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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/san-francisco-doc-fest-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF DocFest\u003c/h2>\n\u003cdiv class=\"event-desc\">Blasting the notion of educational films to smithereens.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jun. 4-18, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various San Francisco theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-doc-fest-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The idea that everything and everyone is a commodity, with a price tag, is scarcely an original insight. But it seems an inescapable fact of life in present-day America, where we are reminded that any meaningful act of spontaneous human behavior “inspires” a platoon of publicists, agents, image consultants and programming executives.\u003c/p>\n\u003cp>This is the world in which Jeff Koons lives and rules. The creative act is secondary to the marketing campaign; in fact, the former might as well not exist without the latter. Hide your light under a bushel? Ha. Design, art-direct and focus-group the bushel, flog the brand, license the logo — and then, and only then, give some thought to the lighting.\u003c/p>\n\u003cp>The San Francisco premiere of \u003cem>Jeff, Embrace Your Past\u003c/em> in \u003cstrong>SF DocFest\u003c/strong> (screening Jun. 13 and 17 at the Roxie) provides the occasion for this rumination, although as the record-holder for the highest price ever paid for an artwork by a living artist, Koons is perennially noteworthy. The film comprises 40 minutes of scenes that local filmmaker Roger Teich shot during the installation and opening of Koons’ 1992 San Francisco Museum of Modern Art retrospective, offering an intriguing portrait of a self-conscious enigma.\u003c/p>\n\u003cfigure id=\"attachment_10743319\" class=\"wp-caption alignright\" style=\"max-width: 393px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10743319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/113991981.jpg\" alt=\"Jeff Koons with Ilona Staller in front of a Koons floral sculpture, 1992. (Photo by Patrick PIEL/Gamma-Rapho via Getty Images)\" width=\"393\" height=\"594\">\u003cfigcaption class=\"wp-caption-text\">Jeff Koons with Ilona Staller in front of a Koons floral sculpture, 1992. (Photo by Patrick PIEL/Gamma-Rapho via Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>An observational work without a tangible critical perspective beyond bemusement, \u003cem>Jeff, Embrace Your Past\u003c/em> gives us sequences of a polite, clean-cut Koons focused on the precise positioning of his pieces, notably a set of vacuum cleaners enclosed in glass. We’re privy to several opening night activities, as well as Koons guiding his then-wife, porn star and Italian parliament member Ilona Staller, through the exhibit — and past his paintings of the couple in flagrante delicto.\u003c/p>\n\u003cp>“Roger approached it very much as a Koons skeptic at that time,” says longtime Bay Area film producer Henry Rosenthal, who was invited by Teich to collaborate on shaping and editing the original raw footage. “It was the outrageousness and notoriety of the subject that attracted him. This was the show where Koons transitioned from an art star to an art superstar. Roger had the foresight and interest to gain unprecedented access to Koons, to the museum, to the collectors, to the whole milieu surrounding him.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Koons supporters and detractors are certain to come away with different interpretations of \u003cem>Jeff, Embrace Your Past\u003c/em>. What is inarguable is that Koons, then 37, doesn’t quite have his shtick down; he’s still grappling with the proper mix of philosophical visionary, obsessive professional, boy genius, price-hiking celebrity and regular guy.\u003c/p>\n\u003cp>We’re left, above all, with a sense of distance, and of a man who makes a practice of cultivating distance. The most deadpan hilarious scene in the film is an interview with Koons’ father on opening night in the cramped men’s room as people enter and leave, the door repeatedly blocking our view.\u003c/p>\n\u003cp>It’s fair to assume that Koons, who was a willing participant in the filming in 1992, wishes the movie didn’t exist. Rosenthal says the curator of last year’s \u003ca href=\"http://whitney.org/Exhibitions/JeffKoons\" target=\"_blank\" rel=\"noopener\">Whitney Museum of American Art retrospective\u003c/a> wanted to show \u003cem>Jeff, Embrace Your Past\u003c/em>, but Koons vetoed it.\u003c/p>\n\u003cp>“His reluctance to include the film alongside his body of work is a testament to the kind of paranoia and obsessive control issues that come with extreme celebrity,” Rosenthal asserts. “He manicures his image and his press fastidiously, and this film shows the frayed edges.”\u003c/p>\n\u003cp>Rosenthal calls himself a Koons fan, by the way. “I see him as the spiritual descendant of Warhol.” Rosenthal says. “They both have art factories with minions producing their work… Koons markets himself relentlessly, as Warhol did and does to this day. It’s that the machine behind Koons is so much more sophisticated than the one behind Warhol when he was alive. 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"content": "\u003cp>California is blessed with lots of great beaches, where we paradoxically go to ignore all that beauty and read. “Beach reading” books are typically designated to be trashy thrillers or romances, or both. You can feel good about leaving one behind for the next occupant of your vacation villa to read.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>It doesn’t have to be that way. You can find books you’ll want to keep, both because they’re great reading and because every beach has a book that belongs on that stretch of sand. You can read great books that relate to any of the beautiful beaches you’ll find here in Northern California, and return to that beach when you re-read the book.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636320\" class=\"wp-caption alignleft\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/casey-the_wave.jpg\" alt=\"<i>The Wave</i>\" width=\"329\" height=\"498\" class=\"size-thumbnail wp-image-10636320\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Wave\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Wave\u003c/i>\u003c/h3>\n\u003ch5>Baker Beach\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Baker Beach is the quintessential San Francisco Beach. It’s the sense of scale that is striking; the view of the Golden Gate and the Bay. Why not kick back in your beach chair and read Susan Casey’s \u003cem>The Wave: In Pursuit of the Rogues, Freaks and Giants of the Ocean\u003c/em> and let your imagination take it from there. \u003cem>The Wave\u003c/em> begins in the middle of a storm in the North Sea, in February of 2000 when the \u003cem>RRS Discovery\u003c/em>, en route from England to Iceland to sample ocean water and test for changes in salinity, oxygen and other factors, found itself being slammed by waves that some thought could not exist.\u003c/p>\n\u003cp class=\"p1\">Casey goes on to interview surfers of giant waves, the scientists who study rogue waves – and rides them herself. This is a fascinating, intense, involving work of non-fiction that will give you visions of watery grandeur for years to come – and help you fill in the Baker Beach view with the terrifying majesty of the waves Casey describes.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636321\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/du_maurier-the_birds-400x618.jpg\" alt=\"<i>The Birds</i>\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-10636321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/du_maurier-the_birds.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/du_maurier-the_birds-388x600.jpg 388w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Birds\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Birds\u003c/i>\u003c/h3>\n\u003ch5>Rio Del Mar Beach\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Daphne Du Maurier is not a name we associate with beach reading, but her novella \u003cem>The Birds\u003c/em> still stands as one of great works of beach-based fiction. And while you might be inclined to read it at Bodega Bay, where the movie by Hitchcock was famously filmed, you’re better advised to head a couple of hours south, to Rio Del Mar Beach, which is just south of Santa Cruz.\u003c/p>\n\u003cp class=\"p1\">There you’ll find the Palo Alto sunk just off the shore, one of the cement ships created during the steel shortages of World War One. Hitchcock was living in nearby Scotts Valley in 1961, when he read a news story in which, “A massive flight of sooty shearwaters, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.” Algae blooms are to blame, but du Maurier’s chilling vision of nature itself striking a blow again humanity remains ever relevant. Let every bird shadow bring a chill as you read this on that very beach – or anywhere else.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636323\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/kotler-west_of_jesus.jpg\" alt=\"<i>West of Jesus</i>\" width=\"288\" height=\"431\" class=\"size-thumbnail wp-image-10636323\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>West of Jesus\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>West Of Jesus: Surfing, Science and the Origins of Belief\u003c/i>\u003c/h3>\n\u003ch5>Stinson Beach\u003c/h5>\n\u003cp>Stinson Beach, home to surf camps and surf lessons, deserves no less than Steven Kotler’s \u003cem>West of Jesus: Surfing, Science and the Origins of Belief\u003c/em>, an engagingly eccentric combination of lyme-disease memoir, surf lore and neuroscience. Kotler is profound when he’s not screamingly funny; he surfs, often badly, and when he’s not suspended in the moment while riding the waves, he’s always a thought-provoking, engaging writer. Researching the states of ecstasy found in surfers and nuns, Kotler manages to craft a work that takes us on a journey from one to the other in a manner that seems natural and is consistently entertaining.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/dyer-another_great_day_at_sea-400x587.jpg\" alt=\"<i>Another Great Day At Sea</i>\" width=\"400\" height=\"587\" class=\"size-thumbnail wp-image-10636322\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Another Great Day At Sea\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Another Great Day At Sea\u003c/i>\u003c/h3>\n\u003ch5>Fisherman’s Wharf\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Beaches don’t always come with sand. One of the classic destinations in San Francisco is Fisherman’s Wharf, and there are lots of places to take up a chair and read. Between the \u003cem>SS Jeremiah O’Brien\u003c/em> and the\u003cem> USS Pampanito\u003c/em>, you’ll find the perfect places to read Geoff Dyer’s \u003cem>Another Great Day At Sea: Life Aboard the USS George H.W. Bush\u003c/em>. Asked if there was anywhere he’d like to go for a couple of weeks, with the idea he’d write a smallish book about his experiences, Dyer chooses an American aircraft carrier. For two weeks, he was the writer in residence aboard the\u003cem> USS George H. W. Bush\u003c/em>. He’s a genial passenger and a hilarious writer.\u003c/p>\n\u003cp class=\"p1\">Dyer portrays himself as a bit fussy, insisting on a cabin by himself, a luxury unheard of on the carrier — but he manages to get it. For all his joviality, Dyer has a deep streak of honesty in him. As we read his self-deprecating prose, we feel we’re getting raw reportage, the real deal, even as Dyer waxes effectively poetic. This is jaunty, informative and fun book about a city at sea, full of great characters and memorable scenes.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636324\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/nunn-the_dogs_of_winter-400x620.jpg\" alt=\"<i>The Dogs Of Winter</i>\" width=\"400\" height=\"620\" class=\"size-thumbnail wp-image-10636324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/nunn-the_dogs_of_winter.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/nunn-the_dogs_of_winter-387x600.jpg 387w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Dogs Of Winter\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Dogs Of Winter\u003c/i>\u003c/h3>\n\u003ch5>Half Moon Bay\u003c/h5>\n\u003cp>Half Moon Bay is synonymous with great surf. Sneak just a bit south to Martin’s Beach, now that Silicon Valley billionaire Vinod Khosla has lost his lawsuit regarding public access. Make sure you take with you Kem Nunn’s surf novel classic \u003cem>The Dogs of Winter\u003c/em>, and let the literary echoes carry you away. When surf photographer Fletcher is hired by a glossy surfing magazine to shoot aging master Drew Harmon at Heart Attacks, a secluded beach, he starts down a road filled with bad blood and gorgeous prose. The primal power of great fiction, the roll of the great waves and pounding of your pulse as you read. You’ll look up and, holding \u003cem>this\u003c/em> book at \u003cem>this\u003c/em> beach, know what beach reading is really all about.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California is blessed with lots of great beaches, where we paradoxically go to ignore all that beauty and read. “Beach reading” books are typically designated to be trashy thrillers or romances, or both. You can feel good about leaving one behind for the next occupant of your vacation villa to read.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>It doesn’t have to be that way. You can find books you’ll want to keep, both because they’re great reading and because every beach has a book that belongs on that stretch of sand. You can read great books that relate to any of the beautiful beaches you’ll find here in Northern California, and return to that beach when you re-read the book.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636320\" class=\"wp-caption alignleft\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/casey-the_wave.jpg\" alt=\"<i>The Wave</i>\" width=\"329\" height=\"498\" class=\"size-thumbnail wp-image-10636320\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Wave\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Wave\u003c/i>\u003c/h3>\n\u003ch5>Baker Beach\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Baker Beach is the quintessential San Francisco Beach. It’s the sense of scale that is striking; the view of the Golden Gate and the Bay. Why not kick back in your beach chair and read Susan Casey’s \u003cem>The Wave: In Pursuit of the Rogues, Freaks and Giants of the Ocean\u003c/em> and let your imagination take it from there. \u003cem>The Wave\u003c/em> begins in the middle of a storm in the North Sea, in February of 2000 when the \u003cem>RRS Discovery\u003c/em>, en route from England to Iceland to sample ocean water and test for changes in salinity, oxygen and other factors, found itself being slammed by waves that some thought could not exist.\u003c/p>\n\u003cp class=\"p1\">Casey goes on to interview surfers of giant waves, the scientists who study rogue waves – and rides them herself. This is a fascinating, intense, involving work of non-fiction that will give you visions of watery grandeur for years to come – and help you fill in the Baker Beach view with the terrifying majesty of the waves Casey describes.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636321\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/du_maurier-the_birds-400x618.jpg\" alt=\"<i>The Birds</i>\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-10636321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/du_maurier-the_birds.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/du_maurier-the_birds-388x600.jpg 388w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Birds\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Birds\u003c/i>\u003c/h3>\n\u003ch5>Rio Del Mar Beach\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Daphne Du Maurier is not a name we associate with beach reading, but her novella \u003cem>The Birds\u003c/em> still stands as one of great works of beach-based fiction. And while you might be inclined to read it at Bodega Bay, where the movie by Hitchcock was famously filmed, you’re better advised to head a couple of hours south, to Rio Del Mar Beach, which is just south of Santa Cruz.\u003c/p>\n\u003cp class=\"p1\">There you’ll find the Palo Alto sunk just off the shore, one of the cement ships created during the steel shortages of World War One. Hitchcock was living in nearby Scotts Valley in 1961, when he read a news story in which, “A massive flight of sooty shearwaters, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.” Algae blooms are to blame, but du Maurier’s chilling vision of nature itself striking a blow again humanity remains ever relevant. Let every bird shadow bring a chill as you read this on that very beach – or anywhere else.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636323\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/kotler-west_of_jesus.jpg\" alt=\"<i>West of Jesus</i>\" width=\"288\" height=\"431\" class=\"size-thumbnail wp-image-10636323\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>West of Jesus\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>West Of Jesus: Surfing, Science and the Origins of Belief\u003c/i>\u003c/h3>\n\u003ch5>Stinson Beach\u003c/h5>\n\u003cp>Stinson Beach, home to surf camps and surf lessons, deserves no less than Steven Kotler’s \u003cem>West of Jesus: Surfing, Science and the Origins of Belief\u003c/em>, an engagingly eccentric combination of lyme-disease memoir, surf lore and neuroscience. Kotler is profound when he’s not screamingly funny; he surfs, often badly, and when he’s not suspended in the moment while riding the waves, he’s always a thought-provoking, engaging writer. Researching the states of ecstasy found in surfers and nuns, Kotler manages to craft a work that takes us on a journey from one to the other in a manner that seems natural and is consistently entertaining.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/dyer-another_great_day_at_sea-400x587.jpg\" alt=\"<i>Another Great Day At Sea</i>\" width=\"400\" height=\"587\" class=\"size-thumbnail wp-image-10636322\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Another Great Day At Sea\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Another Great Day At Sea\u003c/i>\u003c/h3>\n\u003ch5>Fisherman’s Wharf\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">Beaches don’t always come with sand. One of the classic destinations in San Francisco is Fisherman’s Wharf, and there are lots of places to take up a chair and read. Between the \u003cem>SS Jeremiah O’Brien\u003c/em> and the\u003cem> USS Pampanito\u003c/em>, you’ll find the perfect places to read Geoff Dyer’s \u003cem>Another Great Day At Sea: Life Aboard the USS George H.W. Bush\u003c/em>. Asked if there was anywhere he’d like to go for a couple of weeks, with the idea he’d write a smallish book about his experiences, Dyer chooses an American aircraft carrier. For two weeks, he was the writer in residence aboard the\u003cem> USS George H. W. Bush\u003c/em>. He’s a genial passenger and a hilarious writer.\u003c/p>\n\u003cp class=\"p1\">Dyer portrays himself as a bit fussy, insisting on a cabin by himself, a luxury unheard of on the carrier — but he manages to get it. For all his joviality, Dyer has a deep streak of honesty in him. As we read his self-deprecating prose, we feel we’re getting raw reportage, the real deal, even as Dyer waxes effectively poetic. This is jaunty, informative and fun book about a city at sea, full of great characters and memorable scenes.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10636324\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/nunn-the_dogs_of_winter-400x620.jpg\" alt=\"<i>The Dogs Of Winter</i>\" width=\"400\" height=\"620\" class=\"size-thumbnail wp-image-10636324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/nunn-the_dogs_of_winter.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/nunn-the_dogs_of_winter-387x600.jpg 387w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Dogs Of Winter\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Dogs Of Winter\u003c/i>\u003c/h3>\n\u003ch5>Half Moon Bay\u003c/h5>\n\u003cp>Half Moon Bay is synonymous with great surf. Sneak just a bit south to Martin’s Beach, now that Silicon Valley billionaire Vinod Khosla has lost his lawsuit regarding public access. Make sure you take with you Kem Nunn’s surf novel classic \u003cem>The Dogs of Winter\u003c/em>, and let the literary echoes carry you away. When surf photographer Fletcher is hired by a glossy surfing magazine to shoot aging master Drew Harmon at Heart Attacks, a secluded beach, he starts down a road filled with bad blood and gorgeous prose. The primal power of great fiction, the roll of the great waves and pounding of your pulse as you read. You’ll look up and, holding \u003cem>this\u003c/em> book at \u003cem>this\u003c/em> beach, know what beach reading is really all about.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live Review: Green Day Plays 924 Gilman, Welcomed Back After 21 Years",
"headTitle": "Live Review: Green Day Plays 924 Gilman, Welcomed Back After 21 Years | KQED",
"content": "\u003cp>“So, we come from this place called Gilman Street. It’s a club. It’s in Berkeley.”\u003c/p>\n\u003cp>That’s how Billie Joe Armstrong characterized his band in \u003ca href=\"http://www.rollingstone.com/music/news/green-day-thank-vans-fans-rock-roll-at-hall-of-fame-read-the-speech-20150418?page=5\" target=\"_blank\" rel=\"noopener\">a speech for Green Day’s induction into the Rock ‘n’ Roll Hall of Fame\u003c/a> last month. And last night, in an incredible, nearly two-hour set for less than a few hundred people, Green Day made a historic return to the stage at \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a> — the all-ages, non-profit club that famously served as the band’s early home.\u003c/p>\n\u003cp>Before set opener “99 Revolutions,” Armstrong reiterated what he’s said over and over again about the venue: “I really think of this place as a very important place to me,” he \u003ca href=\"https://www.youtube.com/watch?v=_1xQw8PHylw\" target=\"_blank\" rel=\"noopener\">intoned from the stage\u003c/a>, “and it’s in my heart forever.” (Earlier, bassist Mike Dirnt \u003ca href=\"https://instagram.com/p/2zQrP4NyyS/\" target=\"_blank\" rel=\"noopener\">referred to Gilman as “church.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10669570\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg\" alt=\"Green Day at 924 Gilman\" width=\"640\" height=\"457\" class=\"size-full wp-image-10669570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so Green Day’s set last night was more than just an ordinary show. Introduced by \u003ca href=\"http://en.wikipedia.org/wiki/Jello_Biafra\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a>, the band played a marathon setlist with plenty early material befitting the venue — deep cuts like “Paper Lanterns,” “2,000 Light Years Away,” “Only of You,” “Private Ale” and “Christie Road.” They brought up Tim Armstrong from Rancid for \u003ca href=\"https://instagram.com/p/2z4LUUSSbe/\" target=\"_blank\" rel=\"noopener\">a faithful version of “Knowledge”\u003c/a> by Operation Ivy. They joked with the crowd and each other, they extended the microphone to let a few of the many crowdsurfers sing, they swapped articles of clothing with fans, and left everyone inside the small room with shirts drenched in sweat and ears ringing.\u003c/p>\n\u003cp>In other words, it was pretty much like a typical Green Day show at Gilman in 1993. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nZz_Za4vW8\u003c/p>\n\u003cp>Green Day playing at Gilman is special. It’s like Springsteen playing the Stone Pony. It’s like the Ramones playing CBGB. Except for one key difference: because of 924 Gilman’s longstanding ban on major-label bands, Green Day hasn’t been allowed to play the one place most dear to their hearts for the past 21 years. They’ve talked about it in interviews, they’ve \u003ca href=\"https://www.youtube.com/watch?v=OCOfynekLvs\" target=\"_blank\" rel=\"noopener\">written songs\u003c/a> about it, and they’ve no doubt felt stung by it.\u003c/p>\n\u003cp>In fact, early in the night, I happened to be standing by Gilman’s side door and witnessed Tré Cool denied admittance by a large security guard, who didn’t recognize him and slammed the door in the drummer’s face for not having a wristband for the show. Yes, it was funny (“I just got dicked! Did you see that?” he exclaimed to those nearby, chuckling at the scene), but it was also a metaphor for how the club has treated its most famous alumni for the last two decades.\u003c/p>\n\u003cp>Last night was different — the show was a benefit for those affected by \u003ca href=\"http://ww2.kqed.org/news/2015/04/07/weeks-later-fatal-fire-in-west-oakland-still-hurts/\" target=\"_blank\" rel=\"noopener\">the March 21 fire in West Oakland\u003c/a> that killed two residents, displaced 34 others, and severely damaged both \u003ca href=\"http://www.akpress.org/\" target=\"_blank\" rel=\"noopener\">AK Press\u003c/a> and \u003ca href=\"http://www.1984printing.com/\" target=\"_blank\" rel=\"noopener\">1984 Printing\u003c/a>, publishing and printing companies well-known and loved in the punk scene. The membership of 924 Gilman voted to make a one-time exemption to the major-label ban for the benefit (a vote that “didn’t seem very controversial to the membership,” as Jesse Townley, long involved with the club, told me last night), and it was agreed that Green Day could play, billed as “Special Guests.”\u003c/p>\n\u003cp>Of course, word got out on who the special guests were. So when tickets went on sale, at $20 each, they were gone in under 10 seconds. \u003ca href=\"https://www.facebook.com/events/1589768671240089\" target=\"_blank\" rel=\"noopener\">Speculation swirled\u003c/a> that the tickets had been bought by bots created by Silicon Valley developers, and that the show might be full of tech bros.\u003c/p>\n\u003cfigure id=\"attachment_10669571\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg\" alt=\"Billie Joe Armstrong of Green Day at 924 Gilman\" width=\"457\" height=\"640\" class=\"size-full wp-image-10669571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But no — it was still the classic Gilman atmosphere, with the crowd goofily chanting “Nick-el-back! Nick-el-back!” before Green Day went on. Gilman history was represented, too, in the opening bands. \u003ca href=\"http://bobbyjoeebola.com/\" target=\"_blank\" rel=\"noopener\">Bobby Joe Ebola and the Children MacNuggits\u003c/a> featured \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\" target=\"_blank\" rel=\"noopener\">Operation Ivy\u003c/a>’s Dave Mello on drums, and a reunited \u003ca href=\"http://www.punknews.org/review/1251/the-enemies-seize-the-day\" target=\"_blank\" rel=\"noopener\">Enemies\u003c/a> had \u003ca href=\"http://en.wikipedia.org/wiki/Neurosis_%28band%29\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>’ Dave Edwardson on bass; both bands had plenty of fans singing along. Behind me in line to get inside was Richie Bucher, the artist, \u003ca href=\"https://www.youtube.com/watch?v=_J6ba-v_QgY\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">\u003cem>Cometbus\u003c/em>\u003c/a> regular who illustrated \u003ca href=\"http://www.wweek.com/portland/article-22020-where%E2%80%99s_angu.html\" target=\"_blank\" rel=\"noopener\">the iconic cover\u003c/a> of Green Day’s best-known album, \u003cem>Dookie\u003c/em>. And in the crowd, as Armstrong noted between songs, there were far more punks with mohawks than there ever were at the band’s Gilman shows in the early 1990s. \u003c/p>\n\u003cp>Armstrong also pinpointed the exact last show Green Day played at Gilman: “Sept. 6, 1993,” rattling it off like a memorized date from history class (and also commented that \u003ca href=\"https://www.youtube.com/watch?v=uABXKwkYiLI&list=PL46D56D34AAAEE875\" target=\"_blank\" rel=\"noopener\">Green Day hopping onstage in 2001\u003c/a> to do some songs on another band’s equipment “didn’t really count”). And although Armstrong \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">has played Gilman\u003c/a> twice with his other band Pinhead Gunpowder since then, last night truly was a different kind of homecoming.\u003c/p>\n\u003cp>Indeed, during the show’s closing block of \u003cem>American Idiot\u003c/em> songs — culminating in the epic “Jesus of Suburbia,” which Armstrong dedicated to everyone in West Contra Costa County — it seemed a given they’d play that Grammy-winning album’s “Homecoming,” which ends with the repeated refrain: “Home / We’re coming home again.”\u003c/p>\n\u003cp>Instead, they encored with “Minority,” slapped some high-fives to the crowd, jumped off the stage and out the side door, and piled into a black minivan with tinted windows and drove away. Ever to return? Time will tell, especially with the club’s \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">fundraising efforts\u003c/a> and \u003ca href=\"http://www.eastbayexpress.com/oakland/924-gilman-streets-alumni-donor-retention-program/Content?oid=4278773\" target=\"_blank\" rel=\"noopener\">current negotiations about the future of the building\u003c/a>.\u003c/p>\n\u003cp>But for Green Day — the prodigal sons of 924 Gilman — and for the few hundred people there to witness their return, it was a night to remember indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist:\u003c/strong>\u003c/p>\n\u003cp>99 Revolutions\u003cbr>\nHoliday\u003cbr>\nKnow Your Enemy\u003cbr>\nWelcome to Paradise\u003cbr>\n2,000 Light Years Away\u003cbr>\nPrivate Ale\u003cbr>\nChristie Road\u003cbr>\nPaper Lanterns\u003cbr>\nOnly of You\u003cbr>\nStuart and the Ave.\u003cbr>\nShe\u003cbr>\nGoing To Pasalacqua\u003cbr>\nBurnout\u003cbr>\nLongview\u003cbr>\nBasketcase\u003cbr>\nWhen I Come Around\u003cbr>\nAre We The Waiting\u003cbr>\nSt. Jimmy\u003cbr>\nAmerican Idiot\u003cbr>\nJesus Of Suburbia\u003cbr>\n–\u003cbr>\nMinority\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Benefit Info.:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\" rel=\"noopener\">Fire Relief for AK Press\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\" rel=\"noopener\">Fire Relief for 1984 Printing\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\" rel=\"noopener\">Fire Relief for Shipwreck Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">Fundraising for 924 Gilman\u003c/a>\u003c/p>\n\n",
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"excerpt": "With the club's ban on major-label bands lifted for one night, Green Day returned to their early stomping grounds for a nearly two-hour set to benefit those affected by the recent West Oakland fire.",
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"description": "With the club's ban on major-label bands lifted for one night, Green Day returned to their early stomping grounds for a nearly two-hour set to benefit those affected by the recent West Oakland fire.",
"title": "Live Review: Green Day Plays 924 Gilman, Welcomed Back After 21 Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“So, we come from this place called Gilman Street. It’s a club. It’s in Berkeley.”\u003c/p>\n\u003cp>That’s how Billie Joe Armstrong characterized his band in \u003ca href=\"http://www.rollingstone.com/music/news/green-day-thank-vans-fans-rock-roll-at-hall-of-fame-read-the-speech-20150418?page=5\" target=\"_blank\" rel=\"noopener\">a speech for Green Day’s induction into the Rock ‘n’ Roll Hall of Fame\u003c/a> last month. And last night, in an incredible, nearly two-hour set for less than a few hundred people, Green Day made a historic return to the stage at \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a> — the all-ages, non-profit club that famously served as the band’s early home.\u003c/p>\n\u003cp>Before set opener “99 Revolutions,” Armstrong reiterated what he’s said over and over again about the venue: “I really think of this place as a very important place to me,” he \u003ca href=\"https://www.youtube.com/watch?v=_1xQw8PHylw\" target=\"_blank\" rel=\"noopener\">intoned from the stage\u003c/a>, “and it’s in my heart forever.” (Earlier, bassist Mike Dirnt \u003ca href=\"https://instagram.com/p/2zQrP4NyyS/\" target=\"_blank\" rel=\"noopener\">referred to Gilman as “church.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10669570\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg\" alt=\"Green Day at 924 Gilman\" width=\"640\" height=\"457\" class=\"size-full wp-image-10669570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so Green Day’s set last night was more than just an ordinary show. Introduced by \u003ca href=\"http://en.wikipedia.org/wiki/Jello_Biafra\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a>, the band played a marathon setlist with plenty early material befitting the venue — deep cuts like “Paper Lanterns,” “2,000 Light Years Away,” “Only of You,” “Private Ale” and “Christie Road.” They brought up Tim Armstrong from Rancid for \u003ca href=\"https://instagram.com/p/2z4LUUSSbe/\" target=\"_blank\" rel=\"noopener\">a faithful version of “Knowledge”\u003c/a> by Operation Ivy. They joked with the crowd and each other, they extended the microphone to let a few of the many crowdsurfers sing, they swapped articles of clothing with fans, and left everyone inside the small room with shirts drenched in sweat and ears ringing.\u003c/p>\n\u003cp>In other words, it was pretty much like a typical Green Day show at Gilman in 1993. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9nZz_Za4vW8'\n title='//www.youtube.com/embed/9nZz_Za4vW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Green Day playing at Gilman is special. It’s like Springsteen playing the Stone Pony. It’s like the Ramones playing CBGB. Except for one key difference: because of 924 Gilman’s longstanding ban on major-label bands, Green Day hasn’t been allowed to play the one place most dear to their hearts for the past 21 years. They’ve talked about it in interviews, they’ve \u003ca href=\"https://www.youtube.com/watch?v=OCOfynekLvs\" target=\"_blank\" rel=\"noopener\">written songs\u003c/a> about it, and they’ve no doubt felt stung by it.\u003c/p>\n\u003cp>In fact, early in the night, I happened to be standing by Gilman’s side door and witnessed Tré Cool denied admittance by a large security guard, who didn’t recognize him and slammed the door in the drummer’s face for not having a wristband for the show. Yes, it was funny (“I just got dicked! Did you see that?” he exclaimed to those nearby, chuckling at the scene), but it was also a metaphor for how the club has treated its most famous alumni for the last two decades.\u003c/p>\n\u003cp>Last night was different — the show was a benefit for those affected by \u003ca href=\"http://ww2.kqed.org/news/2015/04/07/weeks-later-fatal-fire-in-west-oakland-still-hurts/\" target=\"_blank\" rel=\"noopener\">the March 21 fire in West Oakland\u003c/a> that killed two residents, displaced 34 others, and severely damaged both \u003ca href=\"http://www.akpress.org/\" target=\"_blank\" rel=\"noopener\">AK Press\u003c/a> and \u003ca href=\"http://www.1984printing.com/\" target=\"_blank\" rel=\"noopener\">1984 Printing\u003c/a>, publishing and printing companies well-known and loved in the punk scene. The membership of 924 Gilman voted to make a one-time exemption to the major-label ban for the benefit (a vote that “didn’t seem very controversial to the membership,” as Jesse Townley, long involved with the club, told me last night), and it was agreed that Green Day could play, billed as “Special Guests.”\u003c/p>\n\u003cp>Of course, word got out on who the special guests were. So when tickets went on sale, at $20 each, they were gone in under 10 seconds. \u003ca href=\"https://www.facebook.com/events/1589768671240089\" target=\"_blank\" rel=\"noopener\">Speculation swirled\u003c/a> that the tickets had been bought by bots created by Silicon Valley developers, and that the show might be full of tech bros.\u003c/p>\n\u003cfigure id=\"attachment_10669571\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg\" alt=\"Billie Joe Armstrong of Green Day at 924 Gilman\" width=\"457\" height=\"640\" class=\"size-full wp-image-10669571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But no — it was still the classic Gilman atmosphere, with the crowd goofily chanting “Nick-el-back! Nick-el-back!” before Green Day went on. Gilman history was represented, too, in the opening bands. \u003ca href=\"http://bobbyjoeebola.com/\" target=\"_blank\" rel=\"noopener\">Bobby Joe Ebola and the Children MacNuggits\u003c/a> featured \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\" target=\"_blank\" rel=\"noopener\">Operation Ivy\u003c/a>’s Dave Mello on drums, and a reunited \u003ca href=\"http://www.punknews.org/review/1251/the-enemies-seize-the-day\" target=\"_blank\" rel=\"noopener\">Enemies\u003c/a> had \u003ca href=\"http://en.wikipedia.org/wiki/Neurosis_%28band%29\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>’ Dave Edwardson on bass; both bands had plenty of fans singing along. Behind me in line to get inside was Richie Bucher, the artist, \u003ca href=\"https://www.youtube.com/watch?v=_J6ba-v_QgY\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">\u003cem>Cometbus\u003c/em>\u003c/a> regular who illustrated \u003ca href=\"http://www.wweek.com/portland/article-22020-where%E2%80%99s_angu.html\" target=\"_blank\" rel=\"noopener\">the iconic cover\u003c/a> of Green Day’s best-known album, \u003cem>Dookie\u003c/em>. And in the crowd, as Armstrong noted between songs, there were far more punks with mohawks than there ever were at the band’s Gilman shows in the early 1990s. \u003c/p>\n\u003cp>Armstrong also pinpointed the exact last show Green Day played at Gilman: “Sept. 6, 1993,” rattling it off like a memorized date from history class (and also commented that \u003ca href=\"https://www.youtube.com/watch?v=uABXKwkYiLI&list=PL46D56D34AAAEE875\" target=\"_blank\" rel=\"noopener\">Green Day hopping onstage in 2001\u003c/a> to do some songs on another band’s equipment “didn’t really count”). And although Armstrong \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">has played Gilman\u003c/a> twice with his other band Pinhead Gunpowder since then, last night truly was a different kind of homecoming.\u003c/p>\n\u003cp>Indeed, during the show’s closing block of \u003cem>American Idiot\u003c/em> songs — culminating in the epic “Jesus of Suburbia,” which Armstrong dedicated to everyone in West Contra Costa County — it seemed a given they’d play that Grammy-winning album’s “Homecoming,” which ends with the repeated refrain: “Home / We’re coming home again.”\u003c/p>\n\u003cp>Instead, they encored with “Minority,” slapped some high-fives to the crowd, jumped off the stage and out the side door, and piled into a black minivan with tinted windows and drove away. Ever to return? Time will tell, especially with the club’s \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">fundraising efforts\u003c/a> and \u003ca href=\"http://www.eastbayexpress.com/oakland/924-gilman-streets-alumni-donor-retention-program/Content?oid=4278773\" target=\"_blank\" rel=\"noopener\">current negotiations about the future of the building\u003c/a>.\u003c/p>\n\u003cp>But for Green Day — the prodigal sons of 924 Gilman — and for the few hundred people there to witness their return, it was a night to remember indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist:\u003c/strong>\u003c/p>\n\u003cp>99 Revolutions\u003cbr>\nHoliday\u003cbr>\nKnow Your Enemy\u003cbr>\nWelcome to Paradise\u003cbr>\n2,000 Light Years Away\u003cbr>\nPrivate Ale\u003cbr>\nChristie Road\u003cbr>\nPaper Lanterns\u003cbr>\nOnly of You\u003cbr>\nStuart and the Ave.\u003cbr>\nShe\u003cbr>\nGoing To Pasalacqua\u003cbr>\nBurnout\u003cbr>\nLongview\u003cbr>\nBasketcase\u003cbr>\nWhen I Come Around\u003cbr>\nAre We The Waiting\u003cbr>\nSt. Jimmy\u003cbr>\nAmerican Idiot\u003cbr>\nJesus Of Suburbia\u003cbr>\n–\u003cbr>\nMinority\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Benefit Info.:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\" rel=\"noopener\">Fire Relief for AK Press\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\" rel=\"noopener\">Fire Relief for 1984 Printing\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\" rel=\"noopener\">Fire Relief for Shipwreck Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">Fundraising for 924 Gilman\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Teach Us, Peaches",
"headTitle": "Teach Us, Peaches | 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/teaches-of-peaches/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Peaches\u003c/h2>\n\u003cdiv class=\"event-desc\">Provocateur in conversation with Annie Sprinkle.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 20, 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/teaches-of-peaches/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Fifteen years ago, the singer Peaches released her breakthrough album \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/The_Teaches_of_Peaches\" target=\"_blank\" rel=\"noopener\">The Teaches of Peaches\u003c/a>\u003c/em>. In 2000, my friends and I, punk rock and feminist to the core, were coming off 10 years of politically infused riot grrrl bands — a movement that captured the psychic and physical subjugation we felt as young women living in a society obsessed with stifling beauty concepts: skinny, white, hairless, “feminine.”\u003c/p>\n\u003cp>We adored Peaches from the start.\u003c/p>\n\u003cp>She was the raunchy, gender-blurring, sex-positive rock star we’d been waiting for. She wore sparkly leotards and capes. She had transgender backup dancers (backup dancers!) that looked like Amazonian warrior gods. She had armpit hair and wasn’t afraid of the occasional beard. She pulled off the ultimate rock ‘n’ roll swagger, the kind that made our tongues drop to the floor like a dog in a Warner Bros. cartoon. And then, there were her lyrics.\u003c/p>\n\u003cp>To be honest, I don’t remember most of the songs from \u003cem>The Teaches of Peaches\u003c/em>. They’ve been overshadowed by the album’s opening track. “F*ck the Pain Away” kicks off with a dark, synth beat, setting the stage for Peaches’ raunchy, unabashedly sex-loving lyrics, half-rapped, half-sung. The song got a lot of play at the turn of the century — in 2003, it featured prominently in the Sofia Coppola film \u003cem>Lost in Translation\u003c/em> — and every listen felt like one step closer to liberation. From what? Mainly, the worry about fitting into some prescribed package of what it meant to be a young woman. Peaches gave us permission to enjoy sex, to own and celebrate our bodies, to blur gender and to wear skin-tight sparkly leggings, if that was our jam. Most importantly, Peaces let us know that engaging in these behaviors wouldn’t get our feminist club membership revoked.\u003c/p>\n\u003cp>As actress Ellen Page writes in an heartfelt essay in \u003cem>The Teaches of Peaches\u003c/em>, which comes out next month on \u003ca href=\"http://www.akashicbooks.com/catalog/what-else-is-in-the-teaches-of-peaches/\">Akashic Books\u003c/a>: “She (Peaches) is more than a musician, though: she is a true artist, and a prolific one at that. For a 16-year-old gay person, she offered something that I could not find elsewhere.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/51pGF5e-RiL._SX258_BO1204203200_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10656913 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/51pGF5e-RiL._SX258_BO1204203200_.jpg\" alt=\"51pGF5e-RiL._SX258_BO1,204,203,200_\" width=\"260\" height=\"336\">\u003c/a>Alongside written tributes by Yoko Ono and Michael Stipe, as well as Page’s essay, \u003cem>The Teaches of Peaches\u003c/em> collects 154 color photographs by German photographer \u003ca href=\"http://www.holgertalinski.de/\">Holger Talinski\u003c/a>. Taken over a six-year period, from 2008–2014, the book captures a whirlwind period in Peaches’ art-fueled life: an 18-month tour for her fourth studio album \u003cem>I Feel Cream\u003c/em>, an ambitious staging of \u003cem>Jesus Christ Superstar\u003c/em> (renamed \u003cem>\u003ca href=\"https://youtu.be/EEh1EXSlwHY\">Peaches Christ Superstar,\u003c/a>\u003c/em> of course), the creation of an original electro-rock opera \u003cem>Peaches Does Herself\u003c/em>, a debut performance in an original opera singing the Italian male leading role, and a performance of Yoko Ono’s dramatic \u003ca href=\"http://www.medienkunstnetz.de/works/cut-piece/\">\u003cem>Cut Piece\u003c/em>\u003c/a> at the Meltdown Festival in London.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=KhNhrKNYvSo\u003c/p>\n\u003cp>“Holger Talinski was there with his camera throughout,” writes Peaches in the book’s foreword. “He captured all of these moments, both the magic and the realities. Holger shows the exhaustion, the work, the relaxation, the parties, the quiet moments, and the family visits.”\u003c/p>\n\u003cp>For Peaches fans, the collection offers glimpses into both the public and private life of the artist who put feminist \u003ca href=\"http://en.wikipedia.org/wiki/Electroclash\" target=\"_blank\" rel=\"noopener\">electroclash\u003c/a> on the map. Peaches led the way, not only for other underground electronic acts like Le Tigre, Ladytron, and Chicks on Speed, but also artists that went on to major mainstream success. Would M.I.A. exist without Peaches? Lady Gaga? In her current iteration, Miley Cyrus?\u003c/p>\n\u003cp>The collection captures many over-the-top, laser-lit, rock ‘n’ roll performances (Peaches put on one of the absolute best live shows I’ve ever seen, in San Diego, 2004), but Talinksi’s access to Peaches allows another side to emerge; Peaches sleeping draped across her parents’ laps and knees on a living room couch; Peaches on the toilet, red-eyed and looking like she could use a decade’s worth of sleep; Peaches in a cloud of pot smoke; Peaches hanging with a fan, who is surrounded by three children; Peaches laughing with friends, her smile open, obviously happy.\u003c/p>\n\u003cp>Also on display are photos of the rock-star side of Peaches, hanging backstage with famous friends and collaborators: Iggy Pop, Christina Aguilera, Pink, Michael Stipe, Yoko Ono, P.J. Harvey. Peaches enjoying a nice bubble bath with Annie Sprinkle.\u003c/p>\n\u003cp>In the end, \u003cem>The Teaches of Peaches\u003c/em> is a reminder that Peaches, the artist and the musician, didn’t go the way of other electroclash acts like Chicks on Speed (where are \u003cem>they\u003c/em> now?). She’s forged a vibrant, genre-bending career that continues to throb with spirit, transgression, energy, and ambition. And, a lion’s share of fabulous leotards, sequins, leather, and lasers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Peaches talks and signs copies of ‘The Teaches of Peaches’ at City Lights Books on May 20. She’s joined by sexologist Annie Sprinkle and UCSC professor and “eco-sex” advocate Beth Stephens.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A new book, \u003cem>What Else is in the Teaches of Peaches\u003c/em>, revisits the provocative revolution started by the raunchy, gender-blurring, sex-positive artist -- and her impact on the indie generation.",
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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/teaches-of-peaches/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Peaches\u003c/h2>\n\u003cdiv class=\"event-desc\">Provocateur in conversation with Annie Sprinkle.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 20, 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/teaches-of-peaches/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Fifteen years ago, the singer Peaches released her breakthrough album \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/The_Teaches_of_Peaches\" target=\"_blank\" rel=\"noopener\">The Teaches of Peaches\u003c/a>\u003c/em>. In 2000, my friends and I, punk rock and feminist to the core, were coming off 10 years of politically infused riot grrrl bands — a movement that captured the psychic and physical subjugation we felt as young women living in a society obsessed with stifling beauty concepts: skinny, white, hairless, “feminine.”\u003c/p>\n\u003cp>We adored Peaches from the start.\u003c/p>\n\u003cp>She was the raunchy, gender-blurring, sex-positive rock star we’d been waiting for. She wore sparkly leotards and capes. She had transgender backup dancers (backup dancers!) that looked like Amazonian warrior gods. She had armpit hair and wasn’t afraid of the occasional beard. She pulled off the ultimate rock ‘n’ roll swagger, the kind that made our tongues drop to the floor like a dog in a Warner Bros. cartoon. And then, there were her lyrics.\u003c/p>\n\u003cp>To be honest, I don’t remember most of the songs from \u003cem>The Teaches of Peaches\u003c/em>. They’ve been overshadowed by the album’s opening track. “F*ck the Pain Away” kicks off with a dark, synth beat, setting the stage for Peaches’ raunchy, unabashedly sex-loving lyrics, half-rapped, half-sung. The song got a lot of play at the turn of the century — in 2003, it featured prominently in the Sofia Coppola film \u003cem>Lost in Translation\u003c/em> — and every listen felt like one step closer to liberation. From what? Mainly, the worry about fitting into some prescribed package of what it meant to be a young woman. Peaches gave us permission to enjoy sex, to own and celebrate our bodies, to blur gender and to wear skin-tight sparkly leggings, if that was our jam. Most importantly, Peaces let us know that engaging in these behaviors wouldn’t get our feminist club membership revoked.\u003c/p>\n\u003cp>As actress Ellen Page writes in an heartfelt essay in \u003cem>The Teaches of Peaches\u003c/em>, which comes out next month on \u003ca href=\"http://www.akashicbooks.com/catalog/what-else-is-in-the-teaches-of-peaches/\">Akashic Books\u003c/a>: “She (Peaches) is more than a musician, though: she is a true artist, and a prolific one at that. For a 16-year-old gay person, she offered something that I could not find elsewhere.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/51pGF5e-RiL._SX258_BO1204203200_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10656913 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/51pGF5e-RiL._SX258_BO1204203200_.jpg\" alt=\"51pGF5e-RiL._SX258_BO1,204,203,200_\" width=\"260\" height=\"336\">\u003c/a>Alongside written tributes by Yoko Ono and Michael Stipe, as well as Page’s essay, \u003cem>The Teaches of Peaches\u003c/em> collects 154 color photographs by German photographer \u003ca href=\"http://www.holgertalinski.de/\">Holger Talinski\u003c/a>. Taken over a six-year period, from 2008–2014, the book captures a whirlwind period in Peaches’ art-fueled life: an 18-month tour for her fourth studio album \u003cem>I Feel Cream\u003c/em>, an ambitious staging of \u003cem>Jesus Christ Superstar\u003c/em> (renamed \u003cem>\u003ca href=\"https://youtu.be/EEh1EXSlwHY\">Peaches Christ Superstar,\u003c/a>\u003c/em> of course), the creation of an original electro-rock opera \u003cem>Peaches Does Herself\u003c/em>, a debut performance in an original opera singing the Italian male leading role, and a performance of Yoko Ono’s dramatic \u003ca href=\"http://www.medienkunstnetz.de/works/cut-piece/\">\u003cem>Cut Piece\u003c/em>\u003c/a> at the Meltdown Festival in London.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KhNhrKNYvSo'\n title='//www.youtube.com/embed/KhNhrKNYvSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Holger Talinski was there with his camera throughout,” writes Peaches in the book’s foreword. “He captured all of these moments, both the magic and the realities. Holger shows the exhaustion, the work, the relaxation, the parties, the quiet moments, and the family visits.”\u003c/p>\n\u003cp>For Peaches fans, the collection offers glimpses into both the public and private life of the artist who put feminist \u003ca href=\"http://en.wikipedia.org/wiki/Electroclash\" target=\"_blank\" rel=\"noopener\">electroclash\u003c/a> on the map. Peaches led the way, not only for other underground electronic acts like Le Tigre, Ladytron, and Chicks on Speed, but also artists that went on to major mainstream success. Would M.I.A. exist without Peaches? Lady Gaga? In her current iteration, Miley Cyrus?\u003c/p>\n\u003cp>The collection captures many over-the-top, laser-lit, rock ‘n’ roll performances (Peaches put on one of the absolute best live shows I’ve ever seen, in San Diego, 2004), but Talinksi’s access to Peaches allows another side to emerge; Peaches sleeping draped across her parents’ laps and knees on a living room couch; Peaches on the toilet, red-eyed and looking like she could use a decade’s worth of sleep; Peaches in a cloud of pot smoke; Peaches hanging with a fan, who is surrounded by three children; Peaches laughing with friends, her smile open, obviously happy.\u003c/p>\n\u003cp>Also on display are photos of the rock-star side of Peaches, hanging backstage with famous friends and collaborators: Iggy Pop, Christina Aguilera, Pink, Michael Stipe, Yoko Ono, P.J. Harvey. Peaches enjoying a nice bubble bath with Annie Sprinkle.\u003c/p>\n\u003cp>In the end, \u003cem>The Teaches of Peaches\u003c/em> is a reminder that Peaches, the artist and the musician, didn’t go the way of other electroclash acts like Chicks on Speed (where are \u003cem>they\u003c/em> now?). She’s forged a vibrant, genre-bending career that continues to throb with spirit, transgression, energy, and ambition. And, a lion’s share of fabulous leotards, sequins, leather, and lasers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Peaches talks and signs copies of ‘The Teaches of Peaches’ at City Lights Books on May 20. She’s joined by sexologist Annie Sprinkle and UCSC professor and “eco-sex” advocate Beth Stephens.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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": "'Let The Fire Burn' Screens on 30th Anniversary of MOVE Bombing",
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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/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Let The Fire Burn’ Screening\u003c/h2>\n\u003cdiv class=\"event-desc\">A documentary on 1985 MOVE bombing in Philadelphia.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Omni Oakland Commons\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On May 13, 1985 — after firing 10,000 rounds of ammunition and spraying hoses of teargas — Philadelphia Police Department Commissioner George Sambor ordered that officers drop a bomb from a state-supplied helicopter onto the home of black radicals. Eleven people, including five children, were killed in the massive fire that resulted. Roughly 60 homes in the primarily black working class neighborhood also went up in flames, a tragic incident that Jason Osder documented in his 2013 film, \u003ca href=\"http://www.letthefireburn.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Let The Fire Burn,\u003c/i>\u003c/a> screening on the 30th anniversary of the bombing at \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Oakland’s Omni Commons\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p9eCA0bIezA\u003c/p>\n\u003cp>The events leading up to that fateful day in Pennsylvania are complicated. \u003ca href=\"http://onamove.com/about/\" target=\"_blank\" rel=\"noopener\">MOVE\u003c/a>, the group of black radicals that occupied the row house at 6221 Osage Avenue in West Philadelphia, had a tense relationship with law enforcement, particularly after a police officer was killed during a failed eviction-turned-shootout with police in 1978 (seven other officers, five firefighters, and three MOVE members were injured; nine MOVE members were convicted of the officer’s murder and each sentenced 30 to 100 years in prison).\u003c/p>\n\u003cp>Yet, before the shootout, the MOVE house was typical of the post-1960s experimental, consciousness-shifting times. Founded by John Africa in 1972 with the intent to simply life, the MOVE house was a commune of black families focused on unplugging from media and advocating for green politics and social justice. What started as a peaceful, anti-establishment revolution slowly turned violent as police used force to settle conflicts and MOVE members started collecting guns to defend themselves.\u003c/p>\n\u003cfigure id=\"attachment_10629051\" class=\"wp-caption alignright\" style=\"max-width: 629px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10629051 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg\" alt=\"Members of MOVE before the 1985 bombing.\" width=\"629\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg 629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2-400x260.jpg 400w\" sizes=\"(max-width: 629px) 100vw, 629px\">\u003cfigcaption class=\"wp-caption-text\">Members of MOVE before the 1985 bombing\u003c/figcaption>\u003c/figure>\n\u003cp>Of the two members who escaped the 1985 bombing, Ramona Africa is the sole survivor; Michael Ward (aka Birdie Africa), who was just 13 when he escaped the home with second and third degree burns covering his body, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2013/09/25/226240825/michael-ward-who-survived-move-bombing-as-a-child-dies\" target=\"_blank\" rel=\"noopener\">died from drowning\u003c/a> in 2013. Phil Africa, one of the nine arrested for the officer’s death in 1978, died a \u003ca href=\"http://www.nytimes.com/2015/01/15/us/phil-africa-59-of-black-liberation-group-move-long-in-prison.html?_r=0\" target=\"_blank\" rel=\"noopener\">“suspicious death”\u003c/a> in prison earlier this year. Though Philadelphia eventually rebuilt many of the homes in the neighborhood, they were later boarded up and condemned because of shoddy construction. The incident and its aftermath gave Philly an unfortunate moniker: The City That Bombed Itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In today’s climate of police violence against people of color, one can’t help but note the evolution of officer-involved murders in marginalized communities and wonder if a tragedy of this magnitude could happen again. One might also argue that the brutality suffered at MOVE, in which only one adult and one child walked out of the burning house alive, systematically continues to this day, but in a less war-like manner. The one-on-one killing of black boys and men like Oscar Grant, Trayvon Martin, Mike Brown, Darrien Hunt, Eric Garner, Anthony Hill, Tamir Rice, Walter Scott, Freddie Gray and so many others the word count here won’t permit me to name, continues. Aside from the recent charges against \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/05/01/403496063/freddie-gray-update-new-speculation-on-his-death-and-peaceful-protests\" target=\"_blank\" rel=\"noopener\">six officers in the Baltimore murder of Freddie Gray,\u003c/a> there is usually little to no accountability for police misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Let The Fire Burn\u003c/i> is not just about the bombing, but about a culture of police aggression and racism that continues today. The film touches on several incidents of police brutality against members of MOVE before the bombing, told through video deposition from young Michael Ward just months after the bombing, along with archived news footage and testimonies at the commission that later investigated the incident. Although 30 years have passed and most of us can’t fathom a police force bombing its citizens from the air, the tragedy of killing people on our streets is certainly no more humane.\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/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Let The Fire Burn’ Screening\u003c/h2>\n\u003cdiv class=\"event-desc\">A documentary on 1985 MOVE bombing in Philadelphia.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Omni Oakland Commons\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On May 13, 1985 — after firing 10,000 rounds of ammunition and spraying hoses of teargas — Philadelphia Police Department Commissioner George Sambor ordered that officers drop a bomb from a state-supplied helicopter onto the home of black radicals. Eleven people, including five children, were killed in the massive fire that resulted. Roughly 60 homes in the primarily black working class neighborhood also went up in flames, a tragic incident that Jason Osder documented in his 2013 film, \u003ca href=\"http://www.letthefireburn.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Let The Fire Burn,\u003c/i>\u003c/a> screening on the 30th anniversary of the bombing at \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Oakland’s Omni Commons\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p9eCA0bIezA'\n title='//www.youtube.com/embed/p9eCA0bIezA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The events leading up to that fateful day in Pennsylvania are complicated. \u003ca href=\"http://onamove.com/about/\" target=\"_blank\" rel=\"noopener\">MOVE\u003c/a>, the group of black radicals that occupied the row house at 6221 Osage Avenue in West Philadelphia, had a tense relationship with law enforcement, particularly after a police officer was killed during a failed eviction-turned-shootout with police in 1978 (seven other officers, five firefighters, and three MOVE members were injured; nine MOVE members were convicted of the officer’s murder and each sentenced 30 to 100 years in prison).\u003c/p>\n\u003cp>Yet, before the shootout, the MOVE house was typical of the post-1960s experimental, consciousness-shifting times. Founded by John Africa in 1972 with the intent to simply life, the MOVE house was a commune of black families focused on unplugging from media and advocating for green politics and social justice. What started as a peaceful, anti-establishment revolution slowly turned violent as police used force to settle conflicts and MOVE members started collecting guns to defend themselves.\u003c/p>\n\u003cfigure id=\"attachment_10629051\" class=\"wp-caption alignright\" style=\"max-width: 629px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10629051 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg\" alt=\"Members of MOVE before the 1985 bombing.\" width=\"629\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg 629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2-400x260.jpg 400w\" sizes=\"(max-width: 629px) 100vw, 629px\">\u003cfigcaption class=\"wp-caption-text\">Members of MOVE before the 1985 bombing\u003c/figcaption>\u003c/figure>\n\u003cp>Of the two members who escaped the 1985 bombing, Ramona Africa is the sole survivor; Michael Ward (aka Birdie Africa), who was just 13 when he escaped the home with second and third degree burns covering his body, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2013/09/25/226240825/michael-ward-who-survived-move-bombing-as-a-child-dies\" target=\"_blank\" rel=\"noopener\">died from drowning\u003c/a> in 2013. Phil Africa, one of the nine arrested for the officer’s death in 1978, died a \u003ca href=\"http://www.nytimes.com/2015/01/15/us/phil-africa-59-of-black-liberation-group-move-long-in-prison.html?_r=0\" target=\"_blank\" rel=\"noopener\">“suspicious death”\u003c/a> in prison earlier this year. Though Philadelphia eventually rebuilt many of the homes in the neighborhood, they were later boarded up and condemned because of shoddy construction. The incident and its aftermath gave Philly an unfortunate moniker: The City That Bombed Itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In today’s climate of police violence against people of color, one can’t help but note the evolution of officer-involved murders in marginalized communities and wonder if a tragedy of this magnitude could happen again. One might also argue that the brutality suffered at MOVE, in which only one adult and one child walked out of the burning house alive, systematically continues to this day, but in a less war-like manner. The one-on-one killing of black boys and men like Oscar Grant, Trayvon Martin, Mike Brown, Darrien Hunt, Eric Garner, Anthony Hill, Tamir Rice, Walter Scott, Freddie Gray and so many others the word count here won’t permit me to name, continues. Aside from the recent charges against \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/05/01/403496063/freddie-gray-update-new-speculation-on-his-death-and-peaceful-protests\" target=\"_blank\" rel=\"noopener\">six officers in the Baltimore murder of Freddie Gray,\u003c/a> there is usually little to no accountability for police misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Let The Fire Burn\u003c/i> is not just about the bombing, but about a culture of police aggression and racism that continues today. The film touches on several incidents of police brutality against members of MOVE before the bombing, told through video deposition from young Michael Ward just months after the bombing, along with archived news footage and testimonies at the commission that later investigated the incident. Although 30 years have passed and most of us can’t fathom a police force bombing its citizens from the air, the tragedy of killing people on our streets is certainly no more humane.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The New World: An Uncomfortably Familiar Meditation on Marriage",
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"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>Event Information\u003c/h3>\n\u003ch2>‘The Hunting Ground’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary on campus rape.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Nickelodeon\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">CEMEX Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 2012, Florida State University freshman Erica Kinsman was repeatedly told to “think twice” before naming her alleged rapist when she reported the assault to campus authorities. Because the perpetrator was a star on the campus football team and had a bright future ahead of him, Kinsman watched as her case was mishandled (and neglected by Tallahassee police for 10 months) and the man she accused of raping her after a few drinks at a local bar not only walked free but was praised for his sports performances. The trauma of the incident, including threats and harassment instead of advocacy and support, led Kinsman to drop out of school.\u003c/p>\n\u003cp>Though Kinsman’s case garnered widespread publicity because of her perpetrator’s status in the college football world, her experience has become a common one among the many women and men who report their rapes on college campuses across the nation. Kinsman’s story, and the stories of many others who are no longer remaining silent about the growing problem, are highlighted in a new documentary, \u003cem>\u003ca href=\"http://www.thehuntinggroundfilm.com/\" target=\"_blank\" rel=\"noopener\">The Hunting Ground\u003c/a>\u003c/em>, which screens in \u003ca href=\"http://thenick.com/comingSoon.html#coming_HuntingGround\" target=\"_blank\" rel=\"noopener\">Santa Cruz\u003c/a> and at \u003ca href=\"http://gender.stanford.edu/events/hunting-ground-documentary-screening-and-panel-discussion\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this month.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GBNHGi36nlM\u003c/p>\n\u003cp>Filmmakers Kirby Dick and Amy Zierling are no strangers to the world of misconduct and victim-blaming within institution-related rape cases. The team brought the world of military sexual assault to light in their 2012 award-winning documentary \u003cem>\u003ca href=\"http://invisiblewarmovie.com/\" target=\"_blank\" rel=\"noopener\">The Invisible War\u003c/a>\u003c/em>, which exposed the twisted, unethical treatment of sexual assault survivors in active military duty. On screening tours the pair were repeatedly approached by audience members who saw parallels between the mishandling of military rapes and those on college campuses.\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em>, titled so because of the manner in which college rapes are seen as calculated, premeditated acts against young, vulnerable students, premiered at Sundance in January. Though the film has been met with both skepticism and applause, it has also prompted at least 95 on-campus investigations of sexual assault. Most importantly, however, the film has also sparked much-needed dialogue and advocacy for victims of rapes — on campus and elsewhere.\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>Event Information\u003c/h3>\n\u003ch2>‘The Hunting Ground’\u003c/h2>\n\u003cdiv class=\"event-desc\">Documentary on campus rape.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Nickelodeon\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">CEMEX Auditorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hunting-ground-2/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 2012, Florida State University freshman Erica Kinsman was repeatedly told to “think twice” before naming her alleged rapist when she reported the assault to campus authorities. Because the perpetrator was a star on the campus football team and had a bright future ahead of him, Kinsman watched as her case was mishandled (and neglected by Tallahassee police for 10 months) and the man she accused of raping her after a few drinks at a local bar not only walked free but was praised for his sports performances. The trauma of the incident, including threats and harassment instead of advocacy and support, led Kinsman to drop out of school.\u003c/p>\n\u003cp>Though Kinsman’s case garnered widespread publicity because of her perpetrator’s status in the college football world, her experience has become a common one among the many women and men who report their rapes on college campuses across the nation. Kinsman’s story, and the stories of many others who are no longer remaining silent about the growing problem, are highlighted in a new documentary, \u003cem>\u003ca href=\"http://www.thehuntinggroundfilm.com/\" target=\"_blank\" rel=\"noopener\">The Hunting Ground\u003c/a>\u003c/em>, which screens in \u003ca href=\"http://thenick.com/comingSoon.html#coming_HuntingGround\" target=\"_blank\" rel=\"noopener\">Santa Cruz\u003c/a> and at \u003ca href=\"http://gender.stanford.edu/events/hunting-ground-documentary-screening-and-panel-discussion\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this month.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GBNHGi36nlM'\n title='//www.youtube.com/embed/GBNHGi36nlM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmakers Kirby Dick and Amy Zierling are no strangers to the world of misconduct and victim-blaming within institution-related rape cases. The team brought the world of military sexual assault to light in their 2012 award-winning documentary \u003cem>\u003ca href=\"http://invisiblewarmovie.com/\" target=\"_blank\" rel=\"noopener\">The Invisible War\u003c/a>\u003c/em>, which exposed the twisted, unethical treatment of sexual assault survivors in active military duty. On screening tours the pair were repeatedly approached by audience members who saw parallels between the mishandling of military rapes and those on college campuses.\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em>, titled so because of the manner in which college rapes are seen as calculated, premeditated acts against young, vulnerable students, premiered at Sundance in January. Though the film has been met with both skepticism and applause, it has also prompted at least 95 on-campus investigations of sexual assault. Most importantly, however, the film has also sparked much-needed dialogue and advocacy for victims of rapes — on campus and elsewhere.\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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"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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"title": "Bookstores We Love Share the Books About Love They Love To Recommend",
"headTitle": "Bookstores We Love Share the Books About Love They Love To Recommend | KQED",
"content": "\u003cp>As Valentine’s Day approaches, it’s natural to think about love. We default to considering the bonds between two people, but love casts a wider net. In his book \u003cem>The Four Loves\u003c/em>, C. S. Lewis broke it down two ways. The four types of love, he tells us, are \u003cem>Storge\u003c/em>, generally, family love; \u003cem>Philia\u003c/em>, friendship; \u003cem>Eros\u003c/em>, well you know, Romance! – and \u003cem>Agape\u003c/em>, unconditional love.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/The_Four_Loves.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10353607 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/The_Four_Loves.jpg\" alt=\"The_Four_Loves\" width=\"260\" height=\"406\">\u003c/a>But that was not quite fine enough; Lewis went further. “Need-Love” is, for example, the love of a child for his or her mother, while “Gift-Love” is ultimately, according to Lewis, the love of God for humanity. To this he added “Appreciative love,” our ability to love, for example, nature.\u003c/p>\n\u003cp>Or books, like that by Lewis, and the places that sell them. Bookstores hold a special place in our hearts. They are special places \u003cem>for\u003c/em> our hearts, where we can explore our feelings and find them in the words of others. The power of reading is that the experience goes beyond the book to the places we read it, and the way we found it. This is why bricks crush clicks every time.\u003c/p>\n\u003cp>Valentines Day is the perfect excuse to “hie thee hence” to a bookstore and find a book about love. And so we set about asking the bookstores we love to tell us the books about love they love to recommend to customers. Remember — love casts a wide net.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/green_apple_books.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/green_apple_books.jpg\" alt=\"green_apple_books\" width=\"640\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/green_apple_books.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/green_apple_books-400x346.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Stephen Sparks\u003c/strong> of \u003ca href=\"http://www.greenapplebooks.com\">Green Apple Books\u003c/a> has two suggestions for readers:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bronte-wuthering_heights.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10353594 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bronte-wuthering_heights.jpg\" alt=\"bronte-wuthering_heights\" width=\"321\" height=\"422\">\u003c/a>Emily Bronte, \u003cem>Wuthering Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>Wuthering Heights\u003c/em> is not a sweet love story. Perhaps because of this it remains one of the most powerful novels about the subject. It’s an intense, brooding tale of thwarted love and vengeance, full of ghosts, strange weather, and violent passion. Anyone who has loved someone inaccessible understands the unstoppable power of desire. Few books relate these feelings as accurately, and eerily, as Emily Bronte’s only novel.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ondaatje-in_the_skin_of_a_lion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10353606 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ondaatje-in_the_skin_of_a_lion.jpg\" alt=\"ondaatje-in_the_skin_of_a_lion\" width=\"272\" height=\"404\">\u003c/a>\u003cbr>\nMichael Ondaatje, \u003cem>In the Skin of a Lion\u003c/em>\u003c/p>\n\u003cp>\u003cem>The English Patient\u003c/em> is better known, but \u003cem>In the Skin of the Lion is\u003c/em>, in my opinion, Ondaatje’s best novel. (The two works share a few characters.) Written in lyrical and evocative prose, Ondaatje brings his readers to Toronto of the 1930s, a city on the verge of modernization, where, for starters, a nun is blown off a bridge and saved by a daredevil construction worker and later, a man falls in love with two women. If this doesn’t get your heart pumping, I don’t know what will.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride.jpg\" alt=\"jude_the_princess_bride\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Jude Feldman\u003c/strong>, General Manager, \u003ca href=\"http://www.borderlands-books.com\">Borderlands Books\u003c/a>, San Francisco, writes:\u003c/p>\n\u003cp>\u003cem>The Princess Bride\u003c/em> by William Goldman — almost every American is familiar with the adored and hilarious movie, but few know that before William Goldman wrote his brilliant screenplay, he wrote \u003cem>The Princess Bride\u003c/em> as a book. It’s actually a book-within-a-book; Goldman put a fictional version of himself in the narrative, as a troubled screenwriter who decides to abridge the beloved tale his father read him as a child, since his father only ever read him “the good parts” of S. Morgenstern’s \u003cem>The Princess Bride\u003c/em>. (S. Morgenstern’s version, by the way, is entirely the fictional creation of Goldman – I cannot tell you how many calls I’ve gotten over the years looking for an “original, unabridged” copy!) \u003cem>The Princess Bride\u003c/em> is full of the author’s interesting asides and commentary, but it’s also overflowing with derring-do, swordplay, wordplay, high adventure, miraculous escapes, Rodents Of Unusual Size, pirates, and of course, true love. There is so much to adore about \u003cem>The Princess Bride\u003c/em> — its structure, its intelligence, its charm — but above all its humor. I recommend it heartily to almost any reader seeking a lighthearted story with unexpected depth, and it is a perfect read for Valentine’s Day.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/keplers-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/keplers-640.jpg\" alt=\"keplers-640\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/keplers-640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/keplers-640-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.keplers.com\">Kepler’s Books\u003c/a> cup floweth over, with three books from three employees:\u003c/p>\n\u003cp>From \u003cstrong>Caitlin Jordan\u003c/strong>: \u003cem>Isle of Youth\u003c/em> by Laura van den Berg – “I read this book in one sitting! Laura van den Berg’s stories are so magnetic and haunting, she will show you pieces of yourself you were never aware of.”\u003c/p>\n\u003cp>From \u003cstrong>Cynthia St. John\u003c/strong>: \u003cem>How To Grow Up\u003c/em> by Michelle Tea – Another honest and straightforward memoir mixing Tea’s trademark grit with some self-help ideas. A unique picture of growing into the ability to love and care for ones self and loved ones, despite living the broke writer’s life.\u003c/p>\n\u003cp>From \u003cstrong>Kirsten Huffaker\u003c/strong>: \u003cem>Perfect Chemistry\u003c/em> by Simone Elkeles – A passionate story about looking beneath the surface and breaking through High School stereotypes that threaten to keep Brittany Ellis and Alex Fuentes apart.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353596\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans-450x600.jpg\" alt=\"diesel_books_john_evans\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>John Evans\u003c/strong> of \u003ca href=\"http://www.dieselbookstore.com\">Diesel Books\u003c/a> in Oakland writes:\u003c/p>\n\u003cp>This year I love to recommend \u003cem>The Book of Love: Improvisations on a Crazy Little Thing\u003c/em>, by Robert Rosenblatt. Is it the beautiful cover with a book and a heart, or the artfully designed book itself with thick paper stock and pages edged in red? All of this, and of course the text, which is improvisatory (one of my favorite words and activities) and full of delightful references to love songs, fictional vignettes, and thoughts on love: all a delightful, swirling meditational devotion. Makes a great gift!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery.jpg\" alt=\"booksmith_camden_avery\" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Camden Avery\u003c/strong>, General Manager and buyer over at \u003ca href=\"http://www.booksmith.com\">Booksmith\u003c/a>, weighs in with a perfect pair for your love chair:\u003c/p>\n\u003cp>\u003cem>Offshore\u003c/em>, by Penelope Fitzgerald — \u003cem>Offshore\u003c/em> is the story of a ragtag gang of losers drifting at the edge of the Thames, drifting through middle age, and unsure of where they belong. It’s about the love of family, the love of life, the magical and mysterious love of our friends and neighbors that wells up when we find ourselves in need.\u003c/p>\n\u003cp>\u003cem>Autobiography Of Red,\u003c/em> by Anne Carson — Geryon is a monster: winged, red. He comes from a good family, not too much money but his mom loves him. Herakles is a boy in school, gets around a lot, a little bad. \u003cem>Autobiography of Red\u003c/em> is about Geryon’s love for Herakles, the way Herakles leaves Geryon, the adventure of life this love launches Geryon into and where it takes him as he grows up.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640.jpg\" alt=\"copperfields-luisa-640\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Luisa Smith\u003c/strong>, Buying Director for \u003ca href=\"http://www.bookpassage.com\">Book Passage\u003c/a>, weighs in with these passages:\u003c/p>\n\u003cp>The exceptional storytelling in \u003cem>Euphoria\u003c/em> by Lily King details many kinds of love. Nell is surprised to find herself drawn into a passionate love triangle while working as an archeologist in the jungles of New Guinea. The deep love she has for the work she is doing in this burgeoning field threatens to complicate all of her relationships, and perhaps hurt the very people she loves. Loosely based on the life of Margaret Mead, \u003cem>Euphoria\u003c/em> beautifully paints the discovery of love in many forms and the risks and rewards of following your heart.\u003c/p>\n\u003cp>How deeply can one person love another? \u003cem>Etta and Otto and Russell and James\u003c/em> by Emma Hooper looks at a lifetime of love while following Etta on her quest at the end of her life to see the sea. Loving Etta are Otto and Russell, her husband and best friend, both with their own loving and painful memories. Both are unwilling to give up on this remarkable woman and the promises they have made. As they examine their lives and who they have become, Emma Hooper’s enchanting novel reminds us of the ocean of love and longing that can resist.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353595\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre-337x600.jpg\" alt=\"copperfields_althea_kent_jane_eyre\" width=\"337\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre-337x600.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre.jpg 640w\" sizes=\"(max-width: 337px) 100vw, 337px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Althea Kent\u003c/strong> of Copperfield’s Books calls for the classics, making sure the Bronte sisters are equally represented:\u003c/p>\n\u003cp>\u003cem>Jane Eyre\u003c/em> by Charlotte Bronte – From the very first time my mother read it to me when I was nine years old, Charlotte Bronte’s \u003cem>Jane Eyre\u003c/em> has been a favorite book of mine. And while there are many aspects of the story that appeal to me, what keeps me returning, time and again, is that it is such a complete and compelling story of love. Jane is a figure constantly striving for love in all of its forms and complexities. She seeks familial affection and kindness, is wary but entranced by the grand and sweeping gestures of a first romance, and eventually discovers the beauty and simplicity of learning how to genuinely care and love oneself.\u003c/p>\n\u003cp>Through Jane, Bronte illustrates the importance of finding balance and maintaining balance in love- a lesson that is particularly significant during a month when love is all anyone seems to want to talk about. Whether you feel stuck in your own personal Red Room, or are attempting to determine if he is more a St. John or a Rochester, or just scared about the uncertainty of the future, Jane will be there. And so will all of the love.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640-450x600.jpg\" alt=\"bookshop_santa-cruz-640\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640.jpg 640w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Casey Protti\u003c/strong> of \u003ca href=\"http://www.bookshopsantacruz.com\">Bookshop Santa Cruz\u003c/a> offers us a book that harkens back to an event of love in hew own life:\u003c/p>\n\u003cp>Ten years ago at my wedding, my then-fiancé and I asked our friends and family to suggest the best books about love. Being a bookseller, our wedding was infused with book-related treats and we wanted the suggestions to compile a collection of books that could be given as party favors. When one starts to think about the trove of literature about love, one quickly realizes how much of that love is tragic or misdirected, which wasn’t the tone we wanted to set on our wedding day.\u003c/p>\n\u003cp>However, as any married couple knows, books about love should be just that – a reminder that love is not always clean and easy and romantic. That is why my favorite book about love is \u003cem>Love in the Time of Cholera\u003c/em> by Gabriel Garcia Marquez. It is true that the passionate longings coming from the protagonist Florentino, aptly written by the poetic and romantic Marquez, is the original reason I fell in love with this book. But it is the unrequited nature of his love and the question that lingers about what makes for a good marriage that makes me believe that \u003cem>Love in the Time of Cholera\u003c/em> is ultimately the best book ever written about love.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-587x600.jpg\" alt=\"rakestraw-michael-640\" width=\"587\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-587x600.jpg 587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640.jpg 640w\" sizes=\"(max-width: 587px) 100vw, 587px\">\u003c/a>\u003c/p>\n\u003cp>From Danville, \u003cstrong>Michael Barnard\u003c/strong>, owner and General Manager of \u003ca href=\"http://www.rakestrawbooks.com\">Rakestraw Books\u003c/a>, writes:\u003c/p>\n\u003cp>\u003cem>An Unnecessary Woman\u003c/em> by Rabih Alameddine. The title character is a 72-year-old woman who lives alone in Beirut: divorced and childless. She spends her days reading and her years translating books that she has loved out of English and French into Arabic. She shows her translations to no one. “I thought that reading would make me a better person. I also thought it would make me better than you.” Aaliya is a utterly compelling character: brilliant, funny, angry, and damaged. This might be the best novel I read last year.\u003c/p>\n\u003cp>\u003cem>In the Kingdom of Ice: The Grand and Terrible Polar Voyage of the USS Jeannette\u003c/em> by Hampton Sides. The Jeannette left San Francisco in 1879 bound for the North Pole. Two years later, surrounded by pack ice and a thousand miles from anywhere, the ship sank leaving behind some of the men and a couple long boats. Their story is as gripping as any you have ever read.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project.jpg\" alt=\"ken_white_books_inc_the_rosie_project\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>From \u003ca href=\"http://www.booksinc.net\">Books, Inc. in the Castro\u003c/a>, \u003cstrong>Ken White\u003c/strong> brings us this up-to-the-minute choice, with the sequel and the writer in town this month:\u003c/p>\n\u003cp>I’m not against a good love story, but I usually don’t read books that are mostly romance. So when customers come in to Books Inc. in the Castro, it’s a good thing that \u003cem>The Rosie Project\u003c/em> by George Simsion came along for me to recommend!\u003c/p>\n\u003cp>This is not your average boy-meets-girl scenario. The boy (Don Tillman) in this case has a problem reading people. Social nuances are completely lost on him, and first dates are usually a disaster. He has a fine scientific mind, however, so he’s decided to go the logical route towards finding a new mate: he’s composed a personality test for prospective female partners to fill out, so he can pre-screen them. \u003c/p>\n\u003cp>One morning, Rosie knocks on his door needing Don’s help with a problem of her own. Rosie might be pretty, but she is unsuitable in every possible way, and has a way of disrupting his life on a scale previously unknown to him. She leads him into one uproariously funny situation after another. Thankfully their relationship is not of the romantic sort…or is it?\u003c/p>\n\u003cp>Don’s voice in the book is unlike any that I’ve ever read before. His mind is clear and logical, but he’s frustrated by a world that won’t always adhere to method and sensibility. Yet he’s a lovable character getting into all kinds of mischief, and the book is something really rare in the literary world: it’s a crowd-pleaser.\u003c/p>\n\u003cp>*****\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Love itself is the real crowd-pleaser. We all love to eat, and thus \u003cem>The Heart of the Plate\u003c/em> by Mollie Katzen; love is eternal, and thus \u003cem>The Time-Traveler’s Wife\u003c/em> by Audrey Niffeneggar; we all love San Francisco and thus, \u003cem>Tales of the City\u003c/em> by Armistead Maupin. For readers, walking into a bookstore is an act of public love. These are indeed the gifts that keep on giving.\u003c/p>\n\n",
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"excerpt": "Suggestions from booksellers on all sides of the Bay Area abound on this, the great day of celebrating — or at least reading about — love.",
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"description": "Suggestions from booksellers on all sides of the Bay Area abound on this, the great day of celebrating — or at least reading about — love.",
"title": "Bookstores We Love Share the Books About Love They Love To Recommend | KQED",
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"headline": "Bookstores We Love Share the Books About Love They Love To Recommend",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Valentine’s Day approaches, it’s natural to think about love. We default to considering the bonds between two people, but love casts a wider net. In his book \u003cem>The Four Loves\u003c/em>, C. S. Lewis broke it down two ways. The four types of love, he tells us, are \u003cem>Storge\u003c/em>, generally, family love; \u003cem>Philia\u003c/em>, friendship; \u003cem>Eros\u003c/em>, well you know, Romance! – and \u003cem>Agape\u003c/em>, unconditional love.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/The_Four_Loves.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10353607 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/The_Four_Loves.jpg\" alt=\"The_Four_Loves\" width=\"260\" height=\"406\">\u003c/a>But that was not quite fine enough; Lewis went further. “Need-Love” is, for example, the love of a child for his or her mother, while “Gift-Love” is ultimately, according to Lewis, the love of God for humanity. To this he added “Appreciative love,” our ability to love, for example, nature.\u003c/p>\n\u003cp>Or books, like that by Lewis, and the places that sell them. Bookstores hold a special place in our hearts. They are special places \u003cem>for\u003c/em> our hearts, where we can explore our feelings and find them in the words of others. The power of reading is that the experience goes beyond the book to the places we read it, and the way we found it. This is why bricks crush clicks every time.\u003c/p>\n\u003cp>Valentines Day is the perfect excuse to “hie thee hence” to a bookstore and find a book about love. And so we set about asking the bookstores we love to tell us the books about love they love to recommend to customers. Remember — love casts a wide net.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/green_apple_books.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/green_apple_books.jpg\" alt=\"green_apple_books\" width=\"640\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/green_apple_books.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/green_apple_books-400x346.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Stephen Sparks\u003c/strong> of \u003ca href=\"http://www.greenapplebooks.com\">Green Apple Books\u003c/a> has two suggestions for readers:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bronte-wuthering_heights.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-10353594 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bronte-wuthering_heights.jpg\" alt=\"bronte-wuthering_heights\" width=\"321\" height=\"422\">\u003c/a>Emily Bronte, \u003cem>Wuthering Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>Wuthering Heights\u003c/em> is not a sweet love story. Perhaps because of this it remains one of the most powerful novels about the subject. It’s an intense, brooding tale of thwarted love and vengeance, full of ghosts, strange weather, and violent passion. Anyone who has loved someone inaccessible understands the unstoppable power of desire. Few books relate these feelings as accurately, and eerily, as Emily Bronte’s only novel.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ondaatje-in_the_skin_of_a_lion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10353606 alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ondaatje-in_the_skin_of_a_lion.jpg\" alt=\"ondaatje-in_the_skin_of_a_lion\" width=\"272\" height=\"404\">\u003c/a>\u003cbr>\nMichael Ondaatje, \u003cem>In the Skin of a Lion\u003c/em>\u003c/p>\n\u003cp>\u003cem>The English Patient\u003c/em> is better known, but \u003cem>In the Skin of the Lion is\u003c/em>, in my opinion, Ondaatje’s best novel. (The two works share a few characters.) Written in lyrical and evocative prose, Ondaatje brings his readers to Toronto of the 1930s, a city on the verge of modernization, where, for starters, a nun is blown off a bridge and saved by a daredevil construction worker and later, a man falls in love with two women. If this doesn’t get your heart pumping, I don’t know what will.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride.jpg\" alt=\"jude_the_princess_bride\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/jude_the_princess_bride-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Jude Feldman\u003c/strong>, General Manager, \u003ca href=\"http://www.borderlands-books.com\">Borderlands Books\u003c/a>, San Francisco, writes:\u003c/p>\n\u003cp>\u003cem>The Princess Bride\u003c/em> by William Goldman — almost every American is familiar with the adored and hilarious movie, but few know that before William Goldman wrote his brilliant screenplay, he wrote \u003cem>The Princess Bride\u003c/em> as a book. It’s actually a book-within-a-book; Goldman put a fictional version of himself in the narrative, as a troubled screenwriter who decides to abridge the beloved tale his father read him as a child, since his father only ever read him “the good parts” of S. Morgenstern’s \u003cem>The Princess Bride\u003c/em>. (S. Morgenstern’s version, by the way, is entirely the fictional creation of Goldman – I cannot tell you how many calls I’ve gotten over the years looking for an “original, unabridged” copy!) \u003cem>The Princess Bride\u003c/em> is full of the author’s interesting asides and commentary, but it’s also overflowing with derring-do, swordplay, wordplay, high adventure, miraculous escapes, Rodents Of Unusual Size, pirates, and of course, true love. There is so much to adore about \u003cem>The Princess Bride\u003c/em> — its structure, its intelligence, its charm — but above all its humor. I recommend it heartily to almost any reader seeking a lighthearted story with unexpected depth, and it is a perfect read for Valentine’s Day.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/keplers-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/keplers-640.jpg\" alt=\"keplers-640\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/keplers-640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/keplers-640-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.keplers.com\">Kepler’s Books\u003c/a> cup floweth over, with three books from three employees:\u003c/p>\n\u003cp>From \u003cstrong>Caitlin Jordan\u003c/strong>: \u003cem>Isle of Youth\u003c/em> by Laura van den Berg – “I read this book in one sitting! Laura van den Berg’s stories are so magnetic and haunting, she will show you pieces of yourself you were never aware of.”\u003c/p>\n\u003cp>From \u003cstrong>Cynthia St. John\u003c/strong>: \u003cem>How To Grow Up\u003c/em> by Michelle Tea – Another honest and straightforward memoir mixing Tea’s trademark grit with some self-help ideas. A unique picture of growing into the ability to love and care for ones self and loved ones, despite living the broke writer’s life.\u003c/p>\n\u003cp>From \u003cstrong>Kirsten Huffaker\u003c/strong>: \u003cem>Perfect Chemistry\u003c/em> by Simone Elkeles – A passionate story about looking beneath the surface and breaking through High School stereotypes that threaten to keep Brittany Ellis and Alex Fuentes apart.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353596\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans-450x600.jpg\" alt=\"diesel_books_john_evans\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/diesel_books_john_evans.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>John Evans\u003c/strong> of \u003ca href=\"http://www.dieselbookstore.com\">Diesel Books\u003c/a> in Oakland writes:\u003c/p>\n\u003cp>This year I love to recommend \u003cem>The Book of Love: Improvisations on a Crazy Little Thing\u003c/em>, by Robert Rosenblatt. Is it the beautiful cover with a book and a heart, or the artfully designed book itself with thick paper stock and pages edged in red? All of this, and of course the text, which is improvisatory (one of my favorite words and activities) and full of delightful references to love songs, fictional vignettes, and thoughts on love: all a delightful, swirling meditational devotion. Makes a great gift!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery.jpg\" alt=\"booksmith_camden_avery\" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/booksmith_camden_avery-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Camden Avery\u003c/strong>, General Manager and buyer over at \u003ca href=\"http://www.booksmith.com\">Booksmith\u003c/a>, weighs in with a perfect pair for your love chair:\u003c/p>\n\u003cp>\u003cem>Offshore\u003c/em>, by Penelope Fitzgerald — \u003cem>Offshore\u003c/em> is the story of a ragtag gang of losers drifting at the edge of the Thames, drifting through middle age, and unsure of where they belong. It’s about the love of family, the love of life, the magical and mysterious love of our friends and neighbors that wells up when we find ourselves in need.\u003c/p>\n\u003cp>\u003cem>Autobiography Of Red,\u003c/em> by Anne Carson — Geryon is a monster: winged, red. He comes from a good family, not too much money but his mom loves him. Herakles is a boy in school, gets around a lot, a little bad. \u003cem>Autobiography of Red\u003c/em> is about Geryon’s love for Herakles, the way Herakles leaves Geryon, the adventure of life this love launches Geryon into and where it takes him as he grows up.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640.jpg\" alt=\"copperfields-luisa-640\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields-luisa-640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Luisa Smith\u003c/strong>, Buying Director for \u003ca href=\"http://www.bookpassage.com\">Book Passage\u003c/a>, weighs in with these passages:\u003c/p>\n\u003cp>The exceptional storytelling in \u003cem>Euphoria\u003c/em> by Lily King details many kinds of love. Nell is surprised to find herself drawn into a passionate love triangle while working as an archeologist in the jungles of New Guinea. The deep love she has for the work she is doing in this burgeoning field threatens to complicate all of her relationships, and perhaps hurt the very people she loves. Loosely based on the life of Margaret Mead, \u003cem>Euphoria\u003c/em> beautifully paints the discovery of love in many forms and the risks and rewards of following your heart.\u003c/p>\n\u003cp>How deeply can one person love another? \u003cem>Etta and Otto and Russell and James\u003c/em> by Emma Hooper looks at a lifetime of love while following Etta on her quest at the end of her life to see the sea. Loving Etta are Otto and Russell, her husband and best friend, both with their own loving and painful memories. Both are unwilling to give up on this remarkable woman and the promises they have made. As they examine their lives and who they have become, Emma Hooper’s enchanting novel reminds us of the ocean of love and longing that can resist.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353595\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre-337x600.jpg\" alt=\"copperfields_althea_kent_jane_eyre\" width=\"337\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre-337x600.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/copperfields_althea_kent_jane_eyre.jpg 640w\" sizes=\"(max-width: 337px) 100vw, 337px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Althea Kent\u003c/strong> of Copperfield’s Books calls for the classics, making sure the Bronte sisters are equally represented:\u003c/p>\n\u003cp>\u003cem>Jane Eyre\u003c/em> by Charlotte Bronte – From the very first time my mother read it to me when I was nine years old, Charlotte Bronte’s \u003cem>Jane Eyre\u003c/em> has been a favorite book of mine. And while there are many aspects of the story that appeal to me, what keeps me returning, time and again, is that it is such a complete and compelling story of love. Jane is a figure constantly striving for love in all of its forms and complexities. She seeks familial affection and kindness, is wary but entranced by the grand and sweeping gestures of a first romance, and eventually discovers the beauty and simplicity of learning how to genuinely care and love oneself.\u003c/p>\n\u003cp>Through Jane, Bronte illustrates the importance of finding balance and maintaining balance in love- a lesson that is particularly significant during a month when love is all anyone seems to want to talk about. Whether you feel stuck in your own personal Red Room, or are attempting to determine if he is more a St. John or a Rochester, or just scared about the uncertainty of the future, Jane will be there. And so will all of the love.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640-450x600.jpg\" alt=\"bookshop_santa-cruz-640\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/bookshop_santa-cruz-640.jpg 640w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Casey Protti\u003c/strong> of \u003ca href=\"http://www.bookshopsantacruz.com\">Bookshop Santa Cruz\u003c/a> offers us a book that harkens back to an event of love in hew own life:\u003c/p>\n\u003cp>Ten years ago at my wedding, my then-fiancé and I asked our friends and family to suggest the best books about love. Being a bookseller, our wedding was infused with book-related treats and we wanted the suggestions to compile a collection of books that could be given as party favors. When one starts to think about the trove of literature about love, one quickly realizes how much of that love is tragic or misdirected, which wasn’t the tone we wanted to set on our wedding day.\u003c/p>\n\u003cp>However, as any married couple knows, books about love should be just that – a reminder that love is not always clean and easy and romantic. That is why my favorite book about love is \u003cem>Love in the Time of Cholera\u003c/em> by Gabriel Garcia Marquez. It is true that the passionate longings coming from the protagonist Florentino, aptly written by the poetic and romantic Marquez, is the original reason I fell in love with this book. But it is the unrequited nature of his love and the question that lingers about what makes for a good marriage that makes me believe that \u003cem>Love in the Time of Cholera\u003c/em> is ultimately the best book ever written about love.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10353973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-587x600.jpg\" alt=\"rakestraw-michael-640\" width=\"587\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-587x600.jpg 587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/rakestraw-michael-640.jpg 640w\" sizes=\"(max-width: 587px) 100vw, 587px\">\u003c/a>\u003c/p>\n\u003cp>From Danville, \u003cstrong>Michael Barnard\u003c/strong>, owner and General Manager of \u003ca href=\"http://www.rakestrawbooks.com\">Rakestraw Books\u003c/a>, writes:\u003c/p>\n\u003cp>\u003cem>An Unnecessary Woman\u003c/em> by Rabih Alameddine. The title character is a 72-year-old woman who lives alone in Beirut: divorced and childless. She spends her days reading and her years translating books that she has loved out of English and French into Arabic. She shows her translations to no one. “I thought that reading would make me a better person. I also thought it would make me better than you.” Aaliya is a utterly compelling character: brilliant, funny, angry, and damaged. This might be the best novel I read last year.\u003c/p>\n\u003cp>\u003cem>In the Kingdom of Ice: The Grand and Terrible Polar Voyage of the USS Jeannette\u003c/em> by Hampton Sides. The Jeannette left San Francisco in 1879 bound for the North Pole. Two years later, surrounded by pack ice and a thousand miles from anywhere, the ship sank leaving behind some of the men and a couple long boats. Their story is as gripping as any you have ever read.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10353601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project.jpg\" alt=\"ken_white_books_inc_the_rosie_project\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ken_white_books_inc_the_rosie_project-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>From \u003ca href=\"http://www.booksinc.net\">Books, Inc. in the Castro\u003c/a>, \u003cstrong>Ken White\u003c/strong> brings us this up-to-the-minute choice, with the sequel and the writer in town this month:\u003c/p>\n\u003cp>I’m not against a good love story, but I usually don’t read books that are mostly romance. So when customers come in to Books Inc. in the Castro, it’s a good thing that \u003cem>The Rosie Project\u003c/em> by George Simsion came along for me to recommend!\u003c/p>\n\u003cp>This is not your average boy-meets-girl scenario. The boy (Don Tillman) in this case has a problem reading people. Social nuances are completely lost on him, and first dates are usually a disaster. He has a fine scientific mind, however, so he’s decided to go the logical route towards finding a new mate: he’s composed a personality test for prospective female partners to fill out, so he can pre-screen them. \u003c/p>\n\u003cp>One morning, Rosie knocks on his door needing Don’s help with a problem of her own. Rosie might be pretty, but she is unsuitable in every possible way, and has a way of disrupting his life on a scale previously unknown to him. She leads him into one uproariously funny situation after another. Thankfully their relationship is not of the romantic sort…or is it?\u003c/p>\n\u003cp>Don’s voice in the book is unlike any that I’ve ever read before. His mind is clear and logical, but he’s frustrated by a world that won’t always adhere to method and sensibility. Yet he’s a lovable character getting into all kinds of mischief, and the book is something really rare in the literary world: it’s a crowd-pleaser.\u003c/p>\n\u003cp>*****\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Love itself is the real crowd-pleaser. We all love to eat, and thus \u003cem>The Heart of the Plate\u003c/em> by Mollie Katzen; love is eternal, and thus \u003cem>The Time-Traveler’s Wife\u003c/em> by Audrey Niffeneggar; we all love San Francisco and thus, \u003cem>Tales of the City\u003c/em> by Armistead Maupin. For readers, walking into a bookstore is an act of public love. These are indeed the gifts that keep on giving.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How One S.F. Teen’s Cuban Sacrifice Fly Anticipated a Diplomatic Grand Slam",
"headTitle": "How One S.F. Teen’s Cuban Sacrifice Fly Anticipated a Diplomatic Grand Slam | 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/the-hot-stove-movie-and-music-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Hot Stove Movie & Music Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Series includes ‘Havana Curveball.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 6-8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Vogue Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hot-stove-movie-and-music-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the documentary world, timing can be everything.\u003c/p>\n\u003cp>When 12-year-old Mica Jarmel-Schneider hit on the idea of collecting and sending baseball equipment to Cuban kids his own age, he ran into a logistical roadblock. Because of the U.S. embargo on the island nation, the San Francisco lad had to deal with additional questions and paperwork, and then route his shipment the long way through Canada.\u003c/p>\n\u003cp>“When we first conceived of this as not merely Mica’s project but also a film, it was because of the 50-plus-year-old embargo of Cuba,” says his father, the veteran filmmaker and editor Ken Schneider. “If he initiated the project today, with the lifting of said embargo imminent, we may not have picked up the camera.”\u003c/p>\n\u003cp>Schneider and Marcia Jarmel’s resulting documentary, \u003cem>Havana Curveball\u003c/em>, is compelling precisely because it shows Mica overcoming various obstacles—and encountering uncomfortable realities—to fulfill his admirable deed. Those hurdles (conflict) and the boy’s persistence (character development) elevate the film far beyond a simplistic feel-good story.\u003c/p>\n\u003cp>On the present-day side of the timeline, the Obama Administration has embarked upon steps to normalize relations between the United States and Cuba at the precise moment that \u003cem>Havana Curveball\u003c/em> is crisscrossing the country on the film-festival circuit. You can’t buy that kind of sociopolitical relevance and front-page advertising.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Havana Curveball\u003c/em>, which premiered at the San Francisco Jewish Film Festival last summer, screens Sunday, Feb. 8 in the first-ever \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hot-stove-movie-and-music-festival/\" target=\"_blank\" rel=\"noopener\">Hot Stove Movie & Music Festival\u003c/a> at the Vogue, and continues its run through Thursday, Feb. 12.\u003c/p>\n\u003cfigure id=\"attachment_10373563\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MicaPitching.jpg\" alt=\"Mica Jarmel-Schneider, pitching, traveled to Cuba to deliver baseball equipment to that country's children.\" width=\"640\" height=\"425\" class=\"size-full wp-image-10373563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MicaPitching.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MicaPitching-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mica Jarmel-Schneider, pitching, traveled to Cuba to deliver baseball equipment to that country’s children.\u003c/figcaption>\u003c/figure>\n\u003cp>Mica, a hardcore baseball fan, hit on the idea of sending gear to Cuba as his bar mitzvah project. In recent years, many American Jews have recognized that the function of the bar or bat mitzvah ceremony as a marker of entry to adulthood has been overshadowed by the party and gifts. Achieving this landmark entails certain obligations, and the emphasis now is for Jewish boys and girls to choose a cause or create a social-issue project. \u003c/p>\n\u003cp>“We started with this notion that our son’s experience could be a vehicle for all kinds of kids having this conversation with themselves, their families and their communities about what their responsibility was in the world and how they might like to contribute,” Jarmel recalls.\u003c/p>\n\u003cp>Jarmel and Schneider envisioned a short film they could knock out in three months, but Mica’s endeavors were more arduous and ambitious than anticipated. The film kept growing, and when Mica and his father journeyed with a second shipment of baseball equipment to Cuba, \u003cem>Havana Curveball\u003c/em> gained an emotionally rich and resonant third act.\u003c/p>\n\u003cp>“What Mica experienced on the ground was that this was difficult, it was complicated, it was messy,” Schneider says. “Today he asks himself a different set of questions. More complicated questions. Not just ‘How do I change the world?’ but ‘Is it possible for me to change the world? What are the barriers in my way?’”\u003c/p>\n\u003cp>\u003cem>Havana Curveball\u003c/em> works viscerally on the personal level, but it also connects on a political level, Jarmel observes.\u003c/p>\n\u003cp>“We’ve found that lots of folks who don’t remember what we call the Cuban Missile Crisis don’t know there is an embargo, and don’t realize what it’s meant to Cubans and Americans,” Jarmel says. “Or some strongly support U.S. policy and haven’t reconsidered their opinions in years. Our little non-polemical story can be a way into a deeper conversation.”\u003c/p>\n\u003cp>To that end, the filmmakers are actively partnering on the grassroots level with educators, organizations and festivals to screen \u003cem>Havana Curveball\u003c/em> everywhere from classrooms to festivals to churches and synagogues. For those eager to see hearts and minds change on Capitol Hill, the filmmakers have not scheduled a screening for members of Congress or the State Department.\u003c/p>\n\u003cp>“The embargo remains in place, and will continue through the current congressional cycle,” Schneider says. “That said, the easing of travel restrictions will allow more contact between Americans and Cubans, and will inherently change both personal and political engagement between Americans and Cubans. Since Obama eased restrictions on travel and remittances in 2009, hundreds of thousands of Americans have traveled there. Today, tour groups bring Americans to Cuba to dance, attend the Havana Jazz Festival, watch sports, attend the Havana Art Biennial, learn about the history of Cuban Jews, etc. To what extent it changes economic engagement will depend on how our countries behave after the embargo is lifted.”\u003c/p>\n\u003cp>Schneider recently screened the film to a group of Cuban filmmakers, actors, artists and activists, and has been invited back to tour the island with the film in the spring. He and Jarmel—and Mica—are clearly thrilled at the shifting relationship between the U.S. and Cuba, and normalization is plainly a big deal in this country. But, as Schneider discovered earlier this month at the Sundance Film Festival, which he attended as one of the editors of the new documentary \u003cem>In Football We Trust\u003c/em>, we’re still behind the rest of the world.\u003c/p>\n\u003cp>While pitching \u003cem>Havana Curveball\u003c/em> to a Danish television programmer he met at Sundance, Schneider was surprised to hear that she wasn’t interested in the film despite both the historical moment and her network’s regular coverage of stories from around the globe. The rest of the world, remember, withdrew from the embargo of Cuba years ago (the most recent U.N. vote, last October, was 188-2 against). Internationally, it’s a non-issue.\u003c/p>\n\u003cp>Or to put it in baseball terms, for years the U.S. has been late on the fastball.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about ‘Havana Curveball,’ see \u003ca href=\"http://www.havanacurveball.info/\" target=\"_blank\" rel=\"noopener\">the film’s site\u003c/a>.\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/the-hot-stove-movie-and-music-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Hot Stove Movie & Music Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Series includes ‘Havana Curveball.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 6-8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Vogue Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hot-stove-movie-and-music-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the documentary world, timing can be everything.\u003c/p>\n\u003cp>When 12-year-old Mica Jarmel-Schneider hit on the idea of collecting and sending baseball equipment to Cuban kids his own age, he ran into a logistical roadblock. Because of the U.S. embargo on the island nation, the San Francisco lad had to deal with additional questions and paperwork, and then route his shipment the long way through Canada.\u003c/p>\n\u003cp>“When we first conceived of this as not merely Mica’s project but also a film, it was because of the 50-plus-year-old embargo of Cuba,” says his father, the veteran filmmaker and editor Ken Schneider. “If he initiated the project today, with the lifting of said embargo imminent, we may not have picked up the camera.”\u003c/p>\n\u003cp>Schneider and Marcia Jarmel’s resulting documentary, \u003cem>Havana Curveball\u003c/em>, is compelling precisely because it shows Mica overcoming various obstacles—and encountering uncomfortable realities—to fulfill his admirable deed. Those hurdles (conflict) and the boy’s persistence (character development) elevate the film far beyond a simplistic feel-good story.\u003c/p>\n\u003cp>On the present-day side of the timeline, the Obama Administration has embarked upon steps to normalize relations between the United States and Cuba at the precise moment that \u003cem>Havana Curveball\u003c/em> is crisscrossing the country on the film-festival circuit. You can’t buy that kind of sociopolitical relevance and front-page advertising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Havana Curveball\u003c/em>, which premiered at the San Francisco Jewish Film Festival last summer, screens Sunday, Feb. 8 in the first-ever \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-hot-stove-movie-and-music-festival/\" target=\"_blank\" rel=\"noopener\">Hot Stove Movie & Music Festival\u003c/a> at the Vogue, and continues its run through Thursday, Feb. 12.\u003c/p>\n\u003cfigure id=\"attachment_10373563\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MicaPitching.jpg\" alt=\"Mica Jarmel-Schneider, pitching, traveled to Cuba to deliver baseball equipment to that country's children.\" width=\"640\" height=\"425\" class=\"size-full wp-image-10373563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MicaPitching.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MicaPitching-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mica Jarmel-Schneider, pitching, traveled to Cuba to deliver baseball equipment to that country’s children.\u003c/figcaption>\u003c/figure>\n\u003cp>Mica, a hardcore baseball fan, hit on the idea of sending gear to Cuba as his bar mitzvah project. In recent years, many American Jews have recognized that the function of the bar or bat mitzvah ceremony as a marker of entry to adulthood has been overshadowed by the party and gifts. Achieving this landmark entails certain obligations, and the emphasis now is for Jewish boys and girls to choose a cause or create a social-issue project. \u003c/p>\n\u003cp>“We started with this notion that our son’s experience could be a vehicle for all kinds of kids having this conversation with themselves, their families and their communities about what their responsibility was in the world and how they might like to contribute,” Jarmel recalls.\u003c/p>\n\u003cp>Jarmel and Schneider envisioned a short film they could knock out in three months, but Mica’s endeavors were more arduous and ambitious than anticipated. The film kept growing, and when Mica and his father journeyed with a second shipment of baseball equipment to Cuba, \u003cem>Havana Curveball\u003c/em> gained an emotionally rich and resonant third act.\u003c/p>\n\u003cp>“What Mica experienced on the ground was that this was difficult, it was complicated, it was messy,” Schneider says. “Today he asks himself a different set of questions. More complicated questions. Not just ‘How do I change the world?’ but ‘Is it possible for me to change the world? What are the barriers in my way?’”\u003c/p>\n\u003cp>\u003cem>Havana Curveball\u003c/em> works viscerally on the personal level, but it also connects on a political level, Jarmel observes.\u003c/p>\n\u003cp>“We’ve found that lots of folks who don’t remember what we call the Cuban Missile Crisis don’t know there is an embargo, and don’t realize what it’s meant to Cubans and Americans,” Jarmel says. “Or some strongly support U.S. policy and haven’t reconsidered their opinions in years. Our little non-polemical story can be a way into a deeper conversation.”\u003c/p>\n\u003cp>To that end, the filmmakers are actively partnering on the grassroots level with educators, organizations and festivals to screen \u003cem>Havana Curveball\u003c/em> everywhere from classrooms to festivals to churches and synagogues. For those eager to see hearts and minds change on Capitol Hill, the filmmakers have not scheduled a screening for members of Congress or the State Department.\u003c/p>\n\u003cp>“The embargo remains in place, and will continue through the current congressional cycle,” Schneider says. “That said, the easing of travel restrictions will allow more contact between Americans and Cubans, and will inherently change both personal and political engagement between Americans and Cubans. Since Obama eased restrictions on travel and remittances in 2009, hundreds of thousands of Americans have traveled there. Today, tour groups bring Americans to Cuba to dance, attend the Havana Jazz Festival, watch sports, attend the Havana Art Biennial, learn about the history of Cuban Jews, etc. To what extent it changes economic engagement will depend on how our countries behave after the embargo is lifted.”\u003c/p>\n\u003cp>Schneider recently screened the film to a group of Cuban filmmakers, actors, artists and activists, and has been invited back to tour the island with the film in the spring. He and Jarmel—and Mica—are clearly thrilled at the shifting relationship between the U.S. and Cuba, and normalization is plainly a big deal in this country. But, as Schneider discovered earlier this month at the Sundance Film Festival, which he attended as one of the editors of the new documentary \u003cem>In Football We Trust\u003c/em>, we’re still behind the rest of the world.\u003c/p>\n\u003cp>While pitching \u003cem>Havana Curveball\u003c/em> to a Danish television programmer he met at Sundance, Schneider was surprised to hear that she wasn’t interested in the film despite both the historical moment and her network’s regular coverage of stories from around the globe. The rest of the world, remember, withdrew from the embargo of Cuba years ago (the most recent U.N. vote, last October, was 188-2 against). Internationally, it’s a non-issue.\u003c/p>\n\u003cp>Or to put it in baseball terms, for years the U.S. has been late on the fastball.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about ‘Havana Curveball,’ see \u003ca href=\"http://www.havanacurveball.info/\" target=\"_blank\" rel=\"noopener\">the film’s site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Body Talk: Miranda July's Unsettling, Dirty, and Triumphant New Novel",
"headTitle": "Body Talk: Miranda July’s Unsettling, Dirty, and Triumphant New Novel | 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/miranda-july/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Miranda July\u003c/h4>\n\u003cdiv class=\"event-desc\">Artist in conversation with Adam Savage.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 20, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Nourse Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/miranda-july/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a 2010 visit to New York, I attended \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/965\">\u003cem>The Artist is Present\u003c/em>\u003c/a>, a retrospective of the work of Marina Abramović. Making my way through all the bodies—some real and some on film, naked, bloodied, scratched, bulging with physicality—made for an unsettling experience, simultaneously sickening and ebullient. Reading Miranda July’s debut novel \u003ca href=\"http://www.thefirstbadman.com/\">\u003cem>The First Bad Man\u003c/em>\u003c/a> brought about a similar reaction.\u003c/p>\n\u003cp>July has been \u003ca href=\"http://www.nytimes.com/2011/07/17/magazine/the-make-believer.html?pagewanted=all\">written off by critics as infuriatingly quirky\u003c/a>, but really, she’s made a career of excavating how women live and survive in contemporary America. Her early work, in both film and live performance, was abstract and raw; it provided a mirror for young punk feminists like myself to see themselves in her characters, who navigated dystopian, future-like territories constructed of puzzling, contradictory social interactions and a pummeling sexual subjectivity. A world where they could never just be themselves, whatever that was. And there was the body, always, the messy, sexualized, repressed female body, enmeshed in the male gaze.\u003c/p>\n\u003cp>\u003cem>The First Bad Man\u003c/em> continues these themes, but with more finesse. Which isn’t surprising, since July has amassed a mountain of award-winning books, films, online art projects, and Venice Biennale sculpture gardens since her earlier work like Miss Moviola Project, \u003ca href=\"http://www.killrockstars.com/about/timeline\">Margie Ruskie Stops Time\u003c/a> and \u003ca href=\"http://ravepad.com/page/miranda-july/videos/view/305868/love-diamond-by-miranda-july\">Love Diamond\u003c/a>. Written when she was at the precipice of 40 and a new mother, the book finds July seemingly working out the complexities of these dual realities through her characters.\u003c/p>\n\u003cfigure id=\"attachment_10306764\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/BadMan.jpg\" alt=\"Instead of playing it safe, July explores her character's fantasies fully.\" width=\"500\" height=\"770\" class=\"size-full wp-image-10306764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/BadMan.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/BadMan-400x616.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/BadMan-389x600.jpg 389w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Instead of playing it safe, July explores her character’s fantasies fully.\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The First Bad Man\u003c/em>, Cheryl Glickman, the 43-year-old protagonist, has a sense being watched. The book begins as Cheryl heads to an appointment with Dr. Jens Broyard, a chromatherapy specialist who might be able to cure her Global hystericus.\u003c/p>\n\u003cp>“When I stopped at red lights, I kept my eyes mysteriously forward. \u003cem>Who is she\u003c/em>? people might have been wondering. \u003cem>Who is that middle-aged woman in the blue Honda\u003c/em>?” Cheryl thinks. She is a strange and socially awkward woman, and she’s reached the age where women are tucked away as sexual creatures and handed an invisibility cloak. Much of what she imagines exists only in her head. She is self-aware to a fault, causing more repression than joy. This aggravates her Globus hystericus, an anxiety-induced lump in the throat with no apparent cause.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cheryl has lived most of her life alone. She believes in past lives and destiny, but she has no close friends, unless Phillip Bettelheim, the rich, borderline pedophile that Cheryl crushes on, counts as a friend. She employs obsessive (and questionable) systems for keeping her house in order. “Like a rich person, I live with a full-time servant who keeps everything in order—and because the servant is me there’s no invasion of privacy. At its best, my system gives me a smoother living experience. My days become dreamlike, no edges anywhere, none of the snags and snafus life is so famous for. After days and days alone it gets silky to the point where I can’t feel myself anymore, it’s as if I don’t exist,” she explains.\u003c/p>\n\u003cp>She’s also worked for decades as a manager at a women’s self-defense nonprofit that makes money selling fitness videos. Then, her New Age-y and self-absorbed Ojai-based bosses send their 20-something daughter Clee to live at Cheryl’s house.\u003c/p>\n\u003cp>Everything in Cheryl’s life is disrupted by Clee, a smelly, bad-tempered bombshell with a “blonde, tan largeness of scale.” She watches TV constantly and eats foul-smelling microwave dinners between shifts at a local grocery store. She has animal appetites for junk food, men, television and physical and psychological meanness. In short, she is Cheryl’s polar opposite: a woman who lives fully in her body, and in the moment.\u003c/p>\n\u003cp>Cheryl’s life is broken open by aggressive role-playing games instigated by Clee, who calls herself a “misogynist” (she means “masochist”). July does something brave here. Rather than side-stepping or downplaying the fantasies of her middle-aged protagonist, she goes straight for the guttural, splaying out of all the gruesome and gory details of Cheryl’s newly fluid and overflowing sexuality (most of which, once again, is occurring only in her head).\u003c/p>\n\u003cp>At the same time, it’s difficult to get a read on Clee, or to see her as complex. Maybe that’s the point. With her blond hair and hourglass figure, Clee has been objectified since puberty. Cheryl is disgusted, at first, by how men react to the new rude interloper in her life—until she herself, in effect, becomes one of them. “Her cowlike vacuousness didn’t really bother me anymore. Or it didn’t matter—her personality was just a little piece of parsley decorating warm tawny paunches,” says Cheryl.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cheryl lives almost outside of her body when we first meet her, detached to the point of pathology. But Clee, animalistic in her urges, appetites, and smells—and eventually, her ability to give birth to a child—unleashes something primal and slightly sinister in Cheryl. Until another shift occurs. An opening in Cheryl’s heart, a chance at love. The book’s copy describes \u003cem>The First Bad Man\u003c/em> as a sort of love story. In a way, that’s accurate, but mostly it’s about how connection, real connection to another person, can change the course of a life. \u003cem>The First Bad Man\u003c/em>, for all its missed connections and depraved fantasies, is ultimately optimistic, and a story of triumph. Of a middle-aged woman coming into her body and into love, finding connection and reality, but not in the way her original fantasies foretold.\u003c/p>\n\n",
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"excerpt": "On a 2010 visit to New York, I attended \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/965\">\u003cem>The Artist is Present\u003c/em>\u003c/a>, a retrospective of the work of Marina Abramović. Making my way through all the bodies—some real and some on film, naked, bloodied, scratched, bulging with physicality—made for an unsettling experience, simultaneously sickening and ebullient.",
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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/miranda-july/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Miranda July\u003c/h4>\n\u003cdiv class=\"event-desc\">Artist in conversation with Adam Savage.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 20, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Nourse Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/miranda-july/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a 2010 visit to New York, I attended \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/965\">\u003cem>The Artist is Present\u003c/em>\u003c/a>, a retrospective of the work of Marina Abramović. Making my way through all the bodies—some real and some on film, naked, bloodied, scratched, bulging with physicality—made for an unsettling experience, simultaneously sickening and ebullient. Reading Miranda July’s debut novel \u003ca href=\"http://www.thefirstbadman.com/\">\u003cem>The First Bad Man\u003c/em>\u003c/a> brought about a similar reaction.\u003c/p>\n\u003cp>July has been \u003ca href=\"http://www.nytimes.com/2011/07/17/magazine/the-make-believer.html?pagewanted=all\">written off by critics as infuriatingly quirky\u003c/a>, but really, she’s made a career of excavating how women live and survive in contemporary America. Her early work, in both film and live performance, was abstract and raw; it provided a mirror for young punk feminists like myself to see themselves in her characters, who navigated dystopian, future-like territories constructed of puzzling, contradictory social interactions and a pummeling sexual subjectivity. A world where they could never just be themselves, whatever that was. And there was the body, always, the messy, sexualized, repressed female body, enmeshed in the male gaze.\u003c/p>\n\u003cp>\u003cem>The First Bad Man\u003c/em> continues these themes, but with more finesse. Which isn’t surprising, since July has amassed a mountain of award-winning books, films, online art projects, and Venice Biennale sculpture gardens since her earlier work like Miss Moviola Project, \u003ca href=\"http://www.killrockstars.com/about/timeline\">Margie Ruskie Stops Time\u003c/a> and \u003ca href=\"http://ravepad.com/page/miranda-july/videos/view/305868/love-diamond-by-miranda-july\">Love Diamond\u003c/a>. Written when she was at the precipice of 40 and a new mother, the book finds July seemingly working out the complexities of these dual realities through her characters.\u003c/p>\n\u003cfigure id=\"attachment_10306764\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/BadMan.jpg\" alt=\"Instead of playing it safe, July explores her character's fantasies fully.\" width=\"500\" height=\"770\" class=\"size-full wp-image-10306764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/BadMan.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/BadMan-400x616.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/BadMan-389x600.jpg 389w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Instead of playing it safe, July explores her character’s fantasies fully.\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The First Bad Man\u003c/em>, Cheryl Glickman, the 43-year-old protagonist, has a sense being watched. The book begins as Cheryl heads to an appointment with Dr. Jens Broyard, a chromatherapy specialist who might be able to cure her Global hystericus.\u003c/p>\n\u003cp>“When I stopped at red lights, I kept my eyes mysteriously forward. \u003cem>Who is she\u003c/em>? people might have been wondering. \u003cem>Who is that middle-aged woman in the blue Honda\u003c/em>?” Cheryl thinks. She is a strange and socially awkward woman, and she’s reached the age where women are tucked away as sexual creatures and handed an invisibility cloak. Much of what she imagines exists only in her head. She is self-aware to a fault, causing more repression than joy. This aggravates her Globus hystericus, an anxiety-induced lump in the throat with no apparent cause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cheryl has lived most of her life alone. She believes in past lives and destiny, but she has no close friends, unless Phillip Bettelheim, the rich, borderline pedophile that Cheryl crushes on, counts as a friend. She employs obsessive (and questionable) systems for keeping her house in order. “Like a rich person, I live with a full-time servant who keeps everything in order—and because the servant is me there’s no invasion of privacy. At its best, my system gives me a smoother living experience. My days become dreamlike, no edges anywhere, none of the snags and snafus life is so famous for. After days and days alone it gets silky to the point where I can’t feel myself anymore, it’s as if I don’t exist,” she explains.\u003c/p>\n\u003cp>She’s also worked for decades as a manager at a women’s self-defense nonprofit that makes money selling fitness videos. Then, her New Age-y and self-absorbed Ojai-based bosses send their 20-something daughter Clee to live at Cheryl’s house.\u003c/p>\n\u003cp>Everything in Cheryl’s life is disrupted by Clee, a smelly, bad-tempered bombshell with a “blonde, tan largeness of scale.” She watches TV constantly and eats foul-smelling microwave dinners between shifts at a local grocery store. She has animal appetites for junk food, men, television and physical and psychological meanness. In short, she is Cheryl’s polar opposite: a woman who lives fully in her body, and in the moment.\u003c/p>\n\u003cp>Cheryl’s life is broken open by aggressive role-playing games instigated by Clee, who calls herself a “misogynist” (she means “masochist”). July does something brave here. Rather than side-stepping or downplaying the fantasies of her middle-aged protagonist, she goes straight for the guttural, splaying out of all the gruesome and gory details of Cheryl’s newly fluid and overflowing sexuality (most of which, once again, is occurring only in her head).\u003c/p>\n\u003cp>At the same time, it’s difficult to get a read on Clee, or to see her as complex. Maybe that’s the point. With her blond hair and hourglass figure, Clee has been objectified since puberty. Cheryl is disgusted, at first, by how men react to the new rude interloper in her life—until she herself, in effect, becomes one of them. “Her cowlike vacuousness didn’t really bother me anymore. Or it didn’t matter—her personality was just a little piece of parsley decorating warm tawny paunches,” says Cheryl.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cheryl lives almost outside of her body when we first meet her, detached to the point of pathology. But Clee, animalistic in her urges, appetites, and smells—and eventually, her ability to give birth to a child—unleashes something primal and slightly sinister in Cheryl. Until another shift occurs. An opening in Cheryl’s heart, a chance at love. The book’s copy describes \u003cem>The First Bad Man\u003c/em> as a sort of love story. In a way, that’s accurate, but mostly it’s about how connection, real connection to another person, can change the course of a life. \u003cem>The First Bad Man\u003c/em>, for all its missed connections and depraved fantasies, is ultimately optimistic, and a story of triumph. Of a middle-aged woman coming into her body and into love, finding connection and reality, but not in the way her original fantasies foretold.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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},
"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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