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"content": "\u003cp>In the new video-game-inspired graphic novel \u003cem>Second Quest\u003c/em>, a young woman named Azalea who lives in a floating land with a mysterious history begins to see things most people don’t. Touching certain objects, she can glimpse their past, witnessing moments in the lives of other people who have also wielded those objects. But this ability also brings with it a different perspective on her world. \u003c/p>\n\u003cp>Knowing that not all is what it seems, Azalea starts questioning the conventional wisdom of her society, challenging the stories that say “this is why things are the way they are.” She has begun to suspect that maybe they don’t have to be that way, and that maybe the stories that say they do have to be that way are only told to convince people that this is the way things have to be. But as she dares to question the accepted truths of her world, she faces tremendous resistance. Challenging the status quo is a radical act, and not one that comes without a price.\u003c/p>\n\u003cp>In October of 2013, the writer of \u003cem>Second Quest, \u003c/em>Tevis Thompson, suggested in a different way that maybe things don’t have to be the way they are. Earlier that year, the long-awaited, highly anticipated first-person shooter \u003ci>BioShock Infinite \u003c/i>was released to critical acclaim. It earned glowing reviews from every major gaming site, seemingly meeting or surpassing all expectations players might reasonably have for such a game.\u003c/p>\n\u003cp>But what shapes our expectations for new games? Are our notions of what a game like \u003ci>BioShock Infinite \u003c/i>should or shouldn’t do shaped to some degree by game reviews that evaluate whether or not such games do or don’t do very specific things? Should we expect more? Can we even imagine games doing more?\u003c/p>\n\u003cfigure id=\"attachment_10627480\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/sq2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10627480\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/sq2-270x600.jpg\" alt=\"Video games often present violence as the only viable option for confronting problems.\" width=\"270\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/sq2-270x600.jpg 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/sq2.jpg 330w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Video games often present violence as the only viable option for confronting problems.\u003c/figcaption>\u003c/figure>\n\u003cp>Thompson published a piece called \u003ca href=\"http://tevisthompson.com/on-videogame-reviews/\" target=\"_blank\" rel=\"noopener\">\u003ci>On Videogame Reviews\u003c/i>\u003c/a>, and in it, he used the critical reactions to \u003ci>BioShock Infinite \u003c/i>as a jumping-off point to challenge the entire state of mainstream video game criticism, and by extension, the larger gaming culture it simultaneously served and helped to sustain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The straight white male gamers so untroubled by \u003ci>BioShock Infinite\u003c/i>, whose ideology and privilege are in fact perfectly reflected in it, are just not up to the task of reviewing on their own. Their subjectivities betray complicity. It’s a dead end, the good old boys speaking to their bros, and only by diversifying in every way possible can the review community thrive,” Thompson wrote. “This means more women, more people of color, more queer and transgender folks, more reviewers from diverse social, economic, and cultural backgrounds that don’t neatly fit the lifelong gamer mold. Not simply because we need reviewers to match the shifting demographics of those playing games, but because diversity is of clear and obvious value to any community and any discourse.”\u003c/p>\n\u003cp>Given that I was working as an editor at a major video game website at the time, I read the piece with great interest, and not just because Thompson makes specific mention of my review of \u003cem>Grand Theft Auto V\u003c/em> and the reactions to that review. It was, for me, a challenging and exhilarating piece of work that illuminated new possibilities. It opened my eyes and encouraged me to ask questions about why we approach games in such a specific and predictable way. Thompson seemed to be pushing up against the established boundaries of video game criticism and video game culture, like a character in a video game pushing up against walls hoping to find a secret passage to a place that might offer a new perspective. The act struck me as an inherently hopeful one. He was saying: Things don’t have to be this way. There can be more.\u003c/p>\n\u003cp>Reading \u003cem>\u003ca href=\"http://www.secondquestcomic.com/\" target=\"_blank\" rel=\"noopener\">Second Quest\u003c/a> \u003c/em>some 18 months after the publication of \u003cem>On Videogame Reviews\u003c/em>, what struck me most is how, even though it’s a work of fantasy fiction and not a piece of criticism, in its pages you can still sense Thompson pushing up against the established norms, encouraging us to question the accepted conventions of game design and the assumptions that shape our perception of the world.\u003c/p>\n\u003cp>The book’s title is a nod to the 1986 game \u003ci>The Legend of Zelda\u003c/i>, which featured a second, more difficult quest that made enemies tougher and significantly changed the layouts of the game’s dungeons and the locations of important items. It’s a fitting title, not just because echoes of the Zelda mythos reverberate throughout \u003ci>Second Quest\u003c/i>’s story, but also because it is a story about the kind of new beginning that happens when you realize that things aren’t quite the way you expected them to be, and you start to see the world through fresh eyes.\u003c/p>\n\u003cfigure id=\"attachment_10627481\" class=\"wp-caption alignright\" style=\"max-width: 785px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/sq3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10627481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/sq3.jpg\" alt=\"Seeing the possibility of a new and different world can be scary.\" width=\"785\" height=\"385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/sq3.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/sq3-400x196.jpg 400w\" sizes=\"(max-width: 785px) 100vw, 785px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Seeing the possibility of a new and different world can be scary.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Second Quest\u003c/i> is not set in the universe of Nintendo’s Zelda games, nor does it require any familiarity with those games or any other games to be understood and enjoyed. But the way it weaves elements from the Zelda games into its story of a young woman who starts to question the fundamental truths of her culture makes it clear that Thompson and his collaborator, artist David Hellman, are interested in encouraging gamers to question elements of gaming culture as well. Why do we simply accept that so many games present violence as the only way to solve a problem? Why do we accept so many narratives about brave heroes fighting evil and rescuing the girl without ever questioning how the narratives are constructed precisely to leave us with no room to ask questions about whether the bad guys are really so bad or whether what we’re doing is really so good? What is the effect of being told, over and over again, that we’re the hero, the good guy, the chosen one, and that those people over there are evil, and that this is just the way the world is, and that violence is your only option?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Of course, as the passage I quoted earlier from \u003ci>On Videogame Reviews \u003c/i>indicates, gaming culture and our wider culture are hardly entirely separate from each other, and therefore, challenging one often involves challenging the other. \u003ci>Second Quest \u003c/i>doesn’t need to be interpreted through the lens of video games; it works just as well as a metaphor for a kind of feminist awakening–the sometimes scary but exciting process of starting to perceive and push back against the patriarchal systems and power structures that shape our society. And I don’t want to give away the ending of \u003ci>Second Quest\u003c/i>, but I will say that, like \u003ci>On Videogame Reviews\u003c/i>, in the end it left me both hopeful and excited. It seemed to say that if we’re willing to not just ask the big questions but follow through to where the answers lead us, things can be so much different, and so much better, than they are now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The straight white male gamers so untroubled by \u003ci>BioShock Infinite\u003c/i>, whose ideology and privilege are in fact perfectly reflected in it, are just not up to the task of reviewing on their own. Their subjectivities betray complicity. It’s a dead end, the good old boys speaking to their bros, and only by diversifying in every way possible can the review community thrive,” Thompson wrote. “This means more women, more people of color, more queer and transgender folks, more reviewers from diverse social, economic, and cultural backgrounds that don’t neatly fit the lifelong gamer mold. Not simply because we need reviewers to match the shifting demographics of those playing games, but because diversity is of clear and obvious value to any community and any discourse.”\u003c/p>\n\u003cp>Given that I was working as an editor at a major video game website at the time, I read the piece with great interest, and not just because Thompson makes specific mention of my review of \u003cem>Grand Theft Auto V\u003c/em> and the reactions to that review. It was, for me, a challenging and exhilarating piece of work that illuminated new possibilities. It opened my eyes and encouraged me to ask questions about why we approach games in such a specific and predictable way. Thompson seemed to be pushing up against the established boundaries of video game criticism and video game culture, like a character in a video game pushing up against walls hoping to find a secret passage to a place that might offer a new perspective. The act struck me as an inherently hopeful one. He was saying: Things don’t have to be this way. There can be more.\u003c/p>\n\u003cp>Reading \u003cem>\u003ca href=\"http://www.secondquestcomic.com/\" target=\"_blank\" rel=\"noopener\">Second Quest\u003c/a> \u003c/em>some 18 months after the publication of \u003cem>On Videogame Reviews\u003c/em>, what struck me most is how, even though it’s a work of fantasy fiction and not a piece of criticism, in its pages you can still sense Thompson pushing up against the established norms, encouraging us to question the accepted conventions of game design and the assumptions that shape our perception of the world.\u003c/p>\n\u003cp>The book’s title is a nod to the 1986 game \u003ci>The Legend of Zelda\u003c/i>, which featured a second, more difficult quest that made enemies tougher and significantly changed the layouts of the game’s dungeons and the locations of important items. It’s a fitting title, not just because echoes of the Zelda mythos reverberate throughout \u003ci>Second Quest\u003c/i>’s story, but also because it is a story about the kind of new beginning that happens when you realize that things aren’t quite the way you expected them to be, and you start to see the world through fresh eyes.\u003c/p>\n\u003cfigure id=\"attachment_10627481\" class=\"wp-caption alignright\" style=\"max-width: 785px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/sq3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10627481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/sq3.jpg\" alt=\"Seeing the possibility of a new and different world can be scary.\" width=\"785\" height=\"385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/sq3.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/sq3-400x196.jpg 400w\" sizes=\"(max-width: 785px) 100vw, 785px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Seeing the possibility of a new and different world can be scary.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Second Quest\u003c/i> is not set in the universe of Nintendo’s Zelda games, nor does it require any familiarity with those games or any other games to be understood and enjoyed. But the way it weaves elements from the Zelda games into its story of a young woman who starts to question the fundamental truths of her culture makes it clear that Thompson and his collaborator, artist David Hellman, are interested in encouraging gamers to question elements of gaming culture as well. Why do we simply accept that so many games present violence as the only way to solve a problem? Why do we accept so many narratives about brave heroes fighting evil and rescuing the girl without ever questioning how the narratives are constructed precisely to leave us with no room to ask questions about whether the bad guys are really so bad or whether what we’re doing is really so good? What is the effect of being told, over and over again, that we’re the hero, the good guy, the chosen one, and that those people over there are evil, and that this is just the way the world is, and that violence is your only option?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, as the passage I quoted earlier from \u003ci>On Videogame Reviews \u003c/i>indicates, gaming culture and our wider culture are hardly entirely separate from each other, and therefore, challenging one often involves challenging the other. \u003ci>Second Quest \u003c/i>doesn’t need to be interpreted through the lens of video games; it works just as well as a metaphor for a kind of feminist awakening–the sometimes scary but exciting process of starting to perceive and push back against the patriarchal systems and power structures that shape our society. And I don’t want to give away the ending of \u003ci>Second Quest\u003c/i>, but I will say that, like \u003ci>On Videogame Reviews\u003c/i>, in the end it left me both hopeful and excited. It seemed to say that if we’re willing to not just ask the big questions but follow through to where the answers lead us, things can be so much different, and so much better, than they are now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Blonde Apocalypse: Emily Schultz Puts a New Spin on the Plague Tale",
"headTitle": "Blonde Apocalypse: Emily Schultz Puts a New Spin on the Plague Tale | 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/emily-schultz/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Emily Schultz\u003c/h2>\n\u003cdiv class=\"event-desc\">Author discusses \u003cem>The Blondes\u003c/em>.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">City Lights Books\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/emily-schultz/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Like Alfred Hitchcock’s \u003cem>The Birds\u003c/em>, Emily Schultz’s latest novel takes an absurd epidemic and transforms it from a potentially campy joke into acute, stylized and, well, still-slightly campy terror. As implied by the title, \u003cem>The Blondes\u003c/em> is first and foremost about hair color — with rabid blonde women replacing Hitchcock’s bloodthirsty seagulls — but only after it’s been sifted through a feminist, satiric, horror story sieve.\u003c/p>\n\u003cp>At the center of \u003cem>The Blondes\u003c/em> lies Hazel Hayes, a twentysomething working-class Canadian grad student and recent arrival to Manhattan, ostensibly there to finish her thesis. Hazel’s fictional academic specialty is Aesthetology, or the study of looking. Her murky thesis, \u003cem>Through a Screen Darkly: Vamps, Tramps and False Consciousness in Female-Marketed Culture\u003c/em>, has something to do with the reality of what women look like and what they think they look like. Hazel is caught up in a sad affair with her graduate adviser, Karl Mann, a 46-year-old Communications Studies professor with a propensity for sob fests and cheating on his wife Grace. To complicate matters, Hazel finds out she’s pregnant soon after arriving in New York, where she’s gone to get away from Mann under the guise of consulting with another one of his possible paramours, the icy blonde and brilliant Dr. Wanda Kovacs.\u003c/p>\n\u003cp>All goes according to plan until Hazel witnesses a terrible event in a subway station: a lumbering, rabid blonde businesswoman randomly attacks a young female high school student, pushing her onto the tracks, where they both end up crushed under an approaching train. Soon, the attacks increase in frequency to turn rampant and global, with hundreds of thousands of new cases every day — all carried out by blondes, natural and artificial. (Hazel, as a redhead, is viewed as a potential threat.) The epidemic is dubbed “The Blonde Fury,” and the cause is unknown and never disclosed; some blame flea bites, others blame a lack of melanin. What’s certain is that the epidemic places the U.S., along with blonde-heavy countries like Sweden, Finland, and Denmark, on constant terror alert.\u003c/p>\n\u003cfigure id=\"attachment_10629642\" class=\"wp-caption alignright\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj-397x600.jpg\" alt=\"The Blondes.\" width=\"397\" height=\"600\" class=\"size-medium wp-image-10629642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj-400x605.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj.jpg 496w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>The Blondes\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>While on her book tour, by phone from a hotel room in Chicago, Schultz says that the seed for \u003cem>The Blondes\u003c/em> came to her as she sat on an airplane reading a magazine.\u003c/p>\n\u003cp>“I was reading \u003cem>Vanity Fair\u003c/em> and I came across this \u003ca href=\"https://rocketrend.files.wordpress.com/2009/01/07139_gucci_122_238lo.jpg\">Gucci advertisement filled with blondes\u003c/a>,” she tells me. “They looked rabid. I showed my husband the ad and said \u003cem>The Blondes\u003c/em> in this deep voice, as if they were vampires.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of leaving it at that, Schultz turned the premise into a novel. “The idea of making hair into a horror was kind of fun for me,” she adds. “You have to take your writing really seriously, but there has to be a playful element too.”\u003c/p>\n\u003cp>\u003cem>The Blondes\u003c/em> may have originated as a laugh between spouses, but the resulting work is a fast-paced thriller, with all the best elements of horror doused in feminist critique, sociocultural commentary, and political and social satire. Schultz says she was inspired not only by \u003cem>The Birds\u003c/em>, but also Don Delillo’s \u003cem>White Noise\u003c/em> and Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em>. And still the book remains wholly original, tackling broad themes: female anger, violence against women, para-military policing, women’s kindness (and lack thereof) towards one another, female friendship, mother/daughter relationships, and crass commercialism.\u003c/p>\n\u003cp>So, why blondes?\u003c/p>\n\u003cp>“Blonde because it stands out,” says Shultz. “Hitchcock used blondes in his movies because he felt that it photographed better. We have a cultural association with blonde as being pure and good. I wanted to take that and make these women ragey and angry; not good. Of course, at the airport, they’re sending the blondes out of the security line for extra examinations, and that would obviously never happen in our culture.”\u003c/p>\n\u003cp>Schultz also wanted to challenge the assumptions and stereotypes surrounding hair color and hair identity. “I made sure that the blondes in the book that aren’t rabid are full people, and intelligent,” she says.\u003c/p>\n\u003cp>Motherhood also plays an integral role in the story. The entire tale is narrated by Hazel to her unborn daughter, from a cabin in the woods where she’s holed up alone in her eighth month of pregnancy, waiting for the return of Mann’s cruel yet helpful wife Grace.\u003c/p>\n\u003cp>“At the time I was writing the novel, I was thinking a lot about motherhood, and whether or not I wanted to be a mother,” Schultz says. “Part of the very feminine and feminist element of the book came from that.” Schultz now has a three-year-old son, whose existence, she says, partially came about because of the book.\u003c/p>\n\u003cp>For the Canadian-born writer, who lives in Brooklyn with her husband and son, the publication of \u003cem>The Blondes\u003c/em> is a classic case of third-time’s-the-charm. It’s her third novel, but it’s the first to be published by a major U.S. publishing house, and the first to get serious promotion, netting generally positive reviews in the \u003ca href=\"http://www.washingtonpost.com/entertainment/books/the-world-has-a-really-bad-hair-day-in-the-blondes/2015/04/21/ec9444a2-e52b-11e4-905f-cc896d379a32_story.html\">\u003cem>Washington Post\u003c/em>\u003c/a> and \u003ca href=\"https://www.kirkusreviews.com/book-reviews/emily-schultz/the-blondes/\">other publications\u003c/a>.\u003c/p>\n\u003cp>The attention is an added bonus after a 2013 brouhaha that saw Stephen King fans buying Schultz’s first novel \u003cem>Joyland\u003c/em>,\u003ca href=\"http://www.latimes.com/books/jacketcopy/la-et-jc-writer-mistaken-for-stephen-king-20131010-story.html\"> thinking it was the e-book version of a King book by the same name\u003c/a>. The resulting royalty checks were a nice surprise (check out Schultz’s tumblr \u003ca href=\"http://stephenkingmoney.tumblr.com/\">Spending the Stephen King Money)\u003c/a>, but the same can’t be said for the\u003ca href=\"http://joylandmagazine.tumblr.com/post/63470163038/could-stephen-king-fans-please-stop-reviewing-the\"> bad reviews\u003c/a> left by confused readers. The whole incident led to friendly emails between Schultz and King, and “he was awesome about the blog,” says Schultz.\u003c/p>\n\u003cp>So does she think King would like \u003cem>The Blondes\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to think that he would like it,” she says with good humor. “I grew up on Stephen King books!”\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/emily-schultz/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Emily Schultz\u003c/h2>\n\u003cdiv class=\"event-desc\">Author discusses \u003cem>The Blondes\u003c/em>.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">City Lights Books\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/emily-schultz/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Like Alfred Hitchcock’s \u003cem>The Birds\u003c/em>, Emily Schultz’s latest novel takes an absurd epidemic and transforms it from a potentially campy joke into acute, stylized and, well, still-slightly campy terror. As implied by the title, \u003cem>The Blondes\u003c/em> is first and foremost about hair color — with rabid blonde women replacing Hitchcock’s bloodthirsty seagulls — but only after it’s been sifted through a feminist, satiric, horror story sieve.\u003c/p>\n\u003cp>At the center of \u003cem>The Blondes\u003c/em> lies Hazel Hayes, a twentysomething working-class Canadian grad student and recent arrival to Manhattan, ostensibly there to finish her thesis. Hazel’s fictional academic specialty is Aesthetology, or the study of looking. Her murky thesis, \u003cem>Through a Screen Darkly: Vamps, Tramps and False Consciousness in Female-Marketed Culture\u003c/em>, has something to do with the reality of what women look like and what they think they look like. Hazel is caught up in a sad affair with her graduate adviser, Karl Mann, a 46-year-old Communications Studies professor with a propensity for sob fests and cheating on his wife Grace. To complicate matters, Hazel finds out she’s pregnant soon after arriving in New York, where she’s gone to get away from Mann under the guise of consulting with another one of his possible paramours, the icy blonde and brilliant Dr. Wanda Kovacs.\u003c/p>\n\u003cp>All goes according to plan until Hazel witnesses a terrible event in a subway station: a lumbering, rabid blonde businesswoman randomly attacks a young female high school student, pushing her onto the tracks, where they both end up crushed under an approaching train. Soon, the attacks increase in frequency to turn rampant and global, with hundreds of thousands of new cases every day — all carried out by blondes, natural and artificial. (Hazel, as a redhead, is viewed as a potential threat.) The epidemic is dubbed “The Blonde Fury,” and the cause is unknown and never disclosed; some blame flea bites, others blame a lack of melanin. What’s certain is that the epidemic places the U.S., along with blonde-heavy countries like Sweden, Finland, and Denmark, on constant terror alert.\u003c/p>\n\u003cfigure id=\"attachment_10629642\" class=\"wp-caption alignright\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj-397x600.jpg\" alt=\"The Blondes.\" width=\"397\" height=\"600\" class=\"size-medium wp-image-10629642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj-400x605.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/tumblr_inline_nc7sclxJSO1rrvkuj.jpg 496w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>The Blondes\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>While on her book tour, by phone from a hotel room in Chicago, Schultz says that the seed for \u003cem>The Blondes\u003c/em> came to her as she sat on an airplane reading a magazine.\u003c/p>\n\u003cp>“I was reading \u003cem>Vanity Fair\u003c/em> and I came across this \u003ca href=\"https://rocketrend.files.wordpress.com/2009/01/07139_gucci_122_238lo.jpg\">Gucci advertisement filled with blondes\u003c/a>,” she tells me. “They looked rabid. I showed my husband the ad and said \u003cem>The Blondes\u003c/em> in this deep voice, as if they were vampires.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead of leaving it at that, Schultz turned the premise into a novel. “The idea of making hair into a horror was kind of fun for me,” she adds. “You have to take your writing really seriously, but there has to be a playful element too.”\u003c/p>\n\u003cp>\u003cem>The Blondes\u003c/em> may have originated as a laugh between spouses, but the resulting work is a fast-paced thriller, with all the best elements of horror doused in feminist critique, sociocultural commentary, and political and social satire. Schultz says she was inspired not only by \u003cem>The Birds\u003c/em>, but also Don Delillo’s \u003cem>White Noise\u003c/em> and Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em>. And still the book remains wholly original, tackling broad themes: female anger, violence against women, para-military policing, women’s kindness (and lack thereof) towards one another, female friendship, mother/daughter relationships, and crass commercialism.\u003c/p>\n\u003cp>So, why blondes?\u003c/p>\n\u003cp>“Blonde because it stands out,” says Shultz. “Hitchcock used blondes in his movies because he felt that it photographed better. We have a cultural association with blonde as being pure and good. I wanted to take that and make these women ragey and angry; not good. Of course, at the airport, they’re sending the blondes out of the security line for extra examinations, and that would obviously never happen in our culture.”\u003c/p>\n\u003cp>Schultz also wanted to challenge the assumptions and stereotypes surrounding hair color and hair identity. “I made sure that the blondes in the book that aren’t rabid are full people, and intelligent,” she says.\u003c/p>\n\u003cp>Motherhood also plays an integral role in the story. The entire tale is narrated by Hazel to her unborn daughter, from a cabin in the woods where she’s holed up alone in her eighth month of pregnancy, waiting for the return of Mann’s cruel yet helpful wife Grace.\u003c/p>\n\u003cp>“At the time I was writing the novel, I was thinking a lot about motherhood, and whether or not I wanted to be a mother,” Schultz says. “Part of the very feminine and feminist element of the book came from that.” Schultz now has a three-year-old son, whose existence, she says, partially came about because of the book.\u003c/p>\n\u003cp>For the Canadian-born writer, who lives in Brooklyn with her husband and son, the publication of \u003cem>The Blondes\u003c/em> is a classic case of third-time’s-the-charm. It’s her third novel, but it’s the first to be published by a major U.S. publishing house, and the first to get serious promotion, netting generally positive reviews in the \u003ca href=\"http://www.washingtonpost.com/entertainment/books/the-world-has-a-really-bad-hair-day-in-the-blondes/2015/04/21/ec9444a2-e52b-11e4-905f-cc896d379a32_story.html\">\u003cem>Washington Post\u003c/em>\u003c/a> and \u003ca href=\"https://www.kirkusreviews.com/book-reviews/emily-schultz/the-blondes/\">other publications\u003c/a>.\u003c/p>\n\u003cp>The attention is an added bonus after a 2013 brouhaha that saw Stephen King fans buying Schultz’s first novel \u003cem>Joyland\u003c/em>,\u003ca href=\"http://www.latimes.com/books/jacketcopy/la-et-jc-writer-mistaken-for-stephen-king-20131010-story.html\"> thinking it was the e-book version of a King book by the same name\u003c/a>. The resulting royalty checks were a nice surprise (check out Schultz’s tumblr \u003ca href=\"http://stephenkingmoney.tumblr.com/\">Spending the Stephen King Money)\u003c/a>, but the same can’t be said for the\u003ca href=\"http://joylandmagazine.tumblr.com/post/63470163038/could-stephen-king-fans-please-stop-reviewing-the\"> bad reviews\u003c/a> left by confused readers. The whole incident led to friendly emails between Schultz and King, and “he was awesome about the blog,” says Schultz.\u003c/p>\n\u003cp>So does she think King would like \u003cem>The Blondes\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to think that he would like it,” she says with good humor. “I grew up on Stephen King books!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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/kate-schatz-and-miriam-klein-stahl-rad-american-women-a-z-book-signing/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Rad American Women A-Z’ Book Signing\u003c/h2>\n\u003cdiv class=\"event-desc\">Kate Schatz and Miriam Klein Stahl appear for Children’s Book Week 2015.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Book Passage, Corte Madera\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kate-schatz-and-miriam-klein-stahl-rad-american-women-a-z-book-signing/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>You could easily fill volumes with sung — and unsung — female heroes of American history. Thus, it was a real challenge for Kate Schatz and Miriam Klein Stahl, author and illustrator, respectively, of \u003cem>Rad American Women A – Z\u003c/em>, to winnow the list to 26.\u003c/p>\n\u003cp>“Narrowing down the women was really the most challenging part about the project,” Schatz tells KQED. About the only thing already decided was that Z was going to be for Zora Neale Hurston, a no-brainer, she says.\u003c/p>\n\u003cp>“Beyond that, we wanted to have a real mix,” Schatz adds. “I wanted to prioritize women of color and maybe people who weren’t as familiar. So right off the bat, some of the more heavy hitters of women’s history were off the list. No disrespect to Susan B. Anthony, but she’s in all the books. We wanted to go beyond that.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://radamericanwomen.com/\" target=\"_blank\" rel=\"noopener\">Rad American Women A-Z: Rebels, Trailblazers, and Visionaries Who Shaped Our History\u003c/a>\u003c/em> offers an exhilarating run through artists, musicians, scientists, activists and athletes who have influenced life in America today. The women represented comprise a vibrant list spanning race, class and sexuality, including Patti Smith, Odetta, Angela Davis, Kate Bornstein, Lucy Parsons, Ursula K. LeGuin, Hazel Scott, the Grimke Sisters, Billie Jean King, Sonia Sotomayor, Temple Grandin, Wilma Mankiller, Jovita Idar, Maya Lin, Dolores Huerta, Carol Burnett and Ella Baker.\u003c/p>\n\u003cfigure id=\"attachment_10622862\" class=\"wp-caption alignright\" style=\"max-width: 498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10622862\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cover.jpg\" alt=\"Book cover. (Courtesy of City Lights Books / Sister Spit)\" width=\"498\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cover.jpg 498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cover-400x514.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cover-467x600.jpg 467w\" sizes=\"(max-width: 498px) 100vw, 498px\">\u003cfigcaption class=\"wp-caption-text\">Book cover. (Courtesy of City Lights Books / Sister Spit)\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s obviously just a jumping-off point, and it could have been a list of 26,000 women,” says Schatz. (Yes, a sequel is in the works.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each one-page bio is written in a charming, easy-to-understand way, but with an underlying political consciousness that’ll appeal to parents who’ve grown tired of an endless parade of trite and fluffy kid’s books.\u003c/p>\n\u003cp>Schatz lives in Alameda with her husband and two kids, a girl and a boy ages six and two. As the Chair of Literary Programs at Oakland School for the Arts, she’s well-familiar with the type of writing that appeals to a younger crowd. At the same time, her previous work, such as \u003ca href=\"http://bloomsbury.com/us/pj-harveys-rid-of-me-a-story-9780826427786/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rid of Me\u003c/em> \u003c/a>for 33 1/3 books (about PJ Harvey’s album), was aimed at adults.\u003c/p>\n\u003cp>The idea for an A-Z guide to feminist and rad women came to Schatz about four years ago, when her daughter was still a toddler. But with another child on the way and a full-time job, starting the project wasn’t easy. Finally, in 2014, she reached out to Miriam Klein Stahl, a Bay Area artist and teacher at Berkeley High School. Stahl has a \u003ca href=\"http://www.blogcitylights.com/2015/03/25/miriam-klein-stahl-bay-area-artist-and-illustrator-of-rad-american-women/\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> making zines, and public and political art; her distinctive stencil-like portraits make a colorful, striking addition to the book.\u003c/p>\n\u003cp>“We’re both moms, and we’re both activists and artists,” says Schatz. “Once we started collaborating, it all happened really fast.”\u003c/p>\n\u003cp>When the book was finished, Stahl and Schatz compiled a list of independent publishers — including City Lights — that might be interested in putting it into the world. The legendary San Francisco independent press had a long history of supporting progressive literature, but they’d yet to release a children’s book.\u003c/p>\n\u003cp>“We knew Michelle Tea was doing an imprint with City Lights, and we knew that she was pregnant and probably had babies on the mind,” Schatz says with a laugh. “Kind of on a lark, we sent it to her, not really thinking it would happen. She loved it, and she went to City Lights with it, and they just got it. Even though they’d never done children’s books, the message was right in line with their commitment to progressive literature and to free speech.”\u003c/p>\n\u003cp>The book was an immediate hit, and not just among punk-rock parents. Released this past March, \u003cem>Rad American Women\u003c/em> sold out of its first and second-print runs. A third printing is set to be released in early May. And while she’d thought the book would be popular among feminist moms and activist communities, Schatz says she was surprised by how much it’s been embraced by the mainstream, garnering rave reviews in \u003cem>\u003ca href=\"http://www.teenvogue.com/entertainment/books/2015-03/rad-american-women-a-z\" target=\"_blank\" rel=\"noopener\">Teen Vogue\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.parents.com/blogs/toddlers-kids/2015/03/11/education/rad-american-women-a-z-an-interview-with-author-kate-schatz/\" target=\"_blank\" rel=\"noopener\">Parents\u003c/a>\u003c/em> and \u003ca href=\"https://www.yahoo.com/beauty/rad-american-women-a-z-the-new-alphabet-youll-110168874153.html\" target=\"_blank\" rel=\"noopener\">Yahoo Beauty\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s easy to make assumptions about who reads, and what they want to read,” says Schatz. “This shows that people are really hungry for books that are bold, progressive and showcase interesting stories.”\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/kate-schatz-and-miriam-klein-stahl-rad-american-women-a-z-book-signing/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Rad American Women A-Z’ Book Signing\u003c/h2>\n\u003cdiv class=\"event-desc\">Kate Schatz and Miriam Klein Stahl appear for Children’s Book Week 2015.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Book Passage, Corte Madera\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kate-schatz-and-miriam-klein-stahl-rad-american-women-a-z-book-signing/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>You could easily fill volumes with sung — and unsung — female heroes of American history. Thus, it was a real challenge for Kate Schatz and Miriam Klein Stahl, author and illustrator, respectively, of \u003cem>Rad American Women A – Z\u003c/em>, to winnow the list to 26.\u003c/p>\n\u003cp>“Narrowing down the women was really the most challenging part about the project,” Schatz tells KQED. About the only thing already decided was that Z was going to be for Zora Neale Hurston, a no-brainer, she says.\u003c/p>\n\u003cp>“Beyond that, we wanted to have a real mix,” Schatz adds. “I wanted to prioritize women of color and maybe people who weren’t as familiar. So right off the bat, some of the more heavy hitters of women’s history were off the list. No disrespect to Susan B. Anthony, but she’s in all the books. We wanted to go beyond that.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://radamericanwomen.com/\" target=\"_blank\" rel=\"noopener\">Rad American Women A-Z: Rebels, Trailblazers, and Visionaries Who Shaped Our History\u003c/a>\u003c/em> offers an exhilarating run through artists, musicians, scientists, activists and athletes who have influenced life in America today. The women represented comprise a vibrant list spanning race, class and sexuality, including Patti Smith, Odetta, Angela Davis, Kate Bornstein, Lucy Parsons, Ursula K. LeGuin, Hazel Scott, the Grimke Sisters, Billie Jean King, Sonia Sotomayor, Temple Grandin, Wilma Mankiller, Jovita Idar, Maya Lin, Dolores Huerta, Carol Burnett and Ella Baker.\u003c/p>\n\u003cfigure id=\"attachment_10622862\" class=\"wp-caption alignright\" style=\"max-width: 498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10622862\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cover.jpg\" alt=\"Book cover. (Courtesy of City Lights Books / Sister Spit)\" width=\"498\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cover.jpg 498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cover-400x514.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cover-467x600.jpg 467w\" sizes=\"(max-width: 498px) 100vw, 498px\">\u003cfigcaption class=\"wp-caption-text\">Book cover. (Courtesy of City Lights Books / Sister Spit)\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s obviously just a jumping-off point, and it could have been a list of 26,000 women,” says Schatz. (Yes, a sequel is in the works.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each one-page bio is written in a charming, easy-to-understand way, but with an underlying political consciousness that’ll appeal to parents who’ve grown tired of an endless parade of trite and fluffy kid’s books.\u003c/p>\n\u003cp>Schatz lives in Alameda with her husband and two kids, a girl and a boy ages six and two. As the Chair of Literary Programs at Oakland School for the Arts, she’s well-familiar with the type of writing that appeals to a younger crowd. At the same time, her previous work, such as \u003ca href=\"http://bloomsbury.com/us/pj-harveys-rid-of-me-a-story-9780826427786/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rid of Me\u003c/em> \u003c/a>for 33 1/3 books (about PJ Harvey’s album), was aimed at adults.\u003c/p>\n\u003cp>The idea for an A-Z guide to feminist and rad women came to Schatz about four years ago, when her daughter was still a toddler. But with another child on the way and a full-time job, starting the project wasn’t easy. Finally, in 2014, she reached out to Miriam Klein Stahl, a Bay Area artist and teacher at Berkeley High School. Stahl has a \u003ca href=\"http://www.blogcitylights.com/2015/03/25/miriam-klein-stahl-bay-area-artist-and-illustrator-of-rad-american-women/\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> making zines, and public and political art; her distinctive stencil-like portraits make a colorful, striking addition to the book.\u003c/p>\n\u003cp>“We’re both moms, and we’re both activists and artists,” says Schatz. “Once we started collaborating, it all happened really fast.”\u003c/p>\n\u003cp>When the book was finished, Stahl and Schatz compiled a list of independent publishers — including City Lights — that might be interested in putting it into the world. The legendary San Francisco independent press had a long history of supporting progressive literature, but they’d yet to release a children’s book.\u003c/p>\n\u003cp>“We knew Michelle Tea was doing an imprint with City Lights, and we knew that she was pregnant and probably had babies on the mind,” Schatz says with a laugh. “Kind of on a lark, we sent it to her, not really thinking it would happen. She loved it, and she went to City Lights with it, and they just got it. Even though they’d never done children’s books, the message was right in line with their commitment to progressive literature and to free speech.”\u003c/p>\n\u003cp>The book was an immediate hit, and not just among punk-rock parents. Released this past March, \u003cem>Rad American Women\u003c/em> sold out of its first and second-print runs. A third printing is set to be released in early May. And while she’d thought the book would be popular among feminist moms and activist communities, Schatz says she was surprised by how much it’s been embraced by the mainstream, garnering rave reviews in \u003cem>\u003ca href=\"http://www.teenvogue.com/entertainment/books/2015-03/rad-american-women-a-z\" target=\"_blank\" rel=\"noopener\">Teen Vogue\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.parents.com/blogs/toddlers-kids/2015/03/11/education/rad-american-women-a-z-an-interview-with-author-kate-schatz/\" target=\"_blank\" rel=\"noopener\">Parents\u003c/a>\u003c/em> and \u003ca href=\"https://www.yahoo.com/beauty/rad-american-women-a-z-the-new-alphabet-youll-110168874153.html\" target=\"_blank\" rel=\"noopener\">Yahoo Beauty\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s easy to make assumptions about who reads, and what they want to read,” says Schatz. “This shows that people are really hungry for books that are bold, progressive and showcase interesting stories.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \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=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \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=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Fighting the Laughter Drought: Humor Where You Least Expect To Find It",
"headTitle": "Fighting the Laughter Drought: Humor Where You Least Expect To Find It | KQED",
"content": "\u003cp>We live in an era of shortages. From water to income, there’s dearth of the things we need to make life livable — especially humor. Yes, we’re lucky to have writers like Dave Barry and Nick Hornby to get us through a week or two with a smile on our faces. But once we’ve exhausted the obvious, where do we look next? Are we headed into the next humor shortage?\u003c/p>\n\u003cp>Fortunately for readers, there’s lots of laughter to be found in places where one least expects it. Humor is not just a genre. It can be a part of any writer’s literary toolkit, and deployed as needed. It’s in the turn of the phrase as much as the pratfall or fart joke.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583083 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation-395x600.jpg\" alt=\"sluyter-natural_meditation\" width=\"151\" height=\"230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation.jpg 400w\" sizes=\"(max-width: 151px) 100vw, 151px\">\u003c/a>Probably the last place one might look for a great, funny, even hilarious piece of writing is a book on meditation. Unless you’re hiding under a rock, you’ve been told meditation is good for you, and “good for you” is generally the most effective laugh-killer on the planet. But, if you’re Dean Sluyter, and the book is \u003cem>Natural Meditation: A Guide to Effortless Meditative Practice\u003c/em>, you know that laughter requires no practice.\u003c/p>\n\u003cp>Sluyter (pronounced “slighter”) offers readers solid advice for meditation in prose that’s often funny, and lessons that run toward the risqué. Here’s the only meditation guide where the author demonstrates the “hammock pose.” Sluyter soft-pedals his prose; he doesn’t overplay the humor, but lets it cross the road. Not too much of a surprise for the author of \u003cem>Why the Chicken Crossed the Road and Other Hidden Enlightenment Teachings\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583078 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/frank-frank-395x600.jpg\" alt=\"frank-frank\" width=\"240\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/frank-frank-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/frank-frank.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">Era-sweeping political memoir is generally the stuff of self-congratulatory puffery. “Import” is inversely proportional to laughter, but in the case of \u003cem>Frank: A Life in Politics from the Great Society to Same-Sex Marriage\u003c/em>, humor is a big part of author’s arsenal. Author and former congressman Barney Frank is well-known for his wit, and it’s on full display here, even (perhaps especially) when he’s explicating the inner workings of the sausage machine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first paragraph of the book gives the reader a great idea of Frank’s approach: “In 1954, I was a fairly normal fourteen-year-old, enjoying sports, unhealthy food, and loud music. But even then I realized that there were two ways in which I was different from the other guys: I was attracted to the idea of serving in government and I was attracted to the other guys.” No matter what your affiliation, there’s a lot of dry wit. Frank is an equal opportunity observer of human frailty, including his own. He’s so entertaining, you might even see sausage in a better light after reading his book.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583082 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart-388x600.jpg\" alt=\"simmons-the_fifth_heart\" width=\"215\" height=\"332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart.jpg 621w\" sizes=\"(max-width: 215px) 100vw, 215px\">\u003c/a>Neither Sherlock Holmes nor Henry James are names one might associate immediately with humor. Nor would one think the meta-fictional combination of the two in Dan Simmons’ compelling, suspense historical mystery novel \u003cem>The Fifth Heart\u003c/em> would also be so funny. But make no mistake — Simmons takes his characters and his suspense seriously. His detailed prose re-creates the post-Victorian era with meticulous care. The premise in \u003cem>The Fifth Heart\u003c/em> is clever: Holmes, having deduced that he’s a fictional character, seeks James’ help in solving a mystery. It’s a novel that really needs nothing more to be enjoyable.\u003c/p>\n\u003cp>But Simmons has so much fun sending up Holmes, James, and his own metafictional construct that he turns it into a rousing combination of satire and suspense. It helps that he’s hardest on himself, as one of those narrators who pops in now and again to interrupt the story. The deadpan patter between authors and characters on every level adds a layer of laughter to this book that’s transcendently hilarious.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ronson-so_youve_been_publicly_shamed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583081 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ronson-so_youve_been_publicly_shamed.jpg\" alt=\"ronson-so_youve_been_publicly_shamed\" width=\"252\" height=\"374\">\u003c/a>We know that the internet is the new frontier for maliciousness and malingering. Fingers flicker across a keyboard and families fly asunder. It’s an instrument with which one can commit social suicide on an international scale. None of this should be funny. But Jon Ronson’s \u003cem>So You’ve Been Publicly Shamed\u003c/em> makes the case for the enjoyability of embarrassing others.\u003c/p>\n\u003cp>Like any good comedian, Ronson takes aim at himself. “It’s like when I used to smoke and I’d hope the tobacconist would hand me the pack that read SMOKING CAUSES AGING OF THE SKIN instead of the pack that read SMOKING KILLS — because aging of the skin? I didn’t mind that.” Ronson manages to offer lots of fascinating dissection of a culture that’s in constant flux, with prose that mines his astonishing powers of self-deprecation. The world is going to hell on a bullet train, but Ronson makes sure he gets there first.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The power of books that are funny, but don’t look like it, is that you can have it both ways. Learn something and laugh out loud early and often. You can fight the humor shortage — without recycling jokes.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an era of shortages. From water to income, there’s dearth of the things we need to make life livable — especially humor. Yes, we’re lucky to have writers like Dave Barry and Nick Hornby to get us through a week or two with a smile on our faces. But once we’ve exhausted the obvious, where do we look next? Are we headed into the next humor shortage?\u003c/p>\n\u003cp>Fortunately for readers, there’s lots of laughter to be found in places where one least expects it. Humor is not just a genre. It can be a part of any writer’s literary toolkit, and deployed as needed. It’s in the turn of the phrase as much as the pratfall or fart joke.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583083 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation-395x600.jpg\" alt=\"sluyter-natural_meditation\" width=\"151\" height=\"230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sluyter-natural_meditation.jpg 400w\" sizes=\"(max-width: 151px) 100vw, 151px\">\u003c/a>Probably the last place one might look for a great, funny, even hilarious piece of writing is a book on meditation. Unless you’re hiding under a rock, you’ve been told meditation is good for you, and “good for you” is generally the most effective laugh-killer on the planet. But, if you’re Dean Sluyter, and the book is \u003cem>Natural Meditation: A Guide to Effortless Meditative Practice\u003c/em>, you know that laughter requires no practice.\u003c/p>\n\u003cp>Sluyter (pronounced “slighter”) offers readers solid advice for meditation in prose that’s often funny, and lessons that run toward the risqué. Here’s the only meditation guide where the author demonstrates the “hammock pose.” Sluyter soft-pedals his prose; he doesn’t overplay the humor, but lets it cross the road. Not too much of a surprise for the author of \u003cem>Why the Chicken Crossed the Road and Other Hidden Enlightenment Teachings\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583078 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/frank-frank-395x600.jpg\" alt=\"frank-frank\" width=\"240\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/frank-frank-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/frank-frank.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">Era-sweeping political memoir is generally the stuff of self-congratulatory puffery. “Import” is inversely proportional to laughter, but in the case of \u003cem>Frank: A Life in Politics from the Great Society to Same-Sex Marriage\u003c/em>, humor is a big part of author’s arsenal. Author and former congressman Barney Frank is well-known for his wit, and it’s on full display here, even (perhaps especially) when he’s explicating the inner workings of the sausage machine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first paragraph of the book gives the reader a great idea of Frank’s approach: “In 1954, I was a fairly normal fourteen-year-old, enjoying sports, unhealthy food, and loud music. But even then I realized that there were two ways in which I was different from the other guys: I was attracted to the idea of serving in government and I was attracted to the other guys.” No matter what your affiliation, there’s a lot of dry wit. Frank is an equal opportunity observer of human frailty, including his own. He’s so entertaining, you might even see sausage in a better light after reading his book.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583082 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart-388x600.jpg\" alt=\"simmons-the_fifth_heart\" width=\"215\" height=\"332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart-388x600.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/simmons-the_fifth_heart.jpg 621w\" sizes=\"(max-width: 215px) 100vw, 215px\">\u003c/a>Neither Sherlock Holmes nor Henry James are names one might associate immediately with humor. Nor would one think the meta-fictional combination of the two in Dan Simmons’ compelling, suspense historical mystery novel \u003cem>The Fifth Heart\u003c/em> would also be so funny. But make no mistake — Simmons takes his characters and his suspense seriously. His detailed prose re-creates the post-Victorian era with meticulous care. The premise in \u003cem>The Fifth Heart\u003c/em> is clever: Holmes, having deduced that he’s a fictional character, seeks James’ help in solving a mystery. It’s a novel that really needs nothing more to be enjoyable.\u003c/p>\n\u003cp>But Simmons has so much fun sending up Holmes, James, and his own metafictional construct that he turns it into a rousing combination of satire and suspense. It helps that he’s hardest on himself, as one of those narrators who pops in now and again to interrupt the story. The deadpan patter between authors and characters on every level adds a layer of laughter to this book that’s transcendently hilarious.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ronson-so_youve_been_publicly_shamed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10583081 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ronson-so_youve_been_publicly_shamed.jpg\" alt=\"ronson-so_youve_been_publicly_shamed\" width=\"252\" height=\"374\">\u003c/a>We know that the internet is the new frontier for maliciousness and malingering. Fingers flicker across a keyboard and families fly asunder. It’s an instrument with which one can commit social suicide on an international scale. None of this should be funny. But Jon Ronson’s \u003cem>So You’ve Been Publicly Shamed\u003c/em> makes the case for the enjoyability of embarrassing others.\u003c/p>\n\u003cp>Like any good comedian, Ronson takes aim at himself. “It’s like when I used to smoke and I’d hope the tobacconist would hand me the pack that read SMOKING CAUSES AGING OF THE SKIN instead of the pack that read SMOKING KILLS — because aging of the skin? I didn’t mind that.” Ronson manages to offer lots of fascinating dissection of a culture that’s in constant flux, with prose that mines his astonishing powers of self-deprecation. The world is going to hell on a bullet train, but Ronson makes sure he gets there first.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The power of books that are funny, but don’t look like it, is that you can have it both ways. Learn something and laugh out loud early and often. You can fight the humor shortage — without recycling jokes.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Amber Tamblyn Survived Creative Death and Lived to Tell the Tale",
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"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/amber-tambyln/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Amber Tamblyn\u003c/h2>\n\u003cdiv class=\"event-desc\">Author appears with Diane di Prima.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">City Lights Books\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/amber-tambyln/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amber Tamblyn, the poet and actress best known for her Emmy-nominated turn on\u003ca href=\"http://en.wikipedia.org/wiki/Joan_of_Arcadia\"> \u003cem>Joan of Arcadia\u003c/em>\u003c/a>, is well-versed in the emotional peril of being a young woman in Hollywood. The daughter of actor Russ Tamblyn (\u003cem>West Side Story\u003c/em>, \u003cem>Twin Peaks\u003c/em>), she got her start in 1995 on \u003cem>General Hospital\u003c/em>. She left the soap opera in 2001, and went on to star in the popular \u003cem>Sisterhood of the Traveling Pants\u003c/em> franchise. In recent years, the 31-year-old actress starred in \u003cem>Two and a Half Men\u003c/em>, acted in a stage production of Neil LaBute’s \u003cem>Reasons to Be Pretty\u003c/em>, and guest-starred on various television shows, including \u003cem>The Increasingly Poor Decisions of Todd Margaret\u003c/em> alongside her husband, the comedian and actor David Cross.\u003c/p>\n\u003cp>At the same time, Tamblyn has cultivated a respectable career as a poet, with three books of poetry under her belt. Her latest, \u003cem>Dark Sparkler\u003c/em>, is a perceptive, harrowing study of dead actresses, past and present: Sharon Tate, Judith Barsi, Frances Farmer, Dominique Dunn, Dana Plato, and Jean Harlow, to name a few. The book began as a one-off poem about Brittany Murphy, a peer of Tamblyn’s (the two actresses met once, during auditions for the Eminem biopic \u003cem>8 Mile\u003c/em>). “Brittany Murphy” manages to humanize the doe-eyed ingenue, who died in her shower of possible complications of pneumonia in 2009.\u003c/p>\n\u003cp>Tamblyn reads from \u003cem>Dark Sparkler\u003c/em> at City Lights Books on April 28. The event is hosted by San Francisco beat legend Diane di Prima — an appropriate choice, as Tamblyn grew up surrounded by Bay Area poetry icons like Jack Hirschman and Michael McClure. KQED spoke with Tamblyn by phone this week.\u003c/p>\n\u003cp>\u003cstrong>How are you connected to the San Francisco poetry scene? \u003c/strong>\u003c/p>\n\u003cp>I was raised around a lot of those poets. Jack Hirschman is like a second father to me. He’s one of my dad’s closest friends. He and Michael McClure. My dad really only has like four core friends. Jack is one of them. Neil Young. George Herms, the collage artist. They all lived in Topanga Canyon together in the sixties. I was always in a household filled with poets and musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Is it true that your first poem was published in the \u003cem>San Francisco Chronicle\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>Yes, it was published in a magazine that was an insert to the \u003cem>Chronicle\u003c/em>, called \u003cem>Cups\u003c/em>. The poem was called “Kill Me So Much.” It was sort of a political ode. I wrote it when I was twelve. I was heavily influenced by Jack Hirschman’s work. It really was an ode to him and his style of poetry. He was very taken with it and he was the one that was responsible for getting it published. Anybody that knows Jack, it’s the communist/proletariat in him, he believes in everyone, and believes in art so emphatically. He’ll help you get your chapbook made, he’ll take your poems to his editor, that’s what he does.\u003c/p>\n\u003cp>\u003cstrong>You call him a mentor. Was he supportive early on? \u003c/strong>\u003c/p>\n\u003cp>Extremely. He’s also a mentor in the way that he’s hurt my feelings many times by telling me when a poem wasn’t good enough. He was always right. He’s not someone to mince words or to protect your feelings for the sake of protecting. That doesn’t mean he goes out of his way to hurt, but he will tell you like it is — especially when he knows that you can do better or dig deeper. My first book \u003cem>Free Stallions\u003c/em> was dedicated to him. He’s edited almost all of my work aside from \u003cem>Dark Sparkler.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DarkSparkler-hc-c-e1429810244427.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10583339\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DarkSparkler-hc-c-e1429810244427.jpg\" alt=\"DarkSparkler hc c\" width=\"500\" height=\"666\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Diane di Prima wrote the foreword for \u003cem>Dark Sparkler\u003c/em>. Was she also around during your childhood? How did your connection to her come about? \u003c/strong>\u003c/p>\n\u003cp>Diane was always like a wild wolf that I could never quite get close to. I was heavily influenced by her poetry, and especially her memoir \u003cem>Recollections of My Life as a Woman\u003c/em>. That book single-handedly changed my relationship to myself as a woman. George Herms and Diane have been best friends forever. He’d known that I always had a wild crush on Diane. I think we were at Michael McClure’s 70th birthday and George specifically set it up so that I was sitting at the same table as Diane. My hands were super sweaty from nerves. We got to talking and slowly became friends.\u003c/p>\n\u003cp>\u003cstrong>In the foreword, di Prima writes: “\u003cem>Dark Sparkler\u003c/em> is many things. It is, first of all, wonderful poetry. It is also cartography in that it maps a previously unexplored piece of women’s experience — a part of the map with which Ms. Tamblyn is personally familiar.” It’s an apt description of what you are doing in the book.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>I’d been emailing Diane these poems from the book and getting hand-written letters from her (which are now framed in my house!) She doesn’t usually quote books. And she turned me down when I asked for a blurb for \u003cem>Dark Sparkler\u003c/em>. She said, “I’m not interested in quoting the book, but I will write its foreword.” I almost fell off my chair. Only she could write so eloquently, having no understanding of Hollywood in the intimate way that I do, but that she could nail it on the head in the way that she did, was so profound.\u003c/p>\n\u003cp>At the end of the day, what she’s saying, and what she understands is that, the stories of these women in this book are not just the plight of celebrityism. They are the plight of everyday womanism – what it’s like to be projected on, no matter what field you’re in. To not believe in yourself and not think you’re good enough. To constantly be struggling against those paradigms and double-standards.\u003c/p>\n\u003cp>\u003cstrong>That’s how I felt reading \u003cem>Dark Sparkler\u003c/em> as well. It’s a harrowing read — for the reason you just mentioned, and also because of learning the horrific things that happened to these women and girls. Like Judith Barsi, for example. I hadn’t thought about her since the ’80s. And you look up the stories and they are just so sad. What was the process of writing the book like?\u003c/strong>\u003c/p>\n\u003cp>It was a huge process. Some poems would come really easily. Other times I was just mad at the entire process, and over it, and wanted to quit. I did stop writing the poems for about a year. It was after the Dana Plato poem. I’d made myself listen to \u003ca href=\"https://www.youtube.com/watch?v=iEKMbqtI-84\" target=\"_blank\" rel=\"noopener\">this Howard Stern interview\u003c/a> that she did, where she started crying, and people were saying these terrible things to her. And then she died the next day of a drug overdose in her mother’s RV on Mother’s Day, which I also talk about in the book a little bit.\u003c/p>\n\u003cp>Look, it’s really hard to study your dead peers. Not just their death, but to study their pain. That’s not to say that I identified with them, because I didn’t. But I did understand their helplessness. Or, what I perceived to be their helplessness. Their suffering at not being able to get out of certain pigeonholes, to not be able to grow and see themselves in a certain light. Those things, I had some understanding of.\u003c/p>\n\u003cp>Going back to that cartography, ultimately, that’s what the book became for me. It was less a study or a journalistic look into these women’s lives, but instead it was about the interpersonal life of women, and how we treat ourselves, how we view ourselves, and ultimately, my own relationship with myself. I’ve said this before, and I’ll say it again: The book is an invitation to my funeral. The me that existed before this happened was a less strong person who wasn’t totally ready to grasp what they are capable of.\u003c/p>\n\u003cp>\u003cstrong>In one interview you said, “Making this book was a life-saving experience for me.” I thought that was interesting, considering the subject matter. What did you mean by this? \u003c/strong>\u003c/p>\n\u003cp>I feel like a lot of the interviews with me have taken this out of context. The \u003ca href=\"http://www.washingtonpost.com/lifestyle/style/for-amber-tamblyn-writing-poems-about-dead-actresses-was-an-exorcism/2015/04/17/8f56cb28-e519-11e4-905f-cc896d379a32_story.html\">interview\u003c/a> with the \u003cem>Washington Post\u003c/em>, and the woman at the \u003cem>Los Angeles Times\u003c/em> did the \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-amber-tamblyn-20150412-story.html\">same thing\u003c/a>.\u003c/p>\n\u003cp>I never felt suicidal. There was never a sense of thinking I wanted to die. It was more about surviving the pigeonhole. It was more “I’m going to survive the cliché that I’ve become, or that I think I am.” I didn’t know anything other than how to audition, my entire life. I did nothing else but that and writing poetry. I wanted to direct, I wanted to write a great novel, I wanted to write a script, but I didn’t feel like I had \u003cem>permission\u003c/em> to do any of that. The word “permission” comes into play big-time in the inner minds of women. You constantly feel like you’re having to ask for it. You’re needing to have it. So really this was my mind’s survival. The book became the way for my brain and my heart to survive that which was creatively killing it. It was survival from creative death.\u003c/p>\n\u003cp>\u003cstrong>The challenge then becomes, how do you take those insights into your current life? \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The minute I embraced that idea of creative death, it was really revelatory. Writing the epilogue in this book was a revolutionary act for me. And then having Harper Collins buy it, knowing it was going to have an impact, being able to say “Look at this thing you’ve done” — that let all the gates open at the same time. A film I wrote and directed, \u003cem>Paint it Black\u003c/em>, based on the novel by Janet Fitch, was shot. I’m producing a TV show in the fall. All the things that I wanted to do, but I just didn’t know how to get them going, are now off and running. What I experienced is not unlike what any other 28- or 29-year-old is experiencing, which is Saturn’s Return. This big existential crisis. This sense of “what am I doing?” There are bigger fish for me to fry. I have the fish. I just don’t know how to fry them. Writing \u003cem>Dark Sparkler\u003c/em> was me taking cooking lessons, for lack of a better metaphor.\u003c/p>\n\n",
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"excerpt": "The actress and author talks with KQED about her new book \u003cem>Dark Sparkler\u003c/em>, a collection of poems about deceased actresses, and the crippling circumstances leading up to its publication.",
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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/amber-tambyln/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Amber Tamblyn\u003c/h2>\n\u003cdiv class=\"event-desc\">Author appears with Diane di Prima.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">City Lights Books\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/amber-tambyln/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Amber Tamblyn, the poet and actress best known for her Emmy-nominated turn on\u003ca href=\"http://en.wikipedia.org/wiki/Joan_of_Arcadia\"> \u003cem>Joan of Arcadia\u003c/em>\u003c/a>, is well-versed in the emotional peril of being a young woman in Hollywood. The daughter of actor Russ Tamblyn (\u003cem>West Side Story\u003c/em>, \u003cem>Twin Peaks\u003c/em>), she got her start in 1995 on \u003cem>General Hospital\u003c/em>. She left the soap opera in 2001, and went on to star in the popular \u003cem>Sisterhood of the Traveling Pants\u003c/em> franchise. In recent years, the 31-year-old actress starred in \u003cem>Two and a Half Men\u003c/em>, acted in a stage production of Neil LaBute’s \u003cem>Reasons to Be Pretty\u003c/em>, and guest-starred on various television shows, including \u003cem>The Increasingly Poor Decisions of Todd Margaret\u003c/em> alongside her husband, the comedian and actor David Cross.\u003c/p>\n\u003cp>At the same time, Tamblyn has cultivated a respectable career as a poet, with three books of poetry under her belt. Her latest, \u003cem>Dark Sparkler\u003c/em>, is a perceptive, harrowing study of dead actresses, past and present: Sharon Tate, Judith Barsi, Frances Farmer, Dominique Dunn, Dana Plato, and Jean Harlow, to name a few. The book began as a one-off poem about Brittany Murphy, a peer of Tamblyn’s (the two actresses met once, during auditions for the Eminem biopic \u003cem>8 Mile\u003c/em>). “Brittany Murphy” manages to humanize the doe-eyed ingenue, who died in her shower of possible complications of pneumonia in 2009.\u003c/p>\n\u003cp>Tamblyn reads from \u003cem>Dark Sparkler\u003c/em> at City Lights Books on April 28. The event is hosted by San Francisco beat legend Diane di Prima — an appropriate choice, as Tamblyn grew up surrounded by Bay Area poetry icons like Jack Hirschman and Michael McClure. KQED spoke with Tamblyn by phone this week.\u003c/p>\n\u003cp>\u003cstrong>How are you connected to the San Francisco poetry scene? \u003c/strong>\u003c/p>\n\u003cp>I was raised around a lot of those poets. Jack Hirschman is like a second father to me. He’s one of my dad’s closest friends. He and Michael McClure. My dad really only has like four core friends. Jack is one of them. Neil Young. George Herms, the collage artist. They all lived in Topanga Canyon together in the sixties. I was always in a household filled with poets and musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Is it true that your first poem was published in the \u003cem>San Francisco Chronicle\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>Yes, it was published in a magazine that was an insert to the \u003cem>Chronicle\u003c/em>, called \u003cem>Cups\u003c/em>. The poem was called “Kill Me So Much.” It was sort of a political ode. I wrote it when I was twelve. I was heavily influenced by Jack Hirschman’s work. It really was an ode to him and his style of poetry. He was very taken with it and he was the one that was responsible for getting it published. Anybody that knows Jack, it’s the communist/proletariat in him, he believes in everyone, and believes in art so emphatically. He’ll help you get your chapbook made, he’ll take your poems to his editor, that’s what he does.\u003c/p>\n\u003cp>\u003cstrong>You call him a mentor. Was he supportive early on? \u003c/strong>\u003c/p>\n\u003cp>Extremely. He’s also a mentor in the way that he’s hurt my feelings many times by telling me when a poem wasn’t good enough. He was always right. He’s not someone to mince words or to protect your feelings for the sake of protecting. That doesn’t mean he goes out of his way to hurt, but he will tell you like it is — especially when he knows that you can do better or dig deeper. My first book \u003cem>Free Stallions\u003c/em> was dedicated to him. He’s edited almost all of my work aside from \u003cem>Dark Sparkler.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DarkSparkler-hc-c-e1429810244427.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10583339\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DarkSparkler-hc-c-e1429810244427.jpg\" alt=\"DarkSparkler hc c\" width=\"500\" height=\"666\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Diane di Prima wrote the foreword for \u003cem>Dark Sparkler\u003c/em>. Was she also around during your childhood? How did your connection to her come about? \u003c/strong>\u003c/p>\n\u003cp>Diane was always like a wild wolf that I could never quite get close to. I was heavily influenced by her poetry, and especially her memoir \u003cem>Recollections of My Life as a Woman\u003c/em>. That book single-handedly changed my relationship to myself as a woman. George Herms and Diane have been best friends forever. He’d known that I always had a wild crush on Diane. I think we were at Michael McClure’s 70th birthday and George specifically set it up so that I was sitting at the same table as Diane. My hands were super sweaty from nerves. We got to talking and slowly became friends.\u003c/p>\n\u003cp>\u003cstrong>In the foreword, di Prima writes: “\u003cem>Dark Sparkler\u003c/em> is many things. It is, first of all, wonderful poetry. It is also cartography in that it maps a previously unexplored piece of women’s experience — a part of the map with which Ms. Tamblyn is personally familiar.” It’s an apt description of what you are doing in the book.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>I’d been emailing Diane these poems from the book and getting hand-written letters from her (which are now framed in my house!) She doesn’t usually quote books. And she turned me down when I asked for a blurb for \u003cem>Dark Sparkler\u003c/em>. She said, “I’m not interested in quoting the book, but I will write its foreword.” I almost fell off my chair. Only she could write so eloquently, having no understanding of Hollywood in the intimate way that I do, but that she could nail it on the head in the way that she did, was so profound.\u003c/p>\n\u003cp>At the end of the day, what she’s saying, and what she understands is that, the stories of these women in this book are not just the plight of celebrityism. They are the plight of everyday womanism – what it’s like to be projected on, no matter what field you’re in. To not believe in yourself and not think you’re good enough. To constantly be struggling against those paradigms and double-standards.\u003c/p>\n\u003cp>\u003cstrong>That’s how I felt reading \u003cem>Dark Sparkler\u003c/em> as well. It’s a harrowing read — for the reason you just mentioned, and also because of learning the horrific things that happened to these women and girls. Like Judith Barsi, for example. I hadn’t thought about her since the ’80s. And you look up the stories and they are just so sad. What was the process of writing the book like?\u003c/strong>\u003c/p>\n\u003cp>It was a huge process. Some poems would come really easily. Other times I was just mad at the entire process, and over it, and wanted to quit. I did stop writing the poems for about a year. It was after the Dana Plato poem. I’d made myself listen to \u003ca href=\"https://www.youtube.com/watch?v=iEKMbqtI-84\" target=\"_blank\" rel=\"noopener\">this Howard Stern interview\u003c/a> that she did, where she started crying, and people were saying these terrible things to her. And then she died the next day of a drug overdose in her mother’s RV on Mother’s Day, which I also talk about in the book a little bit.\u003c/p>\n\u003cp>Look, it’s really hard to study your dead peers. Not just their death, but to study their pain. That’s not to say that I identified with them, because I didn’t. But I did understand their helplessness. Or, what I perceived to be their helplessness. Their suffering at not being able to get out of certain pigeonholes, to not be able to grow and see themselves in a certain light. Those things, I had some understanding of.\u003c/p>\n\u003cp>Going back to that cartography, ultimately, that’s what the book became for me. It was less a study or a journalistic look into these women’s lives, but instead it was about the interpersonal life of women, and how we treat ourselves, how we view ourselves, and ultimately, my own relationship with myself. I’ve said this before, and I’ll say it again: The book is an invitation to my funeral. The me that existed before this happened was a less strong person who wasn’t totally ready to grasp what they are capable of.\u003c/p>\n\u003cp>\u003cstrong>In one interview you said, “Making this book was a life-saving experience for me.” I thought that was interesting, considering the subject matter. What did you mean by this? \u003c/strong>\u003c/p>\n\u003cp>I feel like a lot of the interviews with me have taken this out of context. The \u003ca href=\"http://www.washingtonpost.com/lifestyle/style/for-amber-tamblyn-writing-poems-about-dead-actresses-was-an-exorcism/2015/04/17/8f56cb28-e519-11e4-905f-cc896d379a32_story.html\">interview\u003c/a> with the \u003cem>Washington Post\u003c/em>, and the woman at the \u003cem>Los Angeles Times\u003c/em> did the \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-amber-tamblyn-20150412-story.html\">same thing\u003c/a>.\u003c/p>\n\u003cp>I never felt suicidal. There was never a sense of thinking I wanted to die. It was more about surviving the pigeonhole. It was more “I’m going to survive the cliché that I’ve become, or that I think I am.” I didn’t know anything other than how to audition, my entire life. I did nothing else but that and writing poetry. I wanted to direct, I wanted to write a great novel, I wanted to write a script, but I didn’t feel like I had \u003cem>permission\u003c/em> to do any of that. The word “permission” comes into play big-time in the inner minds of women. You constantly feel like you’re having to ask for it. You’re needing to have it. So really this was my mind’s survival. The book became the way for my brain and my heart to survive that which was creatively killing it. It was survival from creative death.\u003c/p>\n\u003cp>\u003cstrong>The challenge then becomes, how do you take those insights into your current life? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The minute I embraced that idea of creative death, it was really revelatory. Writing the epilogue in this book was a revolutionary act for me. And then having Harper Collins buy it, knowing it was going to have an impact, being able to say “Look at this thing you’ve done” — that let all the gates open at the same time. A film I wrote and directed, \u003cem>Paint it Black\u003c/em>, based on the novel by Janet Fitch, was shot. I’m producing a TV show in the fall. All the things that I wanted to do, but I just didn’t know how to get them going, are now off and running. What I experienced is not unlike what any other 28- or 29-year-old is experiencing, which is Saturn’s Return. This big existential crisis. This sense of “what am I doing?” There are bigger fish for me to fry. I have the fish. I just don’t know how to fry them. Writing \u003cem>Dark Sparkler\u003c/em> was me taking cooking lessons, for lack of a better metaphor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yes, it’s a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" title=\"Poetry Priced Out: Rent Hike Forces Emeryville Laureate to Move\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Yes, it's a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\r\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "Learning From the 'Compañeras' of Chiapas: Zapatista Women's Stories",
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"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/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Compañeras’ Book Release\u003c/h2>\n\u003cdiv class=\"event-desc\">Stories from Zapatista women.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Eric Quezada Center for Culture and Politics\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the first day of 1994, as the North American Free Trade Agreement laws first went into effect, a group of Mexican rebels declared war against their government. Several thousand Zapatistas descended on towns throughout Chiapas, demanding revolution and resistance against globalization. They wanted radical democracy, and for 20 years they have not only sustained themselves, they have built an autonomous society with healthcare, education and sustainable agriculture.\u003c/p>\n\u003cp>One major and often untold aspect of the Zapatista movement is that of women’s leadership, a topic Hilary Klein covers inclusively in her new book, \u003cem>\u003ca href=\"http://catalog.sevenstories.com/products/companeras-zapatista-womens-stories\" target=\"_blank\" rel=\"noopener\">Compañeras: Zapatista Women’s Stories\u003c/a>\u003c/em> (Seven Stories Press, 2015). \u003ca href=\"http://www.politicaleducation.org/\">The Eric Quezada Center for Culture and Politics\u003c/a> in San Francisco celebrates the launch of Klein’s work with a book reading and signing, a panel discussion with Tere Almaguer, Caleb Duarte, and Roxanne Dunbar-Ortiz, and live music from Francisco Herrera on Apr. 23.\u003c/p>\n\u003cp>In \u003cem>Compañeras\u003c/em>, Klein features firsthand stories of Zapatista women she interviewed while working with women’s projects in Chiapas for six years. Stories illustrate the major changes women experienced after leaving their homes and traditional gender roles to join the uprising and the empowerment and freedom that followed.\u003c/p>\n\u003cp>The tales range from new access to health care and health education, to tales of women in leadership and their changed roles within the family. \u003cem>Compañeras\u003c/em> provides an all-encompassing portrait of the positive personal and societal revolution that the women, as equal, key players in the Zapatista movement, have created and experienced. In Chiapas, the role of women as a collective entity has transformed their society. Furthermore, women’s equality isn’t limited to the Zapatista communities, but also impacts civilians living in more traditional \u003ca href=\"http://www.telesurtv.net/english/opinion/International-Womens-Day-in-Zapatista-Territory-20150306-0033.html\" target=\"_blank\" rel=\"noopener\">neighboring communities\u003c/a>.\u003c/p>\n\u003cp>The Zapatista society isn’t perfect and remains a work in progress, but as Klein describes it – particularly in regards to women’s equality – there is much to be learned from them about creating a radically safe, empowered society for women and girls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\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/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Compañeras’ Book Release\u003c/h2>\n\u003cdiv class=\"event-desc\">Stories from Zapatista women.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Eric Quezada Center for Culture and Politics\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the first day of 1994, as the North American Free Trade Agreement laws first went into effect, a group of Mexican rebels declared war against their government. Several thousand Zapatistas descended on towns throughout Chiapas, demanding revolution and resistance against globalization. They wanted radical democracy, and for 20 years they have not only sustained themselves, they have built an autonomous society with healthcare, education and sustainable agriculture.\u003c/p>\n\u003cp>One major and often untold aspect of the Zapatista movement is that of women’s leadership, a topic Hilary Klein covers inclusively in her new book, \u003cem>\u003ca href=\"http://catalog.sevenstories.com/products/companeras-zapatista-womens-stories\" target=\"_blank\" rel=\"noopener\">Compañeras: Zapatista Women’s Stories\u003c/a>\u003c/em> (Seven Stories Press, 2015). \u003ca href=\"http://www.politicaleducation.org/\">The Eric Quezada Center for Culture and Politics\u003c/a> in San Francisco celebrates the launch of Klein’s work with a book reading and signing, a panel discussion with Tere Almaguer, Caleb Duarte, and Roxanne Dunbar-Ortiz, and live music from Francisco Herrera on Apr. 23.\u003c/p>\n\u003cp>In \u003cem>Compañeras\u003c/em>, Klein features firsthand stories of Zapatista women she interviewed while working with women’s projects in Chiapas for six years. Stories illustrate the major changes women experienced after leaving their homes and traditional gender roles to join the uprising and the empowerment and freedom that followed.\u003c/p>\n\u003cp>The tales range from new access to health care and health education, to tales of women in leadership and their changed roles within the family. \u003cem>Compañeras\u003c/em> provides an all-encompassing portrait of the positive personal and societal revolution that the women, as equal, key players in the Zapatista movement, have created and experienced. In Chiapas, the role of women as a collective entity has transformed their society. Furthermore, women’s equality isn’t limited to the Zapatista communities, but also impacts civilians living in more traditional \u003ca href=\"http://www.telesurtv.net/english/opinion/International-Womens-Day-in-Zapatista-Territory-20150306-0033.html\" target=\"_blank\" rel=\"noopener\">neighboring communities\u003c/a>.\u003c/p>\n\u003cp>The Zapatista society isn’t perfect and remains a work in progress, but as Klein describes it – particularly in regards to women’s equality – there is much to be learned from them about creating a radically safe, empowered society for women and girls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The New World: An Uncomfortably Familiar Meditation on Marriage",
"headTitle": "The New World: An Uncomfortably Familiar Meditation on Marriage | KQED",
"content": "\u003cp>You don’t have to be married to get \u003cem>The New World\u003c/em>. That said, if you are married (as I am) there are certain moments in the book that might resonate in a discomforting way.\u003c/p>\n\u003cp>Out this month on Farrar, Straus and Giroux, \u003cem>The New World\u003c/em> is written by Eli Horowitz and Chris Adrian. This combo is the literary equivalent of a two-punch knockout. Horowitz, who lives in San Francisco, was a managing editor and publisher at McSweeney’s. He edited Miranda July’s brilliant novel \u003cem>The First Bad Man\u003c/em>. He co-authored the breakthrough digital novel \u003cem>\u003ca href=\"http://www.thesilenthistory.com/\" target=\"_blank\" rel=\"noopener\">The Silent History\u003c/a>\u003c/em>. And if you haven’t heard of Chris Adrian, I demand you run out and pick up a copy of \u003cem>\u003ca href=\"http://www.pw.org/readers-recommend/the_childrens_hospital\" target=\"_blank\" rel=\"noopener\">The Children’s Hospital.\u003c/a>\u003c/em> It’s a sprawling, messy, monster of a novel. For me, it will go down in history as a book ended with me in the fetal position, bawling like a baby as my confused husband tried to soothe me.\u003c/p>\n\u003cp>With this kind of pedigree, I couldn’t wait to see what these two minds would devise together. \u003cem>The New World,\u003c/em> like \u003cem>The Silent History\u003c/em>, was conceived as a digital novella for \u003ca href=\"https://magazine.atavist.com/stories/the-new-world/\" target=\"_blank\" rel=\"noopener\">The Atavist\u003c/a>. I haven’t read the digital edition. In fact, I didn’t hear a peep about this book until last month when I saw that Farrar, Straus and Giroux was publishing it as a traditional paper-bound novel. This \u003ca href=\"http://gizmodo.com/the-one-ebook-you-have-to-read-if-you-care-about-the-fu-1690438494\" target=\"_blank\" rel=\"noopener\">review\u003c/a> does a good job of breaking down the experience of reading \u003cem>The New World \u003c/em>in its original iteration. It’s a format that allows for a break in linear narrative structure, and one that probably served the plot of the novel well.\u003c/p>\n\u003cp>The story travels back and forth in time, without much worry about whether the reader knows what’s going on. At first, the willing disregard of straightforward narrative made me want to throw the book across the room. As the mother of a toddler who does most of my reading late into the night, I don’t have much patience (these days) for willful perversity.\u003c/p>\n\u003cp>I’m glad to have stuck with it, because by page 43, when the mother of main character Jane tells her daughter, “Only Ahab would ever sue in anger,” I was riveted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story is fairly simple. It’s a tale of marriage. Cycle One opens with Jane, a pediatric surgeon on her way home from a business trip in Paris. Her husband Jim, a humanistic chaplain who doesn’t believe in god, and works at the same hospital as Jane, has collapsed suddenly and died. Jane doesn’t know it yet. Once her plane lands, she heads to the hospital. She discovers not only that her husband is dead, but that a shadowy cryogenics company called Polaris has absconded with his head. Despite Jane and Jim’s vow to be “always together, never apart,” Jim has secretly signed on for a new life in an undetermined future. A life that may or may not include Jane.\u003c/p>\n\u003cp>What follows is a book which unpeels a marriage layer by layer, tragedy by tragedy, vow by broken vow. Each cycle uncovers bits and pieces of Jane and Jim’s story. Jane stews in anger, regret, and grief at the loss of her husband (and his head) – a toxic combination which sends her into a tailspin of vengeful thoughts. Jim struggles to navigate a strange new world, where social workers named Alice help the newly reanimated make their way through three cycles towards a beaming Polaris permanent afterlife: Incarnation, Examination, and Debut. Each cycle of the novel represents one of these stages. The only catch? For Jim to wake into his new post-death life, to make his “debut,” he must forget everything and everyone that he loved before.\u003c/p>\n\u003cp>“Love and memory are powerfully elastic,” Alice tells him. “If you do not cut the connecting strands, then they will draw you back into \u003cem>oblivion\u003c/em>.”\u003c/p>\n\u003cp>But it’s not that easy. Despite betrayals, disappointments, emotional distance, and brazen infidelity, Jim loves Jane with all of his heart.\u003c/p>\n\u003cp>Jane, on the other hand? “\u003cem>Sometimes I love him so much I can hardly stand it\u003c/em>. Sometimes it felt like the only purpose in her life was to hurry toward him, and sometimes it felt like the only purpose was to hurry away. \u003cem>And isn’t it like that for everyone\u003c/em>? she asked.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is it? Like the best novels do, \u003cem>The New World\u003c/em> leaves you wondering.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t have to be married to get \u003cem>The New World\u003c/em>. That said, if you are married (as I am) there are certain moments in the book that might resonate in a discomforting way.\u003c/p>\n\u003cp>Out this month on Farrar, Straus and Giroux, \u003cem>The New World\u003c/em> is written by Eli Horowitz and Chris Adrian. This combo is the literary equivalent of a two-punch knockout. Horowitz, who lives in San Francisco, was a managing editor and publisher at McSweeney’s. He edited Miranda July’s brilliant novel \u003cem>The First Bad Man\u003c/em>. He co-authored the breakthrough digital novel \u003cem>\u003ca href=\"http://www.thesilenthistory.com/\" target=\"_blank\" rel=\"noopener\">The Silent History\u003c/a>\u003c/em>. And if you haven’t heard of Chris Adrian, I demand you run out and pick up a copy of \u003cem>\u003ca href=\"http://www.pw.org/readers-recommend/the_childrens_hospital\" target=\"_blank\" rel=\"noopener\">The Children’s Hospital.\u003c/a>\u003c/em> It’s a sprawling, messy, monster of a novel. For me, it will go down in history as a book ended with me in the fetal position, bawling like a baby as my confused husband tried to soothe me.\u003c/p>\n\u003cp>With this kind of pedigree, I couldn’t wait to see what these two minds would devise together. \u003cem>The New World,\u003c/em> like \u003cem>The Silent History\u003c/em>, was conceived as a digital novella for \u003ca href=\"https://magazine.atavist.com/stories/the-new-world/\" target=\"_blank\" rel=\"noopener\">The Atavist\u003c/a>. I haven’t read the digital edition. In fact, I didn’t hear a peep about this book until last month when I saw that Farrar, Straus and Giroux was publishing it as a traditional paper-bound novel. This \u003ca href=\"http://gizmodo.com/the-one-ebook-you-have-to-read-if-you-care-about-the-fu-1690438494\" target=\"_blank\" rel=\"noopener\">review\u003c/a> does a good job of breaking down the experience of reading \u003cem>The New World \u003c/em>in its original iteration. It’s a format that allows for a break in linear narrative structure, and one that probably served the plot of the novel well.\u003c/p>\n\u003cp>The story travels back and forth in time, without much worry about whether the reader knows what’s going on. At first, the willing disregard of straightforward narrative made me want to throw the book across the room. As the mother of a toddler who does most of my reading late into the night, I don’t have much patience (these days) for willful perversity.\u003c/p>\n\u003cp>I’m glad to have stuck with it, because by page 43, when the mother of main character Jane tells her daughter, “Only Ahab would ever sue in anger,” I was riveted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story is fairly simple. It’s a tale of marriage. Cycle One opens with Jane, a pediatric surgeon on her way home from a business trip in Paris. Her husband Jim, a humanistic chaplain who doesn’t believe in god, and works at the same hospital as Jane, has collapsed suddenly and died. Jane doesn’t know it yet. Once her plane lands, she heads to the hospital. She discovers not only that her husband is dead, but that a shadowy cryogenics company called Polaris has absconded with his head. Despite Jane and Jim’s vow to be “always together, never apart,” Jim has secretly signed on for a new life in an undetermined future. A life that may or may not include Jane.\u003c/p>\n\u003cp>What follows is a book which unpeels a marriage layer by layer, tragedy by tragedy, vow by broken vow. Each cycle uncovers bits and pieces of Jane and Jim’s story. Jane stews in anger, regret, and grief at the loss of her husband (and his head) – a toxic combination which sends her into a tailspin of vengeful thoughts. Jim struggles to navigate a strange new world, where social workers named Alice help the newly reanimated make their way through three cycles towards a beaming Polaris permanent afterlife: Incarnation, Examination, and Debut. Each cycle of the novel represents one of these stages. The only catch? For Jim to wake into his new post-death life, to make his “debut,” he must forget everything and everyone that he loved before.\u003c/p>\n\u003cp>“Love and memory are powerfully elastic,” Alice tells him. “If you do not cut the connecting strands, then they will draw you back into \u003cem>oblivion\u003c/em>.”\u003c/p>\n\u003cp>But it’s not that easy. Despite betrayals, disappointments, emotional distance, and brazen infidelity, Jim loves Jane with all of his heart.\u003c/p>\n\u003cp>Jane, on the other hand? “\u003cem>Sometimes I love him so much I can hardly stand it\u003c/em>. Sometimes it felt like the only purpose in her life was to hurry toward him, and sometimes it felt like the only purpose was to hurry away. \u003cem>And isn’t it like that for everyone\u003c/em>? she asked.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is it? Like the best novels do, \u003cem>The New World\u003c/em> leaves you wondering.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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/erik-larson/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Erik Larson\u003c/h2>\n\u003cdiv class=\"event-desc\">Acclaimed author discusses new book.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Dominican University\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/erik-larson/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Erik Larson has a history of turning the history we think we know into compelling stories that keep us on the edge of our reading seats. In \u003cem>The Devil in the White City\u003c/em>, he found a serial killer at the heart of the 1893 World’s Fair in Chicago. In \u003cem>Thunderstruck\u003c/em>, he turned the invention of the radio by Marconi into a trans-Atlantic chase thriller. With \u003cem>In the Garden of Beasts\u003c/em>, his readers witnessed, through the eyes of the American Ambassador and his family, the transformation of Germany into a Nazi state shortly before World War II.\u003c/p>\n\u003cp>Larson’s gift for turning historical events into works of non-fiction that read as novels reaches a new level with his latest, \u003cem>Dead Wake: The Last Crossing of the Lusitania\u003c/em>. He’s always managed to craft nail-biting suspense from the so-called lessons of the past, but this time around, he finds not just tension, but romance in the ruins. It adds even more depth to his already complex canvas. By using the literary toolkit of novel-length fiction, Larson is able to evoke not just the facts, but the emotional truth of the past.\u003c/p>\n\u003cp>I caught up with Larson before his upcoming appearances to get a preview of the book and the means by which he crafted it.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/larson-dead_wake.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10537577\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/larson-dead_wake-395x600.jpg\" alt=\"larson-dead_wake\" width=\"311\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake-320x487.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake.jpg 605w\" sizes=\"(max-width: 311px) 100vw, 311px\">\u003c/a>\u003cstrong>Your historical works of narrative non-fiction often turn on the impacts, both intended and unintended, of new technologies. Were there technological innovations at work in the story of the \u003cem>Lusitania\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Very much so. The submarine was a wholly new weapon at the start of the first World War, one that neither the British nor the Germans at first understood. One unintended consequence was that it led Germany to discard century-old rules governing naval warfare against civilian ships, in particular a long-honored, outright prohibition on attacking passenger liners. In the end, this proved a fatal consequence for Germany, not because of the \u003cem>Lusitania\u003c/em> attack itself, but because of a series of submarine attacks against American flag vessels (the \u003cem>Lusitania\u003c/em> was British) during the two years after the sinking, as well as the so-called Zimmerman Telegram, which together drove President Wilson to at last realize that America could no longer sit on the sidelines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>In a story like the sinking of the \u003cem>Lusitania\u003c/em>, you have a huge cast of potential characters. How — and how soon into your writing and research — do you find the main characters who will tell the most effective and compelling story?\u003c/strong>\u003c/p>\n\u003cp>A simple rule governed my selection of characters: Whoever left behind the most detailed accounts of the voyage and sinking got into the book. Because in writing narrative nonfiction, detail is everything. Without a lot of fine-grained detail it’s impossible to produce the kind of rich historical experience that allows readers to sink into the past (no pun intended).\u003c/p>\n\u003cp>\u003cstrong>Was there an image that you found most compelling, that had an emotional impact that was more powerful than mere words?\u003c/strong>\u003c/p>\n\u003cp>Yes. A series of images, actually. I was given an opportunity to view photographs of dead passengers, unidentified, taken soon after the sinking as they lay in three makeshift morgues in Queenstown, Ireland, before being buried in a mass grave. The photos were shot in hopes that next of kin might one day identify the victims. The images were very good quality, and showed people wearing exactly what they’d worn to lunch just before the sinking — men, women and children. The children were the hardest to view. But seeing these images was very important, because it reinforced for me that that was what the story was all about. This was not just some dusty geo-political node on the timeline toward war, but a human tragedy of vast dimension. (Note: I was not permitted to photograph any of those images.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10537578\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-800x514.jpg\" alt=\"RMS_Lusitania\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-320x206.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Your narrative makes it clear how monumental the sinking of the \u003cem>Lusitania\u003c/em> was. How has it managed to run under our cultural radar for so long?\u003c/strong>\u003c/p>\n\u003cp>It hasn’t really run under our cultural radar — everyone knows something about the \u003cem>Lusitania\u003c/em>. But its true nature has been distorted. It was not the proximal cause of America’s entry into World War I, though if you asked 10 people on the street they likely would tell you it was. We all first learn about the ship in broad survey courses that tend to give it short shrift in the rush to get to the war itself. As a consequence there’s a persistent belief that the \u003cem>Lusitania\u003c/em> was to World War I what Pearl Harbor was to WWII. It wasn’t. But, there’s simply no time in such courses to delve deep into the true character of the disaster and the various forces that converged on that lovely day in May 1915 to cause it.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Erik Larson appears at 7pm on Tuesday, April 14, at Dominican University as presented by Book Passage. For more details, see \u003ca href=\"http://www.bookpassage.com/event/erik-larson-dead-wake-last-crossing-lusitania\" target=\"_blank\" rel=\"noopener\">Book Passage’s site\u003c/a>.\u003c/em>\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/erik-larson/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Erik Larson\u003c/h2>\n\u003cdiv class=\"event-desc\">Acclaimed author discusses new book.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Dominican University\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/erik-larson/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Erik Larson has a history of turning the history we think we know into compelling stories that keep us on the edge of our reading seats. In \u003cem>The Devil in the White City\u003c/em>, he found a serial killer at the heart of the 1893 World’s Fair in Chicago. In \u003cem>Thunderstruck\u003c/em>, he turned the invention of the radio by Marconi into a trans-Atlantic chase thriller. With \u003cem>In the Garden of Beasts\u003c/em>, his readers witnessed, through the eyes of the American Ambassador and his family, the transformation of Germany into a Nazi state shortly before World War II.\u003c/p>\n\u003cp>Larson’s gift for turning historical events into works of non-fiction that read as novels reaches a new level with his latest, \u003cem>Dead Wake: The Last Crossing of the Lusitania\u003c/em>. He’s always managed to craft nail-biting suspense from the so-called lessons of the past, but this time around, he finds not just tension, but romance in the ruins. It adds even more depth to his already complex canvas. By using the literary toolkit of novel-length fiction, Larson is able to evoke not just the facts, but the emotional truth of the past.\u003c/p>\n\u003cp>I caught up with Larson before his upcoming appearances to get a preview of the book and the means by which he crafted it.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/larson-dead_wake.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10537577\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/larson-dead_wake-395x600.jpg\" alt=\"larson-dead_wake\" width=\"311\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake-320x487.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/larson-dead_wake.jpg 605w\" sizes=\"(max-width: 311px) 100vw, 311px\">\u003c/a>\u003cstrong>Your historical works of narrative non-fiction often turn on the impacts, both intended and unintended, of new technologies. Were there technological innovations at work in the story of the \u003cem>Lusitania\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Very much so. The submarine was a wholly new weapon at the start of the first World War, one that neither the British nor the Germans at first understood. One unintended consequence was that it led Germany to discard century-old rules governing naval warfare against civilian ships, in particular a long-honored, outright prohibition on attacking passenger liners. In the end, this proved a fatal consequence for Germany, not because of the \u003cem>Lusitania\u003c/em> attack itself, but because of a series of submarine attacks against American flag vessels (the \u003cem>Lusitania\u003c/em> was British) during the two years after the sinking, as well as the so-called Zimmerman Telegram, which together drove President Wilson to at last realize that America could no longer sit on the sidelines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In a story like the sinking of the \u003cem>Lusitania\u003c/em>, you have a huge cast of potential characters. How — and how soon into your writing and research — do you find the main characters who will tell the most effective and compelling story?\u003c/strong>\u003c/p>\n\u003cp>A simple rule governed my selection of characters: Whoever left behind the most detailed accounts of the voyage and sinking got into the book. Because in writing narrative nonfiction, detail is everything. Without a lot of fine-grained detail it’s impossible to produce the kind of rich historical experience that allows readers to sink into the past (no pun intended).\u003c/p>\n\u003cp>\u003cstrong>Was there an image that you found most compelling, that had an emotional impact that was more powerful than mere words?\u003c/strong>\u003c/p>\n\u003cp>Yes. A series of images, actually. I was given an opportunity to view photographs of dead passengers, unidentified, taken soon after the sinking as they lay in three makeshift morgues in Queenstown, Ireland, before being buried in a mass grave. The photos were shot in hopes that next of kin might one day identify the victims. The images were very good quality, and showed people wearing exactly what they’d worn to lunch just before the sinking — men, women and children. The children were the hardest to view. But seeing these images was very important, because it reinforced for me that that was what the story was all about. This was not just some dusty geo-political node on the timeline toward war, but a human tragedy of vast dimension. (Note: I was not permitted to photograph any of those images.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10537578\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-800x514.jpg\" alt=\"RMS_Lusitania\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania-320x206.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RMS_Lusitania.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Your narrative makes it clear how monumental the sinking of the \u003cem>Lusitania\u003c/em> was. How has it managed to run under our cultural radar for so long?\u003c/strong>\u003c/p>\n\u003cp>It hasn’t really run under our cultural radar — everyone knows something about the \u003cem>Lusitania\u003c/em>. But its true nature has been distorted. It was not the proximal cause of America’s entry into World War I, though if you asked 10 people on the street they likely would tell you it was. We all first learn about the ship in broad survey courses that tend to give it short shrift in the rush to get to the war itself. As a consequence there’s a persistent belief that the \u003cem>Lusitania\u003c/em> was to World War I what Pearl Harbor was to WWII. It wasn’t. But, there’s simply no time in such courses to delve deep into the true character of the disaster and the various forces that converged on that lovely day in May 1915 to cause it.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Erik Larson appears at 7pm on Tuesday, April 14, at Dominican University as presented by Book Passage. For more details, see \u003ca href=\"http://www.bookpassage.com/event/erik-larson-dead-wake-last-crossing-lusitania\" target=\"_blank\" rel=\"noopener\">Book Passage’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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/t-c-boyle/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>T.C. Boyle\u003c/h2>\n\u003cdiv class=\"event-desc\">In-person reading and discussion of \u003cem>The Harder They Come\u003c/em>.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sebastopol Community Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/t-c-boyle/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>T.C. Boyle has always taken on the big, meaty topics of American literature with gusto: race, class, gender, individualism vs. community, violence, patriarchy, oppression. If it bleeds, he covers it. His latest novel \u003cem>The Harder They Come\u003c/em> returns to the rugged Northern California landscape of \u003cem>Budding Prospects,\u003c/em> Boyle’s 1984 novel about marijuana culture on the Lost Coast. Since then, the acclaimed novelist has written more than 20 novels and short story collections. According to the reviews, \u003ca href=\"http://www.nytimes.com/2015/03/24/books/review-in-t-coraghessan-boyles-the-harder-they-come-rugged-individualism-run-amok.html?ref=topics\">\u003cem>the New York Times\u003c/em>\u003c/a> among them, his latest novel is one of the best of the bunch.\u003c/p>\n\u003cp>Set in and around Fort Bragg, the novel addresses themes of delusion, violence, and over-the-top American individualism through the narratives of three interlocking characters. Sven Stenson, a Vietnam veteran given reluctant hero status by his community for killing a robber on a tour bus in Costa Rica; Adam Stenson, Sven’s schizophrenic and delusional son who ends up killing at least two people during fits of violence; and Sara Jennings, a right-wing activist and member of the fringe group Sovereign Citizens’ Movement who becomes Adam’s mentor and romantic partner.\u003c/p>\n\u003cp>On his website, Boyle writes that \u003cem>The Harder They Come\u003c/em> is a meditation on gun violence, and that it was inspired by a D.H. Lawrence quote: “The essential American soul is hard, isolate, stoic and a killer. It has never melted.” A slew of killings by disaffected white males — the Santa Barbara massacre in spring 2014 among them — led Boyle to think hard on why the mentally unstable in our society have access to lethal weapons.\u003c/p>\n\u003cp>“\u003cem>The Harder They Come\u003c/em> is an attempt to enter the mind of one such shooter,” writes Boyle. “As well as that of his father and lover, to imagine just how he might see the world, our world, in which we all, increasingly, seem to be targets.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\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/t-c-boyle/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>T.C. Boyle\u003c/h2>\n\u003cdiv class=\"event-desc\">In-person reading and discussion of \u003cem>The Harder They Come\u003c/em>.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sebastopol Community Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/t-c-boyle/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>T.C. Boyle has always taken on the big, meaty topics of American literature with gusto: race, class, gender, individualism vs. community, violence, patriarchy, oppression. If it bleeds, he covers it. His latest novel \u003cem>The Harder They Come\u003c/em> returns to the rugged Northern California landscape of \u003cem>Budding Prospects,\u003c/em> Boyle’s 1984 novel about marijuana culture on the Lost Coast. Since then, the acclaimed novelist has written more than 20 novels and short story collections. According to the reviews, \u003ca href=\"http://www.nytimes.com/2015/03/24/books/review-in-t-coraghessan-boyles-the-harder-they-come-rugged-individualism-run-amok.html?ref=topics\">\u003cem>the New York Times\u003c/em>\u003c/a> among them, his latest novel is one of the best of the bunch.\u003c/p>\n\u003cp>Set in and around Fort Bragg, the novel addresses themes of delusion, violence, and over-the-top American individualism through the narratives of three interlocking characters. Sven Stenson, a Vietnam veteran given reluctant hero status by his community for killing a robber on a tour bus in Costa Rica; Adam Stenson, Sven’s schizophrenic and delusional son who ends up killing at least two people during fits of violence; and Sara Jennings, a right-wing activist and member of the fringe group Sovereign Citizens’ Movement who becomes Adam’s mentor and romantic partner.\u003c/p>\n\u003cp>On his website, Boyle writes that \u003cem>The Harder They Come\u003c/em> is a meditation on gun violence, and that it was inspired by a D.H. Lawrence quote: “The essential American soul is hard, isolate, stoic and a killer. It has never melted.” A slew of killings by disaffected white males — the Santa Barbara massacre in spring 2014 among them — led Boyle to think hard on why the mentally unstable in our society have access to lethal weapons.\u003c/p>\n\u003cp>“\u003cem>The Harder They Come\u003c/em> is an attempt to enter the mind of one such shooter,” writes Boyle. “As well as that of his father and lover, to imagine just how he might see the world, our world, in which we all, increasingly, seem to be targets.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kyle Boelte Measures Fog Against Memory in 'The Beautiful Unseen'",
"headTitle": "Kyle Boelte Measures Fog Against Memory in ‘The Beautiful Unseen’ | KQED",
"content": "\u003cfigure id=\"attachment_10506276\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10506276\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-400x600.jpg\" alt=\"Courtesy of Soft Skull Press.\" width=\"350\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-320x480.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL.jpg 1800w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Soft Skull Press)\u003c/figcaption>\u003c/figure>\n\u003cp>When you live in this city, the desire to bestow meaning on fog is inescapable. I’ve done it. I’ve heard others do it, too. In his debut memoir, \u003cem>The Beautiful Unseen: Variations on Fog and Forgetting\u003c/em>, Kyle Boelte dresses up fog with the qualities of remembrance. In this book, the improbable story of hunting for fog merges with that of searching for memories of a deceased brother.\u003c/p>\n\u003cp>The story is slow to build. Boelte weaves instances of hiking toward fog between historical tidbits (ships run aground by fog, the discovery of the Bay belated by fog), and he combines all of these with the dreary scenes in 1993 when Boelte’s father descends to the basement in the family’s Denver home to check if his eldest teenage son is down there. It is beautiful writing. See the chilling way Boelte describes that day in 1993:\u003c/p>\n\u003cblockquote>\u003cp> Dad’s steps on the stairs are slow and deliberate. He is walking down the stairs. Now he is in the basement. He is screaming now. The world is crumbling in on us. The rafters are being pulled down by your weight.\u003c/p>\n\u003cp>Mom is dialing 9-1-1. She is talking to the dispatcher. The dispatcher asks if someone can cut you down. It does not matter, though. You have faded.\u003c/p>\u003c/blockquote>\n\u003cp>The writing is nuanced and delicate. This is a memoir, though, with so many tributaries that some of them come off as mis-directions (the history of Golden Gate Park, for example, doesn’t quite seem to fit, and a childhood memory about exploring a storm drain pipe is thrilling but abstract). If not from this, the story is definitely frayed by the complete inclusion of documents that don’t really add anything new to the narrative. Boelte says more in prepping the introduction of these documents than the documents say on their own (the lyrics to “Come Out and Play” by the Offspring hardly needed full printing, ditto an e-mail from Boelte’s parents, and a high school speech written by Kris Boelte, the author’s older brother).\u003c/p>\n\u003cfigure id=\"attachment_10506289\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10506289 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco.jpg\" alt=\"Golden Gate enveloped by fog. Wikimedia Commons.\" width=\"1280\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-320x168.jpg 320w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Golden Gate enveloped by fog. (Photo: Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>Due to the multi-directionality of his narrative, Boelte finds himself in the role of tidying up its forward movement by reintroducing again and again the idea of a dual journey to searching for fog and memory. After the initial stutterings, however, the book is an upswell.\u003c/p>\n\u003cp>Boelte goes out with a scientist, Dr. Burns, who is trying to find a way to predict fog. In relating the elusive nature of her task, she gives the example of the marbled murrelet, a seabird that hunts in the Pacific and lays one egg on a branch of a redwood tree. The fact of the egg escaped scientific observation until the 1960s. “So much still remains out of sight,” Dr. Burns tells Boelte, and that much seems to apply to everything. While the research put into this book strikes me as superficial, and one comes away knowing only bits and pieces about fog and Boelte’s lost brother, I admire the nebulous structure of the telling.\u003c/p>\n\u003cfigure id=\"attachment_10506274\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/boelte.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10506274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/boelte-400x400.jpeg\" alt=\"Courtesy of Soft Skull Press.\" width=\"350\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-600x600.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-320x320.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte.jpeg 662w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Soft Skull Press.\u003c/figcaption>\u003c/figure>\n\u003cp>There is a poignant, brilliant point in the book, when as Boelte finishes going through a box of his brother’s belongings, one turns the page, and is haunted there by a chapter heading number, and then four pages of white. I love this book for this reason alone. The risks Boelte takes are beautiful, even if he doesn’t quite get away with them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps due to all the directions in which this memoir is pulled, the tension of the book is light and loose, like a kite already aloft when there is no wind, the kite line bowing loose and close to the ground. It gives the illusion that there is not enough for a sustained narrative. The plot seems wispy and fraying at the edges. This is both a bad thing and a good thing. This self-same wispiness is what sets up a wondrous meditative ebb and flow. Much like watching fog itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Unseen is out now by Soft Skull Press. \u003ca href=\"http://softskull.com/the-beautiful-unseen/\">More details and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In \u003cem>The Beautiful Unseen\u003c/em>, the risks Kyle Boelte takes are beautiful, even if he doesn’t quite get away with them.",
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"title": "Kyle Boelte Measures Fog Against Memory in 'The Beautiful Unseen' | KQED",
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"headline": "Kyle Boelte Measures Fog Against Memory in 'The Beautiful Unseen'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10506276\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10506276\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-400x600.jpg\" alt=\"Courtesy of Soft Skull Press.\" width=\"350\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL-320x480.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Beautiful-Unseen_FINAL.jpg 1800w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Soft Skull Press)\u003c/figcaption>\u003c/figure>\n\u003cp>When you live in this city, the desire to bestow meaning on fog is inescapable. I’ve done it. I’ve heard others do it, too. In his debut memoir, \u003cem>The Beautiful Unseen: Variations on Fog and Forgetting\u003c/em>, Kyle Boelte dresses up fog with the qualities of remembrance. In this book, the improbable story of hunting for fog merges with that of searching for memories of a deceased brother.\u003c/p>\n\u003cp>The story is slow to build. Boelte weaves instances of hiking toward fog between historical tidbits (ships run aground by fog, the discovery of the Bay belated by fog), and he combines all of these with the dreary scenes in 1993 when Boelte’s father descends to the basement in the family’s Denver home to check if his eldest teenage son is down there. It is beautiful writing. See the chilling way Boelte describes that day in 1993:\u003c/p>\n\u003cblockquote>\u003cp> Dad’s steps on the stairs are slow and deliberate. He is walking down the stairs. Now he is in the basement. He is screaming now. The world is crumbling in on us. The rafters are being pulled down by your weight.\u003c/p>\n\u003cp>Mom is dialing 9-1-1. She is talking to the dispatcher. The dispatcher asks if someone can cut you down. It does not matter, though. You have faded.\u003c/p>\u003c/blockquote>\n\u003cp>The writing is nuanced and delicate. This is a memoir, though, with so many tributaries that some of them come off as mis-directions (the history of Golden Gate Park, for example, doesn’t quite seem to fit, and a childhood memory about exploring a storm drain pipe is thrilling but abstract). If not from this, the story is definitely frayed by the complete inclusion of documents that don’t really add anything new to the narrative. Boelte says more in prepping the introduction of these documents than the documents say on their own (the lyrics to “Come Out and Play” by the Offspring hardly needed full printing, ditto an e-mail from Boelte’s parents, and a high school speech written by Kris Boelte, the author’s older brother).\u003c/p>\n\u003cfigure id=\"attachment_10506289\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10506289 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco.jpg\" alt=\"Golden Gate enveloped by fog. Wikimedia Commons.\" width=\"1280\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1280px-Sea_of_Fog_San_Francisco-320x168.jpg 320w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Golden Gate enveloped by fog. (Photo: Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>Due to the multi-directionality of his narrative, Boelte finds himself in the role of tidying up its forward movement by reintroducing again and again the idea of a dual journey to searching for fog and memory. After the initial stutterings, however, the book is an upswell.\u003c/p>\n\u003cp>Boelte goes out with a scientist, Dr. Burns, who is trying to find a way to predict fog. In relating the elusive nature of her task, she gives the example of the marbled murrelet, a seabird that hunts in the Pacific and lays one egg on a branch of a redwood tree. The fact of the egg escaped scientific observation until the 1960s. “So much still remains out of sight,” Dr. Burns tells Boelte, and that much seems to apply to everything. While the research put into this book strikes me as superficial, and one comes away knowing only bits and pieces about fog and Boelte’s lost brother, I admire the nebulous structure of the telling.\u003c/p>\n\u003cfigure id=\"attachment_10506274\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/boelte.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10506274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/boelte-400x400.jpeg\" alt=\"Courtesy of Soft Skull Press.\" width=\"350\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-600x600.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-320x320.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/boelte.jpeg 662w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Soft Skull Press.\u003c/figcaption>\u003c/figure>\n\u003cp>There is a poignant, brilliant point in the book, when as Boelte finishes going through a box of his brother’s belongings, one turns the page, and is haunted there by a chapter heading number, and then four pages of white. I love this book for this reason alone. The risks Boelte takes are beautiful, even if he doesn’t quite get away with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps due to all the directions in which this memoir is pulled, the tension of the book is light and loose, like a kite already aloft when there is no wind, the kite line bowing loose and close to the ground. It gives the illusion that there is not enough for a sustained narrative. The plot seems wispy and fraying at the edges. This is both a bad thing and a good thing. This self-same wispiness is what sets up a wondrous meditative ebb and flow. Much like watching fog itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Unseen is out now by Soft Skull Press. \u003ca href=\"http://softskull.com/the-beautiful-unseen/\">More details and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"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",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"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/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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