop",
"headTitle": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop | KQED",
"content": "\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Alternative Press Expo Returns Triumphantly to San Jose",
"headTitle": "Alternative Press Expo Returns Triumphantly to San Jose | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Alternative Press Expo\u003c/h2>\n\u003cdiv class=\"event-desc\">Comics, zines, graphic novels galore!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 3-4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Jose Convention Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1994, Dan Vado, owner of the comics and graphic novel publishing house \u003ca href=\"http://www.slgcomic.com/\" target=\"_blank\" rel=\"noopener\">Slave Labor Graphics\u003c/a>, set out to do something heroic for the little guy. He founded the \u003ca href=\"http://www.alternativepressexpo.com/\" target=\"_blank\" rel=\"noopener\">Alternative Press Expo\u003c/a> (APE) in San Jose, a comic art fair connecting the indie publishers of comics, graphic novels and zines with the people who appreciate them.\u003c/p>\n\u003cp>“I wanted to send a message that just because you may be a small publisher without a lot of funding doesn’t mean you aren’t serious about your business,” says Vado.\u003c/p>\n\u003cp>During that pre-internet time, self-produced comics were rarely seen at the large-scale comics conventions that came with hefty exhibitors fees. Vado wanted to provided a different kind of platform for these artist storytellers; he envisioned a fair without curatorial limitations .\u003c/p>\n\u003cfigure id=\"attachment_10977034\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg\" alt=\"Johnny the Homicidal Maniac.\" width=\"510\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-478x600.jpg 478w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Johnny the Homicidal Maniac. \u003ccite>(Courtesy: Jhonen Vasquez and SLG Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately after APE began, Vado realized the expo would require financial support to grow. Vado’s personal funds were already allocated towards his own publishing company, so he amicably handed the event (and corresponding financial liability) over to \u003ca href=\"http://www.comic-con.org/\" target=\"_blank\" rel=\"noopener\">Comic-Con\u003c/a>.\u003c/p>\n\u003cp>Vado continued to help produce the expo for the next four years, until Comic-Con moved it to San Francisco. Fifteen years of successful growth later, when given the opportunity to “take APE back,” Vado agreed to grab the reins once more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This weekend, APE returns to the South Bay, where Vado hopes to make the event self-sustainable and increasingly relevant for the digital age.\u003c/p>\n\u003cp>“APE has an opportunity to be a bigger deal here in San Jose than it ever was in San Francisco because there’s so much happening all at once up there and it’s too expensive,” says Vado. “APE coming to San Jose is almost a parable for what’s going on in San Francisco with the artists being pushed out.”\u003c/p>\n\u003cfigure id=\"attachment_10977036\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg\" alt=\"Demon by Jason Shiga\" width=\"416\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-400x615.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-390x600.jpg 390w\" sizes=\"(max-width: 416px) 100vw, 416px\">\u003cfigcaption class=\"wp-caption-text\">Demon by Jason Shiga \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question now is: \u003cem>What is APE an alternative to?\u003c/em>\u003c/p>\n\u003cp>Vado is quick to respond: “Perhaps it’s an alternative to \u003cem>insincerity\u003c/em>. I like to think that everyone that’s there is committed to their work on a personal level, regardless of where it’s coming from or if they’re being published by someone bigger… If you’re into working with us, we’re here to back you.”\u003c/p>\n\u003cp>His philosophy pays off. Over \u003ca href=\"http://www.alternativepressexpo.com/#!exhibitors/c1icp\" target=\"_blank\" rel=\"noopener\">250 vendors\u003c/a> have booked space at the expo, making this year’s event a full house.\u003c/p>\n\u003cp>Vado has already made some subtle but significant changes to the event. Each vendor will have a 10 by 10-foot booth rather than the typical 6-foot table, allowing them to be more creative with the space.\u003c/p>\n\u003cp>For the first time ever, educators, librarians and retailers can sign up for free entry and attend professional development workshops on how comics and graphic novels can be utilized in the classroom. Vado also set up \u003ca href=\"http://www.alternativepressexpo.com/?gclid=COT5tffTkMgCFQaNaQodm34E8w#!guests/cee5\" target=\"_blank\" rel=\"noopener\">panel discussions\u003c/a> at local businesses outside the San Jose Convention Center so people can explore local arts and culture.\u003c/p>\n\u003cfigure id=\"attachment_10977038\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg\" alt=\"\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Illustration by Sho Murase \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>APE’s continued existence may be due in part to our craving for the tangible in a digital age. A web comic scrolling across a screen doesn’t provide the same satisfaction as a cliffhanger at the bottom of a page — and the split second of anticipation you experience as you turn that page to find out what happens next.\u003c/p>\n\u003cp>APE also allows people to get together in real spaces around shared interests. Watching an artist talk at you on YouTube is far less memorable than speaking with an artist in person about their story inspirations while they autograph your book.\u003c/p>\n\u003cp>Vado aims for APE to be a platform for people who want a physical representation of their work, and an immersive experience for the audience. “When you put people in a group environment, you put civility back into the experience. You put thought and discourse into what you’re going to say because it has immediate consequences,” Vado says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So long as comics provide the reassurances and hope so often lacking in the real world, the need for APE will continue. “In comics there’s still a sense of fairness and a sense of good versus evil,” he says. “If you live by a certain code and ethics, the good guy wins.” APE will supply plenty of that and more in San Jose this weekend.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Alternative Press Expo\u003c/h2>\n\u003cdiv class=\"event-desc\">Comics, zines, graphic novels galore!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 3-4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Jose Convention Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1994, Dan Vado, owner of the comics and graphic novel publishing house \u003ca href=\"http://www.slgcomic.com/\" target=\"_blank\" rel=\"noopener\">Slave Labor Graphics\u003c/a>, set out to do something heroic for the little guy. He founded the \u003ca href=\"http://www.alternativepressexpo.com/\" target=\"_blank\" rel=\"noopener\">Alternative Press Expo\u003c/a> (APE) in San Jose, a comic art fair connecting the indie publishers of comics, graphic novels and zines with the people who appreciate them.\u003c/p>\n\u003cp>“I wanted to send a message that just because you may be a small publisher without a lot of funding doesn’t mean you aren’t serious about your business,” says Vado.\u003c/p>\n\u003cp>During that pre-internet time, self-produced comics were rarely seen at the large-scale comics conventions that came with hefty exhibitors fees. Vado wanted to provided a different kind of platform for these artist storytellers; he envisioned a fair without curatorial limitations .\u003c/p>\n\u003cfigure id=\"attachment_10977034\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg\" alt=\"Johnny the Homicidal Maniac.\" width=\"510\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-478x600.jpg 478w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Johnny the Homicidal Maniac. \u003ccite>(Courtesy: Jhonen Vasquez and SLG Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately after APE began, Vado realized the expo would require financial support to grow. Vado’s personal funds were already allocated towards his own publishing company, so he amicably handed the event (and corresponding financial liability) over to \u003ca href=\"http://www.comic-con.org/\" target=\"_blank\" rel=\"noopener\">Comic-Con\u003c/a>.\u003c/p>\n\u003cp>Vado continued to help produce the expo for the next four years, until Comic-Con moved it to San Francisco. Fifteen years of successful growth later, when given the opportunity to “take APE back,” Vado agreed to grab the reins once more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This weekend, APE returns to the South Bay, where Vado hopes to make the event self-sustainable and increasingly relevant for the digital age.\u003c/p>\n\u003cp>“APE has an opportunity to be a bigger deal here in San Jose than it ever was in San Francisco because there’s so much happening all at once up there and it’s too expensive,” says Vado. “APE coming to San Jose is almost a parable for what’s going on in San Francisco with the artists being pushed out.”\u003c/p>\n\u003cfigure id=\"attachment_10977036\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg\" alt=\"Demon by Jason Shiga\" width=\"416\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-400x615.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-390x600.jpg 390w\" sizes=\"(max-width: 416px) 100vw, 416px\">\u003cfigcaption class=\"wp-caption-text\">Demon by Jason Shiga \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question now is: \u003cem>What is APE an alternative to?\u003c/em>\u003c/p>\n\u003cp>Vado is quick to respond: “Perhaps it’s an alternative to \u003cem>insincerity\u003c/em>. I like to think that everyone that’s there is committed to their work on a personal level, regardless of where it’s coming from or if they’re being published by someone bigger… If you’re into working with us, we’re here to back you.”\u003c/p>\n\u003cp>His philosophy pays off. Over \u003ca href=\"http://www.alternativepressexpo.com/#!exhibitors/c1icp\" target=\"_blank\" rel=\"noopener\">250 vendors\u003c/a> have booked space at the expo, making this year’s event a full house.\u003c/p>\n\u003cp>Vado has already made some subtle but significant changes to the event. Each vendor will have a 10 by 10-foot booth rather than the typical 6-foot table, allowing them to be more creative with the space.\u003c/p>\n\u003cp>For the first time ever, educators, librarians and retailers can sign up for free entry and attend professional development workshops on how comics and graphic novels can be utilized in the classroom. Vado also set up \u003ca href=\"http://www.alternativepressexpo.com/?gclid=COT5tffTkMgCFQaNaQodm34E8w#!guests/cee5\" target=\"_blank\" rel=\"noopener\">panel discussions\u003c/a> at local businesses outside the San Jose Convention Center so people can explore local arts and culture.\u003c/p>\n\u003cfigure id=\"attachment_10977038\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg\" alt=\"\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Illustration by Sho Murase \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>APE’s continued existence may be due in part to our craving for the tangible in a digital age. A web comic scrolling across a screen doesn’t provide the same satisfaction as a cliffhanger at the bottom of a page — and the split second of anticipation you experience as you turn that page to find out what happens next.\u003c/p>\n\u003cp>APE also allows people to get together in real spaces around shared interests. Watching an artist talk at you on YouTube is far less memorable than speaking with an artist in person about their story inspirations while they autograph your book.\u003c/p>\n\u003cp>Vado aims for APE to be a platform for people who want a physical representation of their work, and an immersive experience for the audience. “When you put people in a group environment, you put civility back into the experience. You put thought and discourse into what you’re going to say because it has immediate consequences,” Vado says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So long as comics provide the reassurances and hope so often lacking in the real world, the need for APE will continue. “In comics there’s still a sense of fairness and a sense of good versus evil,” he says. “If you live by a certain code and ethics, the good guy wins.” APE will supply plenty of that and more in San Jose this weekend.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>\u003ca href=\"http://ww2.kqed.org/arts/series/the-spine/\" target=\"_blank\" rel=\"noopener\">The Spine\u003c/a>\u003cem> is a new book column covering the literary scene of the Bay Area in reviews, interviews, guides, event previews and more. Guiding us is award-winning writer \u003ca href=\"http://ww2.kqed.org/arts/author/lclark/\" target=\"_blank\" rel=\"noopener\">Leilani Clark\u003c/a>, who’s contributed to Mother Jones, Civil Eats, Time Magazine, the Rumpus and the North Bay Bohemian, in addition to KQED. Running biweekly, \u003c/em>The Spine\u003cem> is your smart check-in on what’s happening in the region’s book world.\u003c/em>\u003c/p>\n\u003ch2>Review: \u003cem>Dryland\u003c/em> by Sara Jaffe\u003c/h2>\n\u003cp>Sophomore year is a strange time in the life. You aren’t a newbie to high school. And most kids, if they’re lucky, have made it through the tumultuous transitions wrought by puberty, with a new body and altered, hormonal brain in tow. Still, you are nowhere near — at least this is how it feels when you’re deep in the muck — to finishing high school and entering the adult world. \u003cem>Dryland\u003c/em>, the debut novel from Sara Jaffe, a fiction writer and musician who lives in Portland, fully captures that adolescent irritation, and the strange sensation of floating above your own teenage life. The novel is a seamless, dreamy, gray ride through a few months in the life of Julie Winter, a high school sophomore who lives in the Pacific Northwest (probably Portland, though that’s never explicitly stated) who is on a semi-sleepwalking journey between childhood and young adulthood.\u003c/p>\n\u003cp>Julie lives in a suburban, unchallenged home environment with her mother and fa\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dryland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10984224 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dryland.jpg\" alt=\"dryland\" width=\"180\" height=\"280\">\u003c/a>ther. Her brother, a former high school swimming champion with Olympic aspirations and a secret, has disappeared. Maybe to San Diego. Maybe to Berlin. His once-a-year phone calls reveal nothing much about his current life. It’s the early 1990s, and Julie spends Saturdays at the River Market, scoping Guatemalan bags and contemplating clove cigarettes with her best and oldest friend Ericka. To Julie, Ericka has become almost alien in her lust for skater boys and dreams of ascending out of the yearbook captioning ghetto and into greater high school fame. When Julie embarks on a reluctant friendship with Ben, an old friend of her brother’s, she uncovers an entry point into another way of living, not to mention the rock band My Bloody Valentine’s 1991 album \u003cem>Loveless\u003c/em>.\u003c/p>\n\u003cp>Ultimately, \u003cem>Dryland\u003c/em> is more a novel of feeling than plot. While grounded in quotidian life in a way reminiscent of Haruki Murakami’s style — think lots of coffee drinking and descriptions of chicken dinners — the book somehow floats above everything. It gives the sensation of being of the earth, water, and sky all at once.\u003c/p>\n\u003cp>When Julie decides to become a swimmer herself to mixed success, the book’s prose really hits the sweet spot. My favorite moment arrives when Julie dives into the pool at her first swimming practice.\u003c/p>\n\u003cblockquote>\u003cp>“My body sailed. It flew. To call what was happening swimming would be to render mechanical what felt, in the feeling – the being – of it, like sugar, like a dream. The floor of the pool was toothpaste blue and my shadow was that cool, fast color. My body sailed. My first head-lift to take a breath, already halfway down the lane. Breathe and duck and back under, smooth, there could have been nobody else in the pool. The pool could have been surrounded by everyone – Alexis, Coach – watching me shuttle, sail, unaware with their watching. Something brushed the bottom of my foot and I shoot it off and thought of seaweed, as if I were not only weightless but poolless, as if what I’d felt was the touch of the chorusing flotsam that surrounded and supported me.”\u003c/p>\u003c/blockquote>\n\u003cp>Later, when Julie realizes, sort of, that she has a crush on the girls’ swim team captain Alexis, Jaffe treats a potential “coming out” story with a light, deft hand, never explicitly stating that Julie has suddenly realized she is gay. It’s all in the moment, just as it is in real life: little moments adding up to a life lived. There aren’t any grand realizations or declarations of love. That writerly choice by Jaffe ends up being as satisfying as any dramatic arc of events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sara Jaffe \u003ca href=\"http://www.litquake.org/events/radar-queer-reading-series-library\" target=\"_blank\" rel=\"noopener\">appears \u003c/a>at the RADAR queer reading series on Oct. 14 at 6pm.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10905230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>How Lori Ostlund Does \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a>\u003c/h2>\n\u003cp style=\"text-align: left\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/loriostlund-e1443471613300.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10984140\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/loriostlund-e1443471613300.jpg\" alt=\"loriostlund\" width=\"105\" height=\"158\">\u003c/a>Lori Ostlund is a fiction writer and teacher who lives in San Francisco. Her first collection of stories, \u003cem>The Bigness of the World\u003c/em>, received the Flannery O’Connor \u003cem>Award for Short Fiction\u003c/em>, \u003cem>the California Book Award for First Fiction,\u003c/em> and the \u003cem>Edmund White Debut Fiction Award.\u003c/em> Her new novel \u003cem>After the Parade\u003c/em>, out Sept. 21, received starred reviews from Kirkus and Booklist. \u003cem>Publishers Weekly has called her prose “smart, resonant, and imbued with beauty.” \u003c/em>\u003c/p>\n\u003cp>My approach to Litquake is to balance new (to me) voices with the known. I’m a fan of \u003ca href=\"http://www.litquake.org/events/barely-published-0\" target=\"_blank\" rel=\"noopener\">Barely Published\u003c/a>, which introduces emerging local writers and is curated by James Warner, a great supporter of other writers. The \u003ca href=\"http://www.litquake.org/events/mfa-mixer-20-litquake-edition-0\" target=\"_blank\" rel=\"noopener\">MFA Mixer\u003c/a>, Castro Reading, and \u003ca href=\"http://www.litquake.org/events/826-valencia-student-reading-0\" target=\"_blank\" rel=\"noopener\">826 Valencia Student Reading \u003c/a>at LitCrawl on Oct. 17 all look appealing. In the known camp are \u003ca href=\"http://www.litquake.org/events/original-shorts-love-hate\" target=\"_blank\" rel=\"noopener\">Original Shorts: Love-Hate\u003c/a>, offering four writers whose work I already know and admire—Soma Mei Sheng Frazier, Jason Friedman, Molly Giles, and Ethel Rohan—and two more whose work I am open to knowing and admiring. Then there’s the \u003ca href=\"http://www.litquake.org/events/come-down-yall-press-53-reading-bay-area-authors\" target=\"_blank\" rel=\"noopener\">Press 53 Reading\u003c/a> (LitCrawl). Press 53, a wonderful, North Carolina-based press, has a strong stable of writers in the Bay Area, including some favorites: Meg Pokrass, Grant Faulkner, and Jane Ciabattari.\u003c/p>\n\u003cp>I am especially interested in the \u003ca href=\"http://www.litquake.org/events/writing-cultural-identity-chinelo-okparanta-and-vu-tran-conversation\" target=\"_blank\" rel=\"noopener\">conversation\u003c/a> between Chinelo Okparanta (\u003cem>Under the Udala Trees\u003c/em>) and Vu Tran (\u003cem>Dragonfish\u003c/em>) because I keep hearing great things about their recently released novels.\u003ca href=\"http://www.litquake.org/events/new-voices\" target=\"_blank\" rel=\"noopener\"> New Voices\u003c/a> includes Angela Pneuman, who had a terrific story in the \u003cem>2012 Best American Short Stories\u003c/em> and Val Brelinski, with her intriguingly entitled \u003cem>The Girl Who Slept with God\u003c/em>. \u003ca href=\"http://www.litquake.org/events/let%E2%80%99s-get-uncomfortable-and-talk-about-race\" target=\"_blank\" rel=\"noopener\">Let’s Get Uncomfortable and Talk about Race \u003c/a>has the double appeal of best Litquake title and a wonderful moderator, \u003cem>ZYZZYVA\u003c/em>’s Oscar Villalon.\u003c/p>\n\u003cp>Everything is better with poetry and with wine, so I’m delighted to see these two brought together in \u003ca href=\"http://www.litquake.org/events/flight-poets\" target=\"_blank\" rel=\"noopener\">Flight of Poets\u003c/a> on Oct. 16. I have a reading that night, but wish that I could be there to hear Indigo Moor’s poetry again and taste the wine that the sommelier pairs with it. Finally, I’m intrigued by \u003ca href=\"http://www.litquake.org/events/bay-area-poets-picking-poets-reading-and-discussion\" target=\"_blank\" rel=\"noopener\">Bay Area Poets Picking Poets\u003c/a> on Oct. 11 because it includes Dean Rader, who is always funny and writes poetry that perfectly balances the cerebral and emotional, and because of the concept — a lineup created by one poet tagging the next.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10905230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>More Litquake Picks from \u003cem>The Spine\u003c/em> \u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With so much to choose from, it’s hard to narrow down the best events at this year’s festival to only a handful. Litquake’s opening night on Oct. 9 offers a fun celebration of “famous and unhinged” 1800s-era San Francisco that includes\u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\"> sea shanties \u003c/a>performed by singers from the San Francisco Maritime National Historical Park. On Oct. 10 at Z Below, Heidi Julavits and Vendela Vida, founding editors of \u003cem>\u003ca href=\"http://www.believermag.com/\" target=\"_blank\" rel=\"noopener\">The Believer\u003c/a>\u003c/em>, \u003ca href=\"http://www.litquake.org/events/literary-partnership-vendela-vida-and-heidi-julavits-conversation\" target=\"_blank\" rel=\"noopener\">discuss \u003c/a>their recent books, collaborations among female friends, and their experiences as editors. San Rafael offers its own day-long version of Litquake on Oct. 11. Check the \u003ca href=\"http://www.litquake.org/event-series/litquake-san-rafael\" target=\"_blank\" rel=\"noopener\">event site\u003c/a> for a list of the readings. Chris Abani’s \u003ca href=\"http://www.litquake.org/events/conjoined-twins-and-reflections-humanity-chris-abani-conversation-sarah-ladipo-manyika\" target=\"_blank\" rel=\"noopener\">conversation\u003c/a> with Sarah Ladipo Manyika about race, culture and identity promises to be fascinating. On that same night, two Pulitzer Prize winners, including San Francisco’s Adam Johnson, will talk \u003ca href=\"http://www.litquake.org/events/bridge-between-fiction-and-non-adam-johnson-and-tj-stiles-conversation\" target=\"_blank\" rel=\"noopener\">about\u003c/a>, among other things, uh . . . the Pulitzer Prize. On Oct. 14, Ruben Martinez and Alia Volz are part of a roster of writers appearing at \u003ca href=\"http://www.litquake.org/events/no-burritos-night-huizache-magazine\" target=\"_blank\" rel=\"noopener\">No Burritos\u003c/a> sponsored by \u003ca href=\"http://huizachemag.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Huizache\u003c/i>\u003c/a>, a magazine of Latino literature out of Centrovictoria at the University of Houston. On Oct. 16, San Francisco poet laureate Alejandro Murguia, along with Penelope Houston and others, celebrate the 24th Street corridor/Calle 24 otherwise known as “Bookstore Row” because of the concentration of bookstores: Adobe Books, Alley Cat Books, and the Modern Times Bookstore Collective. For a complete list of Litquake 2015 events, go \u003ca href=\"http://www.litquake.org/event-series/litquake-2015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>\u003ca href=\"http://ww2.kqed.org/arts/series/the-spine/\" target=\"_blank\" rel=\"noopener\">The Spine\u003c/a>\u003cem> is a new book column covering the literary scene of the Bay Area in reviews, interviews, guides, event previews and more. Guiding us is award-winning writer \u003ca href=\"http://ww2.kqed.org/arts/author/lclark/\" target=\"_blank\" rel=\"noopener\">Leilani Clark\u003c/a>, who’s contributed to Mother Jones, Civil Eats, Time Magazine, the Rumpus and the North Bay Bohemian, in addition to KQED. Running biweekly, \u003c/em>The Spine\u003cem> is your smart check-in on what’s happening in the region’s book world.\u003c/em>\u003c/p>\n\u003ch2>Review: \u003cem>Dryland\u003c/em> by Sara Jaffe\u003c/h2>\n\u003cp>Sophomore year is a strange time in the life. You aren’t a newbie to high school. And most kids, if they’re lucky, have made it through the tumultuous transitions wrought by puberty, with a new body and altered, hormonal brain in tow. Still, you are nowhere near — at least this is how it feels when you’re deep in the muck — to finishing high school and entering the adult world. \u003cem>Dryland\u003c/em>, the debut novel from Sara Jaffe, a fiction writer and musician who lives in Portland, fully captures that adolescent irritation, and the strange sensation of floating above your own teenage life. The novel is a seamless, dreamy, gray ride through a few months in the life of Julie Winter, a high school sophomore who lives in the Pacific Northwest (probably Portland, though that’s never explicitly stated) who is on a semi-sleepwalking journey between childhood and young adulthood.\u003c/p>\n\u003cp>Julie lives in a suburban, unchallenged home environment with her mother and fa\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dryland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10984224 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dryland.jpg\" alt=\"dryland\" width=\"180\" height=\"280\">\u003c/a>ther. Her brother, a former high school swimming champion with Olympic aspirations and a secret, has disappeared. Maybe to San Diego. Maybe to Berlin. His once-a-year phone calls reveal nothing much about his current life. It’s the early 1990s, and Julie spends Saturdays at the River Market, scoping Guatemalan bags and contemplating clove cigarettes with her best and oldest friend Ericka. To Julie, Ericka has become almost alien in her lust for skater boys and dreams of ascending out of the yearbook captioning ghetto and into greater high school fame. When Julie embarks on a reluctant friendship with Ben, an old friend of her brother’s, she uncovers an entry point into another way of living, not to mention the rock band My Bloody Valentine’s 1991 album \u003cem>Loveless\u003c/em>.\u003c/p>\n\u003cp>Ultimately, \u003cem>Dryland\u003c/em> is more a novel of feeling than plot. While grounded in quotidian life in a way reminiscent of Haruki Murakami’s style — think lots of coffee drinking and descriptions of chicken dinners — the book somehow floats above everything. It gives the sensation of being of the earth, water, and sky all at once.\u003c/p>\n\u003cp>When Julie decides to become a swimmer herself to mixed success, the book’s prose really hits the sweet spot. My favorite moment arrives when Julie dives into the pool at her first swimming practice.\u003c/p>\n\u003cblockquote>\u003cp>“My body sailed. It flew. To call what was happening swimming would be to render mechanical what felt, in the feeling – the being – of it, like sugar, like a dream. The floor of the pool was toothpaste blue and my shadow was that cool, fast color. My body sailed. My first head-lift to take a breath, already halfway down the lane. Breathe and duck and back under, smooth, there could have been nobody else in the pool. The pool could have been surrounded by everyone – Alexis, Coach – watching me shuttle, sail, unaware with their watching. Something brushed the bottom of my foot and I shoot it off and thought of seaweed, as if I were not only weightless but poolless, as if what I’d felt was the touch of the chorusing flotsam that surrounded and supported me.”\u003c/p>\u003c/blockquote>\n\u003cp>Later, when Julie realizes, sort of, that she has a crush on the girls’ swim team captain Alexis, Jaffe treats a potential “coming out” story with a light, deft hand, never explicitly stating that Julie has suddenly realized she is gay. It’s all in the moment, just as it is in real life: little moments adding up to a life lived. There aren’t any grand realizations or declarations of love. That writerly choice by Jaffe ends up being as satisfying as any dramatic arc of events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sara Jaffe \u003ca href=\"http://www.litquake.org/events/radar-queer-reading-series-library\" target=\"_blank\" rel=\"noopener\">appears \u003c/a>at the RADAR queer reading series on Oct. 14 at 6pm.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10905230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>How Lori Ostlund Does \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a>\u003c/h2>\n\u003cp style=\"text-align: left\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/loriostlund-e1443471613300.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10984140\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/loriostlund-e1443471613300.jpg\" alt=\"loriostlund\" width=\"105\" height=\"158\">\u003c/a>Lori Ostlund is a fiction writer and teacher who lives in San Francisco. Her first collection of stories, \u003cem>The Bigness of the World\u003c/em>, received the Flannery O’Connor \u003cem>Award for Short Fiction\u003c/em>, \u003cem>the California Book Award for First Fiction,\u003c/em> and the \u003cem>Edmund White Debut Fiction Award.\u003c/em> Her new novel \u003cem>After the Parade\u003c/em>, out Sept. 21, received starred reviews from Kirkus and Booklist. \u003cem>Publishers Weekly has called her prose “smart, resonant, and imbued with beauty.” \u003c/em>\u003c/p>\n\u003cp>My approach to Litquake is to balance new (to me) voices with the known. I’m a fan of \u003ca href=\"http://www.litquake.org/events/barely-published-0\" target=\"_blank\" rel=\"noopener\">Barely Published\u003c/a>, which introduces emerging local writers and is curated by James Warner, a great supporter of other writers. The \u003ca href=\"http://www.litquake.org/events/mfa-mixer-20-litquake-edition-0\" target=\"_blank\" rel=\"noopener\">MFA Mixer\u003c/a>, Castro Reading, and \u003ca href=\"http://www.litquake.org/events/826-valencia-student-reading-0\" target=\"_blank\" rel=\"noopener\">826 Valencia Student Reading \u003c/a>at LitCrawl on Oct. 17 all look appealing. In the known camp are \u003ca href=\"http://www.litquake.org/events/original-shorts-love-hate\" target=\"_blank\" rel=\"noopener\">Original Shorts: Love-Hate\u003c/a>, offering four writers whose work I already know and admire—Soma Mei Sheng Frazier, Jason Friedman, Molly Giles, and Ethel Rohan—and two more whose work I am open to knowing and admiring. Then there’s the \u003ca href=\"http://www.litquake.org/events/come-down-yall-press-53-reading-bay-area-authors\" target=\"_blank\" rel=\"noopener\">Press 53 Reading\u003c/a> (LitCrawl). Press 53, a wonderful, North Carolina-based press, has a strong stable of writers in the Bay Area, including some favorites: Meg Pokrass, Grant Faulkner, and Jane Ciabattari.\u003c/p>\n\u003cp>I am especially interested in the \u003ca href=\"http://www.litquake.org/events/writing-cultural-identity-chinelo-okparanta-and-vu-tran-conversation\" target=\"_blank\" rel=\"noopener\">conversation\u003c/a> between Chinelo Okparanta (\u003cem>Under the Udala Trees\u003c/em>) and Vu Tran (\u003cem>Dragonfish\u003c/em>) because I keep hearing great things about their recently released novels.\u003ca href=\"http://www.litquake.org/events/new-voices\" target=\"_blank\" rel=\"noopener\"> New Voices\u003c/a> includes Angela Pneuman, who had a terrific story in the \u003cem>2012 Best American Short Stories\u003c/em> and Val Brelinski, with her intriguingly entitled \u003cem>The Girl Who Slept with God\u003c/em>. \u003ca href=\"http://www.litquake.org/events/let%E2%80%99s-get-uncomfortable-and-talk-about-race\" target=\"_blank\" rel=\"noopener\">Let’s Get Uncomfortable and Talk about Race \u003c/a>has the double appeal of best Litquake title and a wonderful moderator, \u003cem>ZYZZYVA\u003c/em>’s Oscar Villalon.\u003c/p>\n\u003cp>Everything is better with poetry and with wine, so I’m delighted to see these two brought together in \u003ca href=\"http://www.litquake.org/events/flight-poets\" target=\"_blank\" rel=\"noopener\">Flight of Poets\u003c/a> on Oct. 16. I have a reading that night, but wish that I could be there to hear Indigo Moor’s poetry again and taste the wine that the sommelier pairs with it. Finally, I’m intrigued by \u003ca href=\"http://www.litquake.org/events/bay-area-poets-picking-poets-reading-and-discussion\" target=\"_blank\" rel=\"noopener\">Bay Area Poets Picking Poets\u003c/a> on Oct. 11 because it includes Dean Rader, who is always funny and writes poetry that perfectly balances the cerebral and emotional, and because of the concept — a lineup created by one poet tagging the next.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10905230\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spine.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spine-400x21.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>More Litquake Picks from \u003cem>The Spine\u003c/em> \u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With so much to choose from, it’s hard to narrow down the best events at this year’s festival to only a handful. Litquake’s opening night on Oct. 9 offers a fun celebration of “famous and unhinged” 1800s-era San Francisco that includes\u003ca href=\"http://www.litquake.org/events/devil%E2%80%99s-acre-litquake%E2%80%99s-opening-night-celebrates-19th-century-san-francisco\" target=\"_blank\" rel=\"noopener\"> sea shanties \u003c/a>performed by singers from the San Francisco Maritime National Historical Park. On Oct. 10 at Z Below, Heidi Julavits and Vendela Vida, founding editors of \u003cem>\u003ca href=\"http://www.believermag.com/\" target=\"_blank\" rel=\"noopener\">The Believer\u003c/a>\u003c/em>, \u003ca href=\"http://www.litquake.org/events/literary-partnership-vendela-vida-and-heidi-julavits-conversation\" target=\"_blank\" rel=\"noopener\">discuss \u003c/a>their recent books, collaborations among female friends, and their experiences as editors. San Rafael offers its own day-long version of Litquake on Oct. 11. Check the \u003ca href=\"http://www.litquake.org/event-series/litquake-san-rafael\" target=\"_blank\" rel=\"noopener\">event site\u003c/a> for a list of the readings. Chris Abani’s \u003ca href=\"http://www.litquake.org/events/conjoined-twins-and-reflections-humanity-chris-abani-conversation-sarah-ladipo-manyika\" target=\"_blank\" rel=\"noopener\">conversation\u003c/a> with Sarah Ladipo Manyika about race, culture and identity promises to be fascinating. On that same night, two Pulitzer Prize winners, including San Francisco’s Adam Johnson, will talk \u003ca href=\"http://www.litquake.org/events/bridge-between-fiction-and-non-adam-johnson-and-tj-stiles-conversation\" target=\"_blank\" rel=\"noopener\">about\u003c/a>, among other things, uh . . . the Pulitzer Prize. On Oct. 14, Ruben Martinez and Alia Volz are part of a roster of writers appearing at \u003ca href=\"http://www.litquake.org/events/no-burritos-night-huizache-magazine\" target=\"_blank\" rel=\"noopener\">No Burritos\u003c/a> sponsored by \u003ca href=\"http://huizachemag.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Huizache\u003c/i>\u003c/a>, a magazine of Latino literature out of Centrovictoria at the University of Houston. On Oct. 16, San Francisco poet laureate Alejandro Murguia, along with Penelope Houston and others, celebrate the 24th Street corridor/Calle 24 otherwise known as “Bookstore Row” because of the concentration of bookstores: Adobe Books, Alley Cat Books, and the Modern Times Bookstore Collective. For a complete list of Litquake 2015 events, go \u003ca href=\"http://www.litquake.org/event-series/litquake-2015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wondering why there's a bunch of pink all over your social media channels today? It's all thanks to #PinkOut Day, Planned Parenthood's attempt to rally support in the face of ever-increasing attacks from politicians and the anti-choice contingent.\u003c/p>\n\u003cblockquote>\u003cp>\"Pink Out Day is our time to say: Listen to over a million Americans who are sick and tired of the relentless attacks on reproductive health care. Listen to the one in five American women who has received care at a Planned Parenthood health center...we are everywhere and we will not let fraud and deception shut down the health centers so many women rely on for care. It will be women and men nationwide standing together to say: We’re not backing down, not today, not ever.\"\u003c/p>\u003c/blockquote>\n\u003cp>Daniel Handler, better known by his pen name Lemony Snicket, and his illustrator/author wife Lisa Brown decided to show their support, not with a pinked-out profile photo, but with a donation. A \u003cem>big\u003c/em> one.\u003c/p>\n\u003cp>https://twitter.com/DanielHandler/status/648468194215243776?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>Brown explained further to \u003cem>\u003ca href=\"http://www.buzzfeed.com/alexisnedd/the-author-of-a-series-of-unfortunate-events-just-donated-on#.ojX8L0VWyn\" target=\"_blank\">Buzzfeed\u003c/a>\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>\"My husband and I have supported Planned Parenthood for years, for obvious reasons: It’s a great organization that has provided top-quality health care for countless women and families in our lives. This year, Planned Parenthood has gone through a series of unfortunate events, and it felt right to make our support more public and more dramatic.\"\u003c/p>\u003c/blockquote>\n\u003cp>If you want to keep up with today's Planned Parenthood hearing on Capitol Hill, check out these audio clips NPR put together:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.npr.org/sections/thetwo-way/2015/09/29/444528541/6-clips-of-audio-you-should-hear-from-the-planned-parenthood-hearing\">6 Clips Of Audio You Should Hear From The Planned Parenthood Hearing\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wondering why there's a bunch of pink all over your social media channels today? It's all thanks to #PinkOut Day, Planned Parenthood's attempt to rally support in the face of ever-increasing attacks from politicians and the anti-choice contingent.\u003c/p>\n\u003cblockquote>\u003cp>\"Pink Out Day is our time to say: Listen to over a million Americans who are sick and tired of the relentless attacks on reproductive health care. Listen to the one in five American women who has received care at a Planned Parenthood health center...we are everywhere and we will not let fraud and deception shut down the health centers so many women rely on for care. It will be women and men nationwide standing together to say: We’re not backing down, not today, not ever.\"\u003c/p>\u003c/blockquote>\n\u003cp>Daniel Handler, better known by his pen name Lemony Snicket, and his illustrator/author wife Lisa Brown decided to show their support, not with a pinked-out profile photo, but with a donation. A \u003cem>big\u003c/em> one.\u003c/p>\u003c/p>\u003c/div>",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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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.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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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"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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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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"meta": {
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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