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"content": "\u003cp>All of us can easily picture what a skateboard looks like. Four wheels below a wooden deck with all the fixings (trucks, baseplates, risers, bushings, you get the gist) that create an instantly recognizable mode of transportation, source of fun and personalized style. But for anyone who has never been part of a skate community or skated in a contest, cultural knowledge about the sport usually stops there.\u003c/p>\n\u003cp>[aside postID='arts_13961542']\u003c/p>\n\u003cp>Enter Jeffrey Cheung and Gabriel Ramirez, founders of local skate collective \u003ca href=\"https://www.instagram.com/unityskateboarding/\">Unity\u003c/a> and now guest curators at the San Francisco Museum of Modern Art. Their new vivid installation, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>\u003c/i>, celebrates queer, trans, BIPOC and women skaters of the past and present, including the tight-knit communities they form. \u003c/p>\n\u003cp>Although the exhibition takes up only two rooms, Cheung and Ramirez have packed every inch of space with their collection. One of the first things you notice when you walk into the space is just how much vibrant color you’re surrounded by. Hanging in four neat rows on the wall in the first room of the exhibition are more than 30 skate decks, each featuring original painted artwork. Some of Cheung’s own artwork, which portrays bodies of all sizes, colors and shapes interwoven together on Unity skateboards, appears alongside designs by skaters like \u003ca href=\"https://www.instagram.com/mimiknoop/?hl=en\">Mimi Knoop\u003c/a> and the Oakland artist and skater \u003ca href=\"https://www.instagram.com/marbie.princess/\">Marbie\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13963571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg\" alt=\"White wall with grid of vertically arranged skate decks\" width=\"2000\" height=\"1422\" class=\"size-full wp-image-13963571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1920x1365.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposing wall, you’ll find large banners and smaller pieces of artwork containing bits of typed reflections, handwritten announcements and pages of zines. In the center of the room is a large glass display case featuring copies of skate magazines with prominent skaters from across the globe on the covers. It’s a good reminder of just how far skate culture and community can reach, from the Bay Area, to Chicago’s \u003ca href=\"https://www.froskate.com/\">froSkate\u003c/a>, and even overseas in places like Ethiopia and the Philippines. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The installation comes at a time when skateboarding’s popularity, especially among young women and queer skaters, is higher than ever. Internationally, skaters like Brazil’s Rayssa Leal and Japan’s Cocona Hiraki have helped boost the sport in their home countries and on international stages like the Summer Olympics and X Games. In the United States, notable skaters like Alexis Sablone and Bryce Wettstein, combined with opportunities and support from skate groups like \u003ca href=\"https://www.girlisnota4letterword.com/\">Girl Is NOT A 4 Letter Word\u003c/a>, \u003ca href=\"https://www.skatelikeagirl.com/\">Skate Like a Girl\u003c/a> and Unity have helped propel skaters of all backgrounds and identities into the sport. \u003c/p>\n\u003cp>\u003ci>Unity Through Skateboarding\u003c/i> is not only a collection, it’s an ode to these BIPOC, queer, trans and women skaters. That was evident as I entered the second room of the installation, which features three full walls of photos and portraits, a skate box covered in handwritten, heartfelt messages and artwork, and six television screens stacked two high, running multiple skate tapes on a loop. \u003c/p>\n\u003cfigure id=\"attachment_13963570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg\" alt=\"two images of femme skaters doing tricks, one in black-and-white, one in color\" width=\"2000\" height=\"1460\" class=\"size-full wp-image-13963570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1536x1121.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1920x1402.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Kevin Thatcher, ‘Stephanie Person, Boneless, Derby Skatepark, Santa Cruz,’ 1985; R: Sean Carabarin, ‘Cher Strauberry, Slappy at Bricks,’ 2021. \u003ccite>(Courtesy Thrasher Magazine and Unity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The skate footage stuck out to me in particular; it really is an act of love to be filmed by someone else while skateboarding. A skate video means someone cares enough to make sure your every attempt at a new trick is captured at a good angle and in decent lighting. It means you have someone who can film police officers who try to detain and immobilize skaters, as some of the clips show.\u003c/p>\n\u003cp>[aside postID='arts_13963016']What makes these videos stand out, too, is that the tapes also include non-skating activities: skaters drinking tea, performing live music with drums and guitars, screen printing T-shirts and simply hanging out. It’s a message clearly conveyed by Cheung and Ramirez that skateboarding is about so much more than the contests and tricks you can land. Skate culture is about friendship, community and liberation from social norms. \u003c/p>\n\u003cp>Thinking more widely, skate culture is also about place, resistance and politics. Yes, you’ll see copies of more mainstream skate magazines like \u003ci>Thrasher\u003c/i> in the exhibition’s collection, but you’ll also see political banners, zines and other works of art that tie skateboarding and direct action together. One page of art hanging on a wall reads, “Trans rights are human rights!” while another calls for a free Palestine. \u003c/p>\n\u003cfigure id=\"attachment_13963573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg\" alt=\"close-up of wall covered in art, zines and flyers\" width=\"2000\" height=\"1546\" class=\"size-full wp-image-13963573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1536x1187.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1920x1484.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to freedom and community, this collection is about love. Videos of skaters holding hands and skating in tandem, handwritten messages of “I love my trans friends” on a skatepark box, and photos of skaters smiling are all evidence of just how deeply enriching and loving skate communities can be for their members, especially for those from marginalized communities. And just as much as it is a dedication of support and love, it’s also the start of an archive, a point to look back on to measure how far skating has come in terms of inclusion and intersectionality. \u003c/p>\n\u003cp>Whether you’re a skater or not, you’ll definitely want to spend a little extra time in this exhibition really absorbing how skate culture has been, and continues to be, shaped by lenses like race, class and gender. And for those who are a little more up to snuff on skate history and figures, there are plenty of Easter eggs in the show. If you look closely enough, you may catch a glimpse of skate legends Cara-Beth Burnside, Mariah Duran, Jenn Soto and others who haven’t so much paved the way as they have ollied over it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>’ is on view at the San Francisco Museum of Modern Art through April 27, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All of us can easily picture what a skateboard looks like. Four wheels below a wooden deck with all the fixings (trucks, baseplates, risers, bushings, you get the gist) that create an instantly recognizable mode of transportation, source of fun and personalized style. But for anyone who has never been part of a skate community or skated in a contest, cultural knowledge about the sport usually stops there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter Jeffrey Cheung and Gabriel Ramirez, founders of local skate collective \u003ca href=\"https://www.instagram.com/unityskateboarding/\">Unity\u003c/a> and now guest curators at the San Francisco Museum of Modern Art. Their new vivid installation, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>\u003c/i>, celebrates queer, trans, BIPOC and women skaters of the past and present, including the tight-knit communities they form. \u003c/p>\n\u003cp>Although the exhibition takes up only two rooms, Cheung and Ramirez have packed every inch of space with their collection. One of the first things you notice when you walk into the space is just how much vibrant color you’re surrounded by. Hanging in four neat rows on the wall in the first room of the exhibition are more than 30 skate decks, each featuring original painted artwork. Some of Cheung’s own artwork, which portrays bodies of all sizes, colors and shapes interwoven together on Unity skateboards, appears alongside designs by skaters like \u003ca href=\"https://www.instagram.com/mimiknoop/?hl=en\">Mimi Knoop\u003c/a> and the Oakland artist and skater \u003ca href=\"https://www.instagram.com/marbie.princess/\">Marbie\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13963571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg\" alt=\"White wall with grid of vertically arranged skate decks\" width=\"2000\" height=\"1422\" class=\"size-full wp-image-13963571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_Install-View1_2000-1920x1365.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposing wall, you’ll find large banners and smaller pieces of artwork containing bits of typed reflections, handwritten announcements and pages of zines. In the center of the room is a large glass display case featuring copies of skate magazines with prominent skaters from across the globe on the covers. It’s a good reminder of just how far skate culture and community can reach, from the Bay Area, to Chicago’s \u003ca href=\"https://www.froskate.com/\">froSkate\u003c/a>, and even overseas in places like Ethiopia and the Philippines. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The installation comes at a time when skateboarding’s popularity, especially among young women and queer skaters, is higher than ever. Internationally, skaters like Brazil’s Rayssa Leal and Japan’s Cocona Hiraki have helped boost the sport in their home countries and on international stages like the Summer Olympics and X Games. In the United States, notable skaters like Alexis Sablone and Bryce Wettstein, combined with opportunities and support from skate groups like \u003ca href=\"https://www.girlisnota4letterword.com/\">Girl Is NOT A 4 Letter Word\u003c/a>, \u003ca href=\"https://www.skatelikeagirl.com/\">Skate Like a Girl\u003c/a> and Unity have helped propel skaters of all backgrounds and identities into the sport. \u003c/p>\n\u003cp>\u003ci>Unity Through Skateboarding\u003c/i> is not only a collection, it’s an ode to these BIPOC, queer, trans and women skaters. That was evident as I entered the second room of the installation, which features three full walls of photos and portraits, a skate box covered in handwritten, heartfelt messages and artwork, and six television screens stacked two high, running multiple skate tapes on a loop. \u003c/p>\n\u003cfigure id=\"attachment_13963570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg\" alt=\"two images of femme skaters doing tricks, one in black-and-white, one in color\" width=\"2000\" height=\"1460\" class=\"size-full wp-image-13963570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1536x1121.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/03_Kevin-Thatcher_Stephanie-Person_2000-1920x1402.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Kevin Thatcher, ‘Stephanie Person, Boneless, Derby Skatepark, Santa Cruz,’ 1985; R: Sean Carabarin, ‘Cher Strauberry, Slappy at Bricks,’ 2021. \u003ccite>(Courtesy Thrasher Magazine and Unity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The skate footage stuck out to me in particular; it really is an act of love to be filmed by someone else while skateboarding. A skate video means someone cares enough to make sure your every attempt at a new trick is captured at a good angle and in decent lighting. It means you have someone who can film police officers who try to detain and immobilize skaters, as some of the clips show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What makes these videos stand out, too, is that the tapes also include non-skating activities: skaters drinking tea, performing live music with drums and guitars, screen printing T-shirts and simply hanging out. It’s a message clearly conveyed by Cheung and Ramirez that skateboarding is about so much more than the contests and tricks you can land. Skate culture is about friendship, community and liberation from social norms. \u003c/p>\n\u003cp>Thinking more widely, skate culture is also about place, resistance and politics. Yes, you’ll see copies of more mainstream skate magazines like \u003ci>Thrasher\u003c/i> in the exhibition’s collection, but you’ll also see political banners, zines and other works of art that tie skateboarding and direct action together. One page of art hanging on a wall reads, “Trans rights are human rights!” while another calls for a free Palestine. \u003c/p>\n\u003cfigure id=\"attachment_13963573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg\" alt=\"close-up of wall covered in art, zines and flyers\" width=\"2000\" height=\"1546\" class=\"size-full wp-image-13963573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1536x1187.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Unity-through-Skateboarding-at-SFMOMA_InstallView3_2000-1920x1484.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Unity Through Skateboarding’ at SFMOMA. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to freedom and community, this collection is about love. Videos of skaters holding hands and skating in tandem, handwritten messages of “I love my trans friends” on a skatepark box, and photos of skaters smiling are all evidence of just how deeply enriching and loving skate communities can be for their members, especially for those from marginalized communities. And just as much as it is a dedication of support and love, it’s also the start of an archive, a point to look back on to measure how far skating has come in terms of inclusion and intersectionality. \u003c/p>\n\u003cp>Whether you’re a skater or not, you’ll definitely want to spend a little extra time in this exhibition really absorbing how skate culture has been, and continues to be, shaped by lenses like race, class and gender. And for those who are a little more up to snuff on skate history and figures, there are plenty of Easter eggs in the show. If you look closely enough, you may catch a glimpse of skate legends Cara-Beth Burnside, Mariah Duran, Jenn Soto and others who haven’t so much paved the way as they have ollied over it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfmoma.org/exhibition/unity-through-skateboarding/\">Unity Through Skateboarding\u003c/a>’ is on view at the San Francisco Museum of Modern Art through April 27, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘A Day in September’ Examines the Lessons From a Key Civil War Battle",
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"content": "\u003cfigure id=\"attachment_13963569\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september.png\" alt=\"A book cover featuring an illustration of soldiers lying in a large ditch.\" width=\"830\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september-768x1121.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘A Day in September: The Battle of Antietam and the World It Left Behind’\u003cbr>by Stephen Budiansky. \u003ccite>(W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 57,000 books have been published on the American Civil War so what possibly could be left to explore ?\u003c/p>\n\u003cp>Quite a bit, it turns out, particularly regarding the bloodiest battle of the war and in American history, Antietam. In one day of savage fighting, Sept. 17, 1862, an estimated 6,500 soldiers were killed and at least 15,000 wounded.\u003c/p>\n\u003cp>[aside postid='arts_13963406']In 291 brisk, fact-stuffed but engaging, thought-provoking pages, \u003cem>A Day in September\u003c/em> by Stephen Budiansky examines how ill-prepared we as a nation were for war, but more significantly, what we learned and how those advances led to better military training, rapid improvements in battlefield medical care and the beginnings of a reconciling of the differences in North and South society, values and beliefs.\u003c/p>\n\u003cp>Some key American institutions at the outbreak of the Civil War were astonishingly primitive and Antietam revealed just how bad. Pre-Civil War, for example, most graduates of the U.S. Military Academy were well-schooled in math and engineering, much less so in military tactics.\u003c/p>\n\u003cp>Many soldiers lacked even rudimentary training such as target shooting. Militias often behaved like fraternal organizations or a mob, Budiansky writes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Medical care was primitive. For example, most doctors of the Civil War era did not understand how disease was transmitted. Treatment of the wounded at Antietam typically was chaotic; drivers charged with taking wounded to field hospitals often were drunk, the book observes.\u003c/p>\n\u003cp>What might have made the book even more engaging would be to carry the lessons learned from these failings to the present day.\u003c/p>\n\u003cp>For example, can we resolve our current differences peacefully?\u003c/p>\n\u003cp>This is an absorbing, illuminating, compelling book that calls on us to consider the advances in military strategy, medical care and diplomacy that Antietam gave us at horrific cost.\u003c/p>\n\u003cp>[aside postid='arts_13962885']It also asks us to consider a rift between science and religion that emerged after the war. The book notes that our religious leaders also fell short, telling the populace on both sides during the Civil War that God was on their side, but as the author quotes Lincoln as observing, one side must be wrong.\u003c/p>\n\u003cp>Then and now, reasoned discussions and diplomacy largely failed and some Americans are openly talking about a potential Civil War II. They would not if we absorbed some of the lessons from this book.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Day in September: The Battle of Antietam and the World It Left Behind’ by Stephen Budiansky is released on Sept. 3, 2024, via W. W. Norton & Company.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963569\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september.png\" alt=\"A book cover featuring an illustration of soldiers lying in a large ditch.\" width=\"830\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/a-day-in-september-768x1121.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘A Day in September: The Battle of Antietam and the World It Left Behind’\u003cbr>by Stephen Budiansky. \u003ccite>(W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 57,000 books have been published on the American Civil War so what possibly could be left to explore ?\u003c/p>\n\u003cp>Quite a bit, it turns out, particularly regarding the bloodiest battle of the war and in American history, Antietam. In one day of savage fighting, Sept. 17, 1862, an estimated 6,500 soldiers were killed and at least 15,000 wounded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It also asks us to consider a rift between science and religion that emerged after the war. The book notes that our religious leaders also fell short, telling the populace on both sides during the Civil War that God was on their side, but as the author quotes Lincoln as observing, one side must be wrong.\u003c/p>\n\u003cp>Then and now, reasoned discussions and diplomacy largely failed and some Americans are openly talking about a potential Civil War II. They would not if we absorbed some of the lessons from this book.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Day in September: The Battle of Antietam and the World It Left Behind’ by Stephen Budiansky is released on Sept. 3, 2024, via W. W. Norton & Company.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "miss-merkel-crime-tv-show-angela-german-chancellor-fiction",
"title": "In ‘Miss Merkel,’ Germany’s Former Chancellor Is a Crime-Solving Amateur Detective",
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"content": "\u003cp>Little is known about how Germany’s former Chancellor Angela Merkel is spending her retirement, and that seems to be the way she likes it. Thanks to a German crime fiction series adapted for television and now proving a hit in Italy, she is back in the headlines — this time as a fictional small-town amateur sleuth.\u003c/p>\n\u003cp>As the title suggests, \u003cem>Miss Merkel \u003c/em>is a whodunnit that imagines the former chancellor as an Agatha Christie-style detective who starts solving crimes out of sheer boredom. For want of a G7 or European Union summit, Merkel is desperate to put down the garden shears and get back to solving something, anything! This time, it’s a village murder. Move over, Miss Marple!\u003c/p>\n\u003cp>[aside postid='arts_13962860']The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13963389']Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>[aside postid='arts_13963140']“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n",
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"title": "TV Review: Angela Merkel as a Crime-Fighting Detective | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Little is known about how Germany’s former Chancellor Angela Merkel is spending her retirement, and that seems to be the way she likes it. Thanks to a German crime fiction series adapted for television and now proving a hit in Italy, she is back in the headlines — this time as a fictional small-town amateur sleuth.\u003c/p>\n\u003cp>As the title suggests, \u003cem>Miss Merkel \u003c/em>is a whodunnit that imagines the former chancellor as an Agatha Christie-style detective who starts solving crimes out of sheer boredom. For want of a G7 or European Union summit, Merkel is desperate to put down the garden shears and get back to solving something, anything! This time, it’s a village murder. Move over, Miss Marple!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "einstein-in-kafkaland-graphic-novel-review-history-genius-ken-krimstein",
"title": "This is Genius: A New Graphic Novel Imagines Conversations Between Einstein and Kafka",
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"content": "\u003cfigure id=\"attachment_13963408\" class=\"wp-caption aligncenter\" style=\"max-width: 1558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png\" alt=\"A book cover featuring an illustration of a man with wild hair, smoking a pipe and tumbling backwards.\" width=\"1558\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png 1558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1020x1309.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1197x1536.png 1197w\" sizes=\"(max-width: 1558px) 100vw, 1558px\">\u003cfigcaption class=\"wp-caption-text\">‘How Albert Fell Down the Rabbit Hole and Came Up With the Universe,’ by Ken Krimstein. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s April 1, 1911, and 32-year-old Albert Einstein — former bureaucrat at the Swiss Patent Office, with a half-decade old doctorate in physics from the University of Zurich — sits in a train car with his two sons and his wife, fellow physicist and mathematician Mileva Marić. They are traveling from Zurich to Prague, where Einstein has landed a job as a full professor in theoretical physics, teaching in the German section of what is now Charles University. He has a few things on his mind, including money troubles, but most critical is his unfinished theory of relativity. When they leave the city 15 months later, Einstein will have cracked the code.\u003c/p>\n\u003cp>What happens over the course of this long, mysterious year in Prague is the question driving Ken Krimstein’s new graphic novel \u003cem>Einstein in Kafkaland\u003c/em>. Part biography, part historical fiction, Krimstein playfully explores the possibilities, building, with footnotes, on a thorough archive of letters, diaries, and other research. The result, a thought-provoking work made up of comics suffused in a gentle mix of aquamarine watercolors, is equal parts joyful and ruminative. (Think: \u003cem>Alice in Wonderland \u003c/em>meets \u003cem>The Lives of the Poets \u003c/em>meets \u003cem>Krazy Kat.\u003c/em>) The full subtitle to the book — \u003cem>How Albert Fell Down the Rabbit Hole and Came Up with the Universe\u003c/em> — signals the lavish whimsy that goes a long way towards making this such a delightful, inspiring read.\u003c/p>\n\u003cfigure id=\"attachment_13963410\" class=\"wp-caption aligncenter\" style=\"max-width: 1482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png\" alt=\"An illustration of a small figure standing at a huge window frame where there is the enormous bearded face of a man talking.\" width=\"1482\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png 1482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-800x1080.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1020x1377.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-160x216.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-768x1036.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1138x1536.png 1138w\" sizes=\"(max-width: 1482px) 100vw, 1482px\">\u003cfigcaption class=\"wp-caption-text\">Turns out that Albert Einstein and Franz Kafka lived in Prague at the same time and had the same circle of friends. \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout, cartoon-Einstein sports his characteristic pipe alongside a signature frizzy head of hair. But it’s his obsessive ruminations that perhaps most effectively signal what has become Einstein-the-character, a culmination of all the gossip, public appearances, private words, and first-hand accounts of one of the best-known scientists to have ever lived.\u003c/p>\n\u003cp>[aside postid='arts_13963016']Krimstein pairs Einstein’s story with that of Franz Kafka, who was 28, virtually unpublished, and living with his parents in a house in Prague when Einstein arrived for his short but impactful stay. What binds the two together, in addition to an alleged one-time meeting at a weekly salon, is a complementary preoccupation with getting at the truth — “the true truth” — against all odds, and against many other people’s better judgements. For both, a journey to find this truth, whether in science or literature, is one that will sometimes alienate as painfully as it may ultimately bind them to others.\u003c/p>\n\u003cp>During Einstein’s time in Prague, a time in which he works out his theory of relativity, Kafka will have his own breakthrough. In one long feverish night he will pen the short story, most often known in English as “The Judgment,” which will launch an unparalleled writing career forever transforming art and literature. Like Einstein’s completed theory of relativity, Kafka, too, will offer the world a new way of thinking. It’s a way of thinking that, our narrator assures us, “we’re all still struggling to catch up to.”\u003c/p>\n\u003cfigure id=\"attachment_13963409\" class=\"wp-caption aligncenter\" style=\"max-width: 1441px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png\" alt=\"A page of watercolored panels depicting Albert Einstein gazing pensively out of a window.\" width=\"1441\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png 1441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-800x1110.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1020x1416.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-768x1066.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1107x1536.png 1107w\" sizes=\"(max-width: 1441px) 100vw, 1441px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Einstein in Kafkaland.’ \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his title, Krimstein centers his book unevenly, focusing mainly on Einstein, and taking us step by step through the meditations that lead to his discovery. Nonetheless, along the way he also provides readers with glimpses into the life of the perpetually melancholic insomniac insurance clerk, Kafka. We witness, for example, an early morning swimming routine with his best bud — and future literary executor — Max Brod. But what Kafka’s presence in the narrative most crucially enables are imagined conversations between him and Einstein. In these, the two puzzle, and sometimes commiserate, over what it means to see the world differently from everyone else. What happens when you believe so confidently in your own hard-won perceptions that you risk killing the heroes that brought you there?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Krimstein, a well-published cartoonist whose previous work includes another delightful graphic biography, \u003cem>The Three Escapes of Hannah Arendt\u003c/em>, luxuriates in intellectual history shoulder to shoulder with juicy biographical details. He depicts Einstein debating with his foe, Max Abraham; taking fantastical trips into a four-dimensional world with Euclid; and walking and talking with Austrian physicist, and dear friend, Paul Ehrenfest. And he exposes, too, scenes of the future Nobel Prize winner in the bath, trying to kill off bedbugs; or engaging with his young children, and wife, in Gedankenexperiments (thought experiments), to help him think through the problems that continually occupy him.\u003c/p>\n\u003cp>[aside postid='arts_13962965']At its heart, \u003cem>Einstein in Kafkaland \u003c/em>is the story of ordinary genius. It unwraps the ways in which genius so often arises out of ordinary circumstances. Perhaps even more compellingly, the book tracks how unimaginable discoveries develop following exchanges with others — friends and family, colleagues and nemeses, neighbors and role models. Aberrations aside, works of genius most wholly emerge in dialogue.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, N.Y.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963408\" class=\"wp-caption aligncenter\" style=\"max-width: 1558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png\" alt=\"A book cover featuring an illustration of a man with wild hair, smoking a pipe and tumbling backwards.\" width=\"1558\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png 1558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1020x1309.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1197x1536.png 1197w\" sizes=\"(max-width: 1558px) 100vw, 1558px\">\u003cfigcaption class=\"wp-caption-text\">‘How Albert Fell Down the Rabbit Hole and Came Up With the Universe,’ by Ken Krimstein. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s April 1, 1911, and 32-year-old Albert Einstein — former bureaucrat at the Swiss Patent Office, with a half-decade old doctorate in physics from the University of Zurich — sits in a train car with his two sons and his wife, fellow physicist and mathematician Mileva Marić. They are traveling from Zurich to Prague, where Einstein has landed a job as a full professor in theoretical physics, teaching in the German section of what is now Charles University. He has a few things on his mind, including money troubles, but most critical is his unfinished theory of relativity. When they leave the city 15 months later, Einstein will have cracked the code.\u003c/p>\n\u003cp>What happens over the course of this long, mysterious year in Prague is the question driving Ken Krimstein’s new graphic novel \u003cem>Einstein in Kafkaland\u003c/em>. Part biography, part historical fiction, Krimstein playfully explores the possibilities, building, with footnotes, on a thorough archive of letters, diaries, and other research. The result, a thought-provoking work made up of comics suffused in a gentle mix of aquamarine watercolors, is equal parts joyful and ruminative. (Think: \u003cem>Alice in Wonderland \u003c/em>meets \u003cem>The Lives of the Poets \u003c/em>meets \u003cem>Krazy Kat.\u003c/em>) The full subtitle to the book — \u003cem>How Albert Fell Down the Rabbit Hole and Came Up with the Universe\u003c/em> — signals the lavish whimsy that goes a long way towards making this such a delightful, inspiring read.\u003c/p>\n\u003cfigure id=\"attachment_13963410\" class=\"wp-caption aligncenter\" style=\"max-width: 1482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png\" alt=\"An illustration of a small figure standing at a huge window frame where there is the enormous bearded face of a man talking.\" width=\"1482\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png 1482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-800x1080.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1020x1377.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-160x216.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-768x1036.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1138x1536.png 1138w\" sizes=\"(max-width: 1482px) 100vw, 1482px\">\u003cfigcaption class=\"wp-caption-text\">Turns out that Albert Einstein and Franz Kafka lived in Prague at the same time and had the same circle of friends. \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout, cartoon-Einstein sports his characteristic pipe alongside a signature frizzy head of hair. But it’s his obsessive ruminations that perhaps most effectively signal what has become Einstein-the-character, a culmination of all the gossip, public appearances, private words, and first-hand accounts of one of the best-known scientists to have ever lived.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Krimstein pairs Einstein’s story with that of Franz Kafka, who was 28, virtually unpublished, and living with his parents in a house in Prague when Einstein arrived for his short but impactful stay. What binds the two together, in addition to an alleged one-time meeting at a weekly salon, is a complementary preoccupation with getting at the truth — “the true truth” — against all odds, and against many other people’s better judgements. For both, a journey to find this truth, whether in science or literature, is one that will sometimes alienate as painfully as it may ultimately bind them to others.\u003c/p>\n\u003cp>During Einstein’s time in Prague, a time in which he works out his theory of relativity, Kafka will have his own breakthrough. In one long feverish night he will pen the short story, most often known in English as “The Judgment,” which will launch an unparalleled writing career forever transforming art and literature. Like Einstein’s completed theory of relativity, Kafka, too, will offer the world a new way of thinking. It’s a way of thinking that, our narrator assures us, “we’re all still struggling to catch up to.”\u003c/p>\n\u003cfigure id=\"attachment_13963409\" class=\"wp-caption aligncenter\" style=\"max-width: 1441px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png\" alt=\"A page of watercolored panels depicting Albert Einstein gazing pensively out of a window.\" width=\"1441\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png 1441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-800x1110.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1020x1416.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-768x1066.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1107x1536.png 1107w\" sizes=\"(max-width: 1441px) 100vw, 1441px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Einstein in Kafkaland.’ \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his title, Krimstein centers his book unevenly, focusing mainly on Einstein, and taking us step by step through the meditations that lead to his discovery. Nonetheless, along the way he also provides readers with glimpses into the life of the perpetually melancholic insomniac insurance clerk, Kafka. We witness, for example, an early morning swimming routine with his best bud — and future literary executor — Max Brod. But what Kafka’s presence in the narrative most crucially enables are imagined conversations between him and Einstein. In these, the two puzzle, and sometimes commiserate, over what it means to see the world differently from everyone else. What happens when you believe so confidently in your own hard-won perceptions that you risk killing the heroes that brought you there?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Krimstein, a well-published cartoonist whose previous work includes another delightful graphic biography, \u003cem>The Three Escapes of Hannah Arendt\u003c/em>, luxuriates in intellectual history shoulder to shoulder with juicy biographical details. He depicts Einstein debating with his foe, Max Abraham; taking fantastical trips into a four-dimensional world with Euclid; and walking and talking with Austrian physicist, and dear friend, Paul Ehrenfest. And he exposes, too, scenes of the future Nobel Prize winner in the bath, trying to kill off bedbugs; or engaging with his young children, and wife, in Gedankenexperiments (thought experiments), to help him think through the problems that continually occupy him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its heart, \u003cem>Einstein in Kafkaland \u003c/em>is the story of ordinary genius. It unwraps the ways in which genius so often arises out of ordinary circumstances. Perhaps even more compellingly, the book tracks how unimaginable discoveries develop following exchanges with others — friends and family, colleagues and nemeses, neighbors and role models. Aberrations aside, works of genius most wholly emerge in dialogue.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, N.Y.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "reagan-movie-review-dennis-quaid-republican-biopic-gorbachev-communism",
"title": "Quaid Looks the Part, but ‘Reagan’ Is More Glowing Commercial Than Biopic",
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"content": "\u003cp>“Is there anything worse than an actor with a cause?” asks an annoyed Jane Wyman, Ronald Reagan’s first wife, early in \u003cem>Reagan\u003c/em>, the new biopic starring Dennis Quaid.\u003c/p>\n\u003cp>Well, after watching two more hours of this story, an adoring look back at the man who served two terms as our 40th president, we can report that there is definitely one thing worse: An actor without a movie.\u003c/p>\n\u003cp>[aside postid='arts_13962898']Let’s not blame the star, though. Quaid, who has played more than one president, has certainly got the charismatic grin, the pomaded hair and especially that distinctive, folksy voice down — close your eyes, and it sounds VERY familiar. If he were to appear on \u003cem>Saturday Night Live\u003c/em> in the role, it would feel like a casting coup akin to Larry David as Bernie Sanders.\u003c/p>\n\u003cp>But this is not an \u003cem>SNL\u003c/em> skit, despite the fact that Jon Voight appears throughout with a heavy Russian accent as a KGB spy, but we’ll get to that. This is a 135-minute film that demands a lot more depth. And, so, to co-opt a political phrase from Bill Clinton, whom Quaid also has played: It’s the script, stupid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J_vdTwQP1a8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lovingly directed by Sean McNamara with a screenplay by Howard Klausner, \u003cem>Reagan\u003c/em> begins with a chilling event (and a parallel to a recent one): the assassination attempt on Reagan in Washington in March 1981, only two months after he became president.\u003c/p>\n\u003cp>There are those who say Reagan cemented his relationship with the public by surviving that attempt; he famously told wife Nancy from his bed: “Honey, I forgot to duck.” In any case, the filmmakers use the event to set up their story, and will return to it later on, chronologically.\u003c/p>\n\u003cp>But their early point is that Reagan came away from the scare with a divine plan. “My mother used to say that everything in life happens for a reason, even the most disheartening setbacks,” he says. And as he will tell Tip O’Neill, the House speaker, everything from then on will be part of that divine plan.\u003c/p>\n\u003cp>[aside postid='arts_13963339']The yet broader point here is that Reagan, according to this film, was basically solely responsible for the eventual downfall of the Soviet Union, because he showed the people of the world what freedom meant. “I knew that he was the one,” says Viktor Petrovich, the retired spy played by Voight as a narrator figure throughout — meaning the one who would bring it all down. The script is based on Paul Kengor’s \u003cem>The Crusader: Ronald Reagan and the Fall of Communism\u003c/em>, and Kengor has said Viktor is based on a number of KGB agents and analysts who tracked Reagan for years.\u003c/p>\n\u003cp>That point is made early and often. The rest is a history reel, with lots of glorious, loving lighting around our star. We go back to his younger years, learning about his mother and what she taught him about faith, and then his Hollywood years as an actor, Screen Actors Guild president (and a Democrat) before fully committing to politics, and the GOP.\u003c/p>\n\u003cp>We also see a newly divorced Reagan meet a winsome Nancy Davis, who will become his second wife, loving partner and constant companion. Like Quaid, Penelope Ann Miller is a perfectly fine actor who has little nuance to work with here. Together, they embark on the path to political stardom, starting with the California governorship. When they arrive at a neighbor’s home to campaign, the housewife at the door hears Reagan’s “RR” initials and thinks he’s Roy Rogers.\u003c/p>\n\u003cp>But a decade and change later, Reagan is sworn in as president, beginning his eight years in office. “It became my obsession to understand what was beneath the facade,” says Voight’s Petrovich, explaining why Reagan was so consequential.\u003c/p>\n\u003cp>Maybe, then, he could let us know?\u003c/p>\n\u003cp>Because when this movie ends, with the president’s death in 2004 a decade after announcing he had Alzheimer’s disease, we don’t know a lot more than when we began about a figure so influential in American politics.\u003c/p>\n\u003cp>Sure, we get all the great hits. ”Mr. Gorbachev, tear down this wall!” we see him say in 1987 in Berlin, a scene with much buildup.\u003c/p>\n\u003cp>[aside postid='arts_13962724']And it’s fun to see the famous debate lines, like “There you go again,” to Jimmy Carter in 1980, and of course his famously deft deflection of the age issue in 1984, with Walter Mondale. “I will not make age an issue of this campaign,” the 73-year-old president told his questioner. “I am not going to exploit for political purposes my opponent’s youth and inexperience.”\u003c/p>\n\u003cp>The line, which made Mondale himself laugh, got Reagan back on track in the race. The movie, not so much.\u003c/p>\n\u003cp>“History is never about when, why, how — it always comes down to ‘who,’” says Voight’s Petrovich. However historians feel about that, we would have gladly taken a more incisive look at when, why, how or anything else that would give us real insight, instead of an extended and glowing commercial, into who this man really was.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Reagan’ is released nationwide on Aug. 30, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s not blame the star, though. Quaid, who has played more than one president, has certainly got the charismatic grin, the pomaded hair and especially that distinctive, folksy voice down — close your eyes, and it sounds VERY familiar. If he were to appear on \u003cem>Saturday Night Live\u003c/em> in the role, it would feel like a casting coup akin to Larry David as Bernie Sanders.\u003c/p>\n\u003cp>But this is not an \u003cem>SNL\u003c/em> skit, despite the fact that Jon Voight appears throughout with a heavy Russian accent as a KGB spy, but we’ll get to that. This is a 135-minute film that demands a lot more depth. And, so, to co-opt a political phrase from Bill Clinton, whom Quaid also has played: It’s the script, stupid.\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/J_vdTwQP1a8'\n title='//www.youtube.com/embed/J_vdTwQP1a8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The yet broader point here is that Reagan, according to this film, was basically solely responsible for the eventual downfall of the Soviet Union, because he showed the people of the world what freedom meant. “I knew that he was the one,” says Viktor Petrovich, the retired spy played by Voight as a narrator figure throughout — meaning the one who would bring it all down. The script is based on Paul Kengor’s \u003cem>The Crusader: Ronald Reagan and the Fall of Communism\u003c/em>, and Kengor has said Viktor is based on a number of KGB agents and analysts who tracked Reagan for years.\u003c/p>\n\u003cp>That point is made early and often. The rest is a history reel, with lots of glorious, loving lighting around our star. We go back to his younger years, learning about his mother and what she taught him about faith, and then his Hollywood years as an actor, Screen Actors Guild president (and a Democrat) before fully committing to politics, and the GOP.\u003c/p>\n\u003cp>We also see a newly divorced Reagan meet a winsome Nancy Davis, who will become his second wife, loving partner and constant companion. Like Quaid, Penelope Ann Miller is a perfectly fine actor who has little nuance to work with here. Together, they embark on the path to political stardom, starting with the California governorship. When they arrive at a neighbor’s home to campaign, the housewife at the door hears Reagan’s “RR” initials and thinks he’s Roy Rogers.\u003c/p>\n\u003cp>But a decade and change later, Reagan is sworn in as president, beginning his eight years in office. “It became my obsession to understand what was beneath the facade,” says Voight’s Petrovich, explaining why Reagan was so consequential.\u003c/p>\n\u003cp>Maybe, then, he could let us know?\u003c/p>\n\u003cp>Because when this movie ends, with the president’s death in 2004 a decade after announcing he had Alzheimer’s disease, we don’t know a lot more than when we began about a figure so influential in American politics.\u003c/p>\n\u003cp>Sure, we get all the great hits. ”Mr. Gorbachev, tear down this wall!” we see him say in 1987 in Berlin, a scene with much buildup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And it’s fun to see the famous debate lines, like “There you go again,” to Jimmy Carter in 1980, and of course his famously deft deflection of the age issue in 1984, with Walter Mondale. “I will not make age an issue of this campaign,” the 73-year-old president told his questioner. “I am not going to exploit for political purposes my opponent’s youth and inexperience.”\u003c/p>\n\u003cp>The line, which made Mondale himself laugh, got Reagan back on track in the race. The movie, not so much.\u003c/p>\n\u003cp>“History is never about when, why, how — it always comes down to ‘who,’” says Voight’s Petrovich. However historians feel about that, we would have gladly taken a more incisive look at when, why, how or anything else that would give us real insight, instead of an extended and glowing commercial, into who this man really was.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Reagan’ is released nationwide on Aug. 30, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13963259\" class=\"wp-caption aligncenter\" style=\"max-width: 1338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963259\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-12.12.06%E2%80%AFPM.png\" alt=\"A book cover featuring a photograph of a woman's face that looks shattered like glass.\" width=\"1338\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-12.12.06 PM.png 1338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-12.12.06 PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-12.12.06 PM-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-12.12.06 PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-12.12.06 PM-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-12.12.06 PM-1028x1536.png 1028w\" sizes=\"(max-width: 1338px) 100vw, 1338px\">\u003cfigcaption class=\"wp-caption-text\">‘Swallow the Ghost’ by Eugenie Montague. \u003ccite>(Mulholland Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, Eugenie Montague’s \u003cem>Swallow the Ghost\u003c/em> feels like three separate novels. That’s what makes her debut novel so imaginative — and also so frustrating.\u003c/p>\n\u003cp>The story’s center is Jane Murphy, who works at a New York social media startup on an internet novel that’s become a viral hit through social media posts where elaborate backstories about its characters are formed.\u003c/p>\n\u003cp>[aside postid='arts_13962885']But Murphy’s story and a tragic event are told through three interlocking sections. The first focuses on Jane. The second focuses on Jesse, a former journalist working as an investigator for a law firm. The third focuses on Jeremy, the pretentious, Kafka-quoting novelist and sometimes boyfriend of Jane’s.\u003c/p>\n\u003cp>The writing style and genre shifts with each section, but Montague’s novel at its heart explores memory in the digital era. It’s a promising concept but feels uneven.\u003c/p>\n\u003cp>Montague’s novel is filled with beautiful prose that’s hard to forget, and poses intriguing questions about how someone is remembered. The interactions between Jesse and his mother, who he cares for and who has dementia, are some of the most simply heartbreaking moments in the novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are other portions of the novel that meander, especially the final section of the book that is framed as a transcript of a conversation with Jeremy at a bookstore event. The conversation reveals more about Jane and also about the questions the novel poses, but it also slows down the momentum of the prior section focused on Jesse and the mystery he was investigating.\u003c/p>\n\u003cp>Though the approach falls short at times, it’s an ambitious one that leaves readers much to think about and introduces Montague as an inventive new voice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Swallow the Ghost’ by Eugenie Montague is out now, via Mulholland Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>The Spanish director Víctor Erice is one of our most revered, yet least prolific, European filmmakers. Over the past 50 years or so, he’s directed just four features, starting with his masterful debut, \u003cem>The Spirit of the Beehive\u003c/em>.\u003c/p>\n\u003cp>That movie was a haunting family drama set in 1940, during the early days of the Franco dictatorship. It was also a passionate ode to cinema from a filmmaker who’s always loved the movies, even when the movies haven’t loved him back.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Erice had a rough time with his 1983 film \u003cem>El Sur\u003c/em>, a beautiful yet truncated work that was released in its unfinished form. In the years since, Erice has directed a number of projects, including the 1992 documentary \u003cem>The Quince Tree Sun\u003c/em> and several shorts.\u003c/p>\n\u003cp>But he has struggled to get another fiction feature off the ground — until now. The arrival of Erice’s new movie, \u003cem>Close Your Eyes\u003c/em>, would be welcome news even if it weren’t one of the best things I’ve seen this year. Manolo Solo plays a long-retired director named Miguel, who quit the biz in 1990, after one of his films shut down production. The circumstances were mysterious: His star, a handsome actor named Julio Arenas, vanished without explanation and was presumed dead. Now, it’s 2012, and a Madrid-based TV journalist is investigating Julio’s disappearance.\u003c/p>\n\u003cp>After he’s interviewed, Miguel stays in Madrid and makes inquiries of his own. While \u003cem>Close Your Eyes \u003c/em>unfolds at a leisurely pace over nearly three hours, it has the pull of a well-crafted detective story. Miguel reaches out to old friends and colleagues, like his longtime editor, Max, a hardcore cinephile who still has the never-screened footage from that halted production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miguel also gets back in touch with Julio’s daughter, who knew little about her father even before he went missing. She’s played, exquisitely, by Ana Torrent, who was just a young girl when she starred in \u003cem>The Spirit of the Beehive\u003c/em> decades ago. It’s a glorious full-circle moment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HRsn2-bNiGQ\u003c/p>\n\u003cp>Miguel’s investigation doesn’t yield any immediate answers, and he returns, wistfully, to his home on the Spanish coast. It’s here that the action briefly pauses and settles into a simply magical interlude. One night, while hanging out under the stars, Miguel picks up a guitar and performs a duet with his friend Toni. You’ll recognize the song if you’ve seen Howard Hawks’ 1959 western, \u003cem>Rio Bravo\u003c/em>, which is one of my own favorite movies.\u003c/p>\n\u003cp>Maybe it’s one of Erice’s, too. Like \u003cem>Rio Bravo\u003c/em>, \u003cem>Close Your Eyes\u003c/em> turns out to be a story about community, about friendships forged under unlikely circumstances. Miguel’s mission to solve the mystery of Julio’s disappearance becomes a group effort, as old and new friends come together to help him.\u003c/p>\n\u003cp>[aside postid='arts_13962724']You don’t have to know Erice’s work to get swept up in \u003cem>Close Your Eyes\u003c/em>. But those who \u003cem>do\u003c/em> know his work will find the new film an almost unbearably moving experience. Erice is, in many ways, telling his own story: Miguel could be his stand-in, just as Miguel’s unfinished film feels like a meta-commentary on some of Erice’s own abandoned projects. Miguel and his old editor, Max, reminisce about earlier, better times for the film industry and grouse about the changes wrought by digital technology.\u003c/p>\n\u003cp>But despite his characters’ pessimism, Erice continues to show a hard-won faith in the movies. He knows that they can move us in ways that no other art form can. At one point, Erice ushers all his characters into a dilapidated old movie theatre, which is where \u003cem>Close Your Eyes\u003c/em> becomes not just an engaging film, but a quietly transcendent one. I don’t want to say too much about what happens, but it’s worth discovering for yourself, in a movie theatre of your own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Close Your Eyes’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Spanish director Víctor Erice is one of our most revered, yet least prolific, European filmmakers. Over the past 50 years or so, he’s directed just four features, starting with his masterful debut, \u003cem>The Spirit of the Beehive\u003c/em>.\u003c/p>\n\u003cp>That movie was a haunting family drama set in 1940, during the early days of the Franco dictatorship. It was also a passionate ode to cinema from a filmmaker who’s always loved the movies, even when the movies haven’t loved him back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Erice had a rough time with his 1983 film \u003cem>El Sur\u003c/em>, a beautiful yet truncated work that was released in its unfinished form. In the years since, Erice has directed a number of projects, including the 1992 documentary \u003cem>The Quince Tree Sun\u003c/em> and several shorts.\u003c/p>\n\u003cp>But he has struggled to get another fiction feature off the ground — until now. The arrival of Erice’s new movie, \u003cem>Close Your Eyes\u003c/em>, would be welcome news even if it weren’t one of the best things I’ve seen this year. Manolo Solo plays a long-retired director named Miguel, who quit the biz in 1990, after one of his films shut down production. The circumstances were mysterious: His star, a handsome actor named Julio Arenas, vanished without explanation and was presumed dead. Now, it’s 2012, and a Madrid-based TV journalist is investigating Julio’s disappearance.\u003c/p>\n\u003cp>After he’s interviewed, Miguel stays in Madrid and makes inquiries of his own. While \u003cem>Close Your Eyes \u003c/em>unfolds at a leisurely pace over nearly three hours, it has the pull of a well-crafted detective story. Miguel reaches out to old friends and colleagues, like his longtime editor, Max, a hardcore cinephile who still has the never-screened footage from that halted production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miguel also gets back in touch with Julio’s daughter, who knew little about her father even before he went missing. She’s played, exquisitely, by Ana Torrent, who was just a young girl when she starred in \u003cem>The Spirit of the Beehive\u003c/em> decades ago. It’s a glorious full-circle moment.\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/HRsn2-bNiGQ'\n title='//www.youtube.com/embed/HRsn2-bNiGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Miguel’s investigation doesn’t yield any immediate answers, and he returns, wistfully, to his home on the Spanish coast. It’s here that the action briefly pauses and settles into a simply magical interlude. One night, while hanging out under the stars, Miguel picks up a guitar and performs a duet with his friend Toni. You’ll recognize the song if you’ve seen Howard Hawks’ 1959 western, \u003cem>Rio Bravo\u003c/em>, which is one of my own favorite movies.\u003c/p>\n\u003cp>Maybe it’s one of Erice’s, too. Like \u003cem>Rio Bravo\u003c/em>, \u003cem>Close Your Eyes\u003c/em> turns out to be a story about community, about friendships forged under unlikely circumstances. Miguel’s mission to solve the mystery of Julio’s disappearance becomes a group effort, as old and new friends come together to help him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You don’t have to know Erice’s work to get swept up in \u003cem>Close Your Eyes\u003c/em>. But those who \u003cem>do\u003c/em> know his work will find the new film an almost unbearably moving experience. Erice is, in many ways, telling his own story: Miguel could be his stand-in, just as Miguel’s unfinished film feels like a meta-commentary on some of Erice’s own abandoned projects. Miguel and his old editor, Max, reminisce about earlier, better times for the film industry and grouse about the changes wrought by digital technology.\u003c/p>\n\u003cp>But despite his characters’ pessimism, Erice continues to show a hard-won faith in the movies. He knows that they can move us in ways that no other art form can. At one point, Erice ushers all his characters into a dilapidated old movie theatre, which is where \u003cem>Close Your Eyes\u003c/em> becomes not just an engaging film, but a quietly transcendent one. I don’t want to say too much about what happens, but it’s worth discovering for yourself, in a movie theatre of your own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Close Your Eyes’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the first things you see in the reimagined \u003cem>The Crow\u003c/em> is the sight of a fallen white horse in a muddy field, bleeding badly after becoming entangled in barbed wire. It’s a metaphor, of course, and a clunky one at that — a powerful image that doesn’t really fit well and is never explained.\u003c/p>\n\u003cp>That’s a hint that director Rupert Sanders will have a tendency to consistently pick the stylish option over the honest one in this film. In his attempt to give new life to the cult hero of comics and film, he’s given us plenty of beauty at the expense of depth or coherence.\u003c/p>\n\u003cp>[aside postid='arts_13962677']The filmmakers have set their tale in a modern, generic Europe and made it very clear that this movie is based on the graphic novel by James O’Barr, but the 1994 film adaptation starring Brandon Lee hovers over it like, well, a stubborn crow.\u003c/p>\n\u003cp>Brandon, son of legendary actor and martial artist Bruce Lee, was just 28 when he died after being shot while filming a scene for \u003cem>The Crow\u003c/em>. History seems always to repeat: The new adaptation lands as another on-set death remains in the headlines.\u003c/p>\n\u003cp>Lee’s \u003cem>The Crow\u003c/em> was finished without him and he never got to see it enter Gen X memory in all its rain-drenched, gothic glory, influencing everything from alternative fashion to \u003cem>Blade\u003c/em> to Christopher Nolan’s \u003cem>Dark Knight\u003c/em> trilogy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bill Skarsgård seizes Lee’s role of Eric Draven, a man so in love that he returns from the dead to revenge his and his sweetheart’s slayings in what can be best called a sort of supernatural, romantic murderfest. (The tagline, “True love never dies,” clumsily rips off Andrew Lloyd Webber’s \u003cem>The Phantom of the Opera\u003c/em>.)\u003c/p>\n\u003cp>William Schneider, who co-wrote the screenplay with Zach Baylin, has given the story a near-operatic facelift, by introducing a devil, a Faustian bargain, blood-on-blood oaths and a godlike guide who monitors the limbo between heaven and hell, which looks like a disused, weed-covered railway station. “Kill the ones who killed you and you’ll get her back,” our hero is told.\u003c/p>\n\u003cp>[aside postid='arts_13962666']The first half drags as it sets the table for the steady beat of limbs and necks being detached at the end. Eric and his love, Shelly (played by an uneven FKA Twigs), meet in a rehab prison for wayward youth that is so well lit and appointed that it looks more like an airport lounge where the cappuccinos are $19 but the Wi-Fi is complimentary.\u003c/p>\n\u003cp>Eric is a gentle loner — tortured by a past the writers don’t bother filling in, who likes to sketch in a book (universal cinema code signaling a sensitive soul) and is heavily tattooed (he’s often shirtless). His apartment has rows of mannequins with their heads covered in plastic and his new love calls him “brilliantly broken.” He’s like a Blink-182 lyric come to life.\u003c/p>\n\u003cp>Shelly is more complex, but that’s because the writers maybe gave up on giving her a real backstory. She has a tattoo that says “Laugh now, cry later,” reads serious literature and loves dancing in her underwear. She clearly comes from wealth and has had a falling out with her mom, but has also done an unimaginably horrible thing, which viewers will learn about at the end.\u003c/p>\n\u003cp>Part of the trouble is that the lead couple cast off very little electricity, offering a love affair that’s more teen-like than all-consuming. And this is a story that needs a love capable of transcending death.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=djSKp_pwmOA\u003c/p>\n\u003cp>There are lots of cool-looking moments — mostly Skarsgård in a trench coat, stomping around the desolate concrete jungle in the rain at night — until \u003cem>The Crow\u003c/em> builds to one of the better action sequences this year, albeit another one of those heightened showdowns at the opera.\u003c/p>\n\u003cp>[aside postid='arts_13962775']By this time, Eric has donned the Crow’s heavy eye and cheek makeup. He adds to this ensemble a katana and an inability to die. As he closes in on his target, mowing down tuxedoed bad guys as arias soar, the group movements on stage are echoed by the furious fighting backstage. A few severed heads might be considered over the top at curtain call, but subtlety isn’t being applauded here.\u003c/p>\n\u003cp>If the original was plot-light but visually delicious, the new one has a better story but suffers from ideas in the films built on its predecessor, stealing a little from \u003ca href=\"https://www.kqed.org/arts/13907504/trans-fans-the-matrix-lilly-lana-wachowski\">\u003cem>The Matrix\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a> and \u003cem>Kill Bill\u003c/em>. Why not create something entirely new?\u003c/p>\n\u003cp>\u003cem>The Crow\u003c/em> isn’t bad — and it gets better as it goes — but it’s an exercise in folly. It cannot escape Lee and the 1994 original even as it builds a more allegorical scaffolding for the smartphone generation. To use that very first metaphor, it’s like the trapped white horse — held down by its own painful past, never free to gallop on its own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Crow’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first half drags as it sets the table for the steady beat of limbs and necks being detached at the end. Eric and his love, Shelly (played by an uneven FKA Twigs), meet in a rehab prison for wayward youth that is so well lit and appointed that it looks more like an airport lounge where the cappuccinos are $19 but the Wi-Fi is complimentary.\u003c/p>\n\u003cp>Eric is a gentle loner — tortured by a past the writers don’t bother filling in, who likes to sketch in a book (universal cinema code signaling a sensitive soul) and is heavily tattooed (he’s often shirtless). His apartment has rows of mannequins with their heads covered in plastic and his new love calls him “brilliantly broken.” He’s like a Blink-182 lyric come to life.\u003c/p>\n\u003cp>Shelly is more complex, but that’s because the writers maybe gave up on giving her a real backstory. She has a tattoo that says “Laugh now, cry later,” reads serious literature and loves dancing in her underwear. She clearly comes from wealth and has had a falling out with her mom, but has also done an unimaginably horrible thing, which viewers will learn about at the end.\u003c/p>\n\u003cp>Part of the trouble is that the lead couple cast off very little electricity, offering a love affair that’s more teen-like than all-consuming. And this is a story that needs a love capable of transcending death.\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/djSKp_pwmOA'\n title='//www.youtube.com/embed/djSKp_pwmOA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are lots of cool-looking moments — mostly Skarsgård in a trench coat, stomping around the desolate concrete jungle in the rain at night — until \u003cem>The Crow\u003c/em> builds to one of the better action sequences this year, albeit another one of those heightened showdowns at the opera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By this time, Eric has donned the Crow’s heavy eye and cheek makeup. He adds to this ensemble a katana and an inability to die. As he closes in on his target, mowing down tuxedoed bad guys as arias soar, the group movements on stage are echoed by the furious fighting backstage. A few severed heads might be considered over the top at curtain call, but subtlety isn’t being applauded here.\u003c/p>\n\u003cp>If the original was plot-light but visually delicious, the new one has a better story but suffers from ideas in the films built on its predecessor, stealing a little from \u003ca href=\"https://www.kqed.org/arts/13907504/trans-fans-the-matrix-lilly-lana-wachowski\">\u003cem>The Matrix\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a> and \u003cem>Kill Bill\u003c/em>. Why not create something entirely new?\u003c/p>\n\u003cp>\u003cem>The Crow\u003c/em> isn’t bad — and it gets better as it goes — but it’s an exercise in folly. It cannot escape Lee and the 1994 original even as it builds a more allegorical scaffolding for the smartphone generation. To use that very first metaphor, it’s like the trapped white horse — held down by its own painful past, never free to gallop on its own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Crow’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a portrait of a marriage, it’s bizarre. I’m talking about the \u003ca href=\"https://www.metmuseum.org/art/collection/search/21403\">dual portrait\u003c/a> John Singer Sargent painted in 1885 of Fanny and Robert Louis Stevenson.\u003c/p>\n\u003cp>Louis, whose first novel, \u003cem>Treasure Island\u003c/em>, had been published two years earlier, is captured pacing in a darkened room. Tall and thin, Louis looks every inch like an “insane stork,” which is how fellow writer Henry Adams described him. Louis stares out beyond the confines of the portrait at us, the viewers, as if to share an idea he’s just had.\u003c/p>\n\u003cp>[aside postid='arts_13962615']Fanny sits barefoot on a chair at the opposite end of the room, all but shrouded, like a piece of furniture, in a golden Indian sari. No fool, Fanny recognized Sargent’s depiction as yet another attempt by an admirer of her husband’s to diminish her. “I am but a cipher under the shadow,” she complained to Sargent.\u003c/p>\n\u003cp>Camille Peri’s lively and substantive dual biography of the Stevensons, called \u003cem>A Wilder Shore\u003c/em>, whisks those obscuring draperies off Fanny and restores her to full personhood. But, Peri aims for something even more ambitious than a feminist recovery of a mostly forgotten wife of a famous writer. In her “Introduction,” Peri describes her book as: “an intimate window into how [the Stevensons] lived and loved — a story that is at once a travel adventure, a journey into the literary creative process, and, I hope, an inspiration for anyone seeking a freer, more unconventional life.”\u003c/p>\n\u003cfigure id=\"attachment_13962966\" class=\"wp-caption aligncenter\" style=\"max-width: 1695px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-scaled.jpeg\" alt=\"A book cover featuring a photograph of a 19th century couple and, separately, an exotic landscape.\" width=\"1695\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-scaled.jpeg 1695w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1020x1540.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1017x1536.jpeg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1356x2048.jpeg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1920x2900.jpeg 1920w\" sizes=\"auto, (max-width: 1695px) 100vw, 1695px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wilder Shore’ by Camille Peri. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Inspiration” is something of a quaint term these days in lit crit circles and, yet, it’s always been an abiding draw of biographies. Speaking for myself, after reading \u003cem>A Wilder Shore\u003c/em>, I’m inspired to do two things: I want to reread Robert Louis Stevenson’s three great works of fiction: \u003cem>Treasure Island\u003c/em>, \u003cem>Kidnapped\u003c/em> and \u003ca href=\"https://www.npr.org/2010/01/01/272028836/excerpt-the-strange-case-of-dr-jekyll-and-mr-hyde\">\u003cem>The Strange Case of Dr. Jekyll and Mr. Hyde\u003c/em>\u003c/a>\u003cem>. \u003c/em>And, I want to schedule a séance with Fanny to get some one-on-one instruction on how to live more fearlessly as a woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Peri opens \u003cem>A Wilder Shore \u003c/em>with a scene that could have been written by Louis but, instead, was lived by Fanny: In the summer of 1875, she and her three children and their governess rushed aboard a train in San Francisco to cross the country and catch a ship in New York harbor that would carry them to Belgium.\u003c/p>\n\u003cp>[aside postid='arts_13962625']This was no pleasure trip: To reach their destination the little band rode a wagon through floodwaters, but Fanny was desperate to escape her humiliating marriage to a prospector who lived openly with his mistress. With the little money she’d earned by sewing, Fanny planned to enroll herself and her teenaged daughter in art school.\u003c/p>\n\u003cp>Hurtling into the unknown put the 36-year-old, still-married mother of three in the orbit of Robert Louis Stevenson — a sickly Scottish writer who was 10 years her junior. It was love at first sight, at least for Louis. Peri says that:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>Fanny likely saw their affair as something that could not last. For him, though, sexual intimacy with Fanny was not simply a romp with an older woman. It cemented his emotional commitment to her — a kind of role reversal that is striking for a Victorian man.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Peri details how the bohemian relationship that evolved between Fanny and Louis included other such gender role reversals: The frail “Louis was what the Scots call a “handless” man,” she writes. During the couple’s honeymoon spent squatting in an abandoned silver mine in California, it was Fanny who “out of scraps of wood and packing crates … nailed together furniture.” Of course, the Stevensons’ union caused dismay among Louis’ friends who disparaged Fanny for her age, her American-ness, her short hair and cigarette smoking, and, most virulently, her olive skin.\u003c/p>\n\u003cp>[aside postid='arts_13962885']As convincing as she is about the progressive relationship between the Stevensons, Peri is also clear-eyed about the fact that Fanny still got the somewhat shorter end of the stick. While Louis respected Fanny as his best critic, he also assumed she would handle the mundane household routine and provide nursing care.\u003c/p>\n\u003cp>Louis’ undiagnosed illness — he chronically coughed up blood — did have the “upside” of broadening the couple’s life through travel in search of a healthier climate. They spent their final years together before Louis’ death in 1894 at the age of 44, in Samoa. Fanny lived on for 20 more years, writing, traveling and attracting male protégés. No doubt her contemporaries derided her for that, too; but, thanks to Peri’s vivid biography, Fanny has the last fearless laugh.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Wilder Shore: The Romantic Odyssey of Fanny and Robert Louis Stevenson’ by Camille Peri is out now, via Viking.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a portrait of a marriage, it’s bizarre. I’m talking about the \u003ca href=\"https://www.metmuseum.org/art/collection/search/21403\">dual portrait\u003c/a> John Singer Sargent painted in 1885 of Fanny and Robert Louis Stevenson.\u003c/p>\n\u003cp>Louis, whose first novel, \u003cem>Treasure Island\u003c/em>, had been published two years earlier, is captured pacing in a darkened room. Tall and thin, Louis looks every inch like an “insane stork,” which is how fellow writer Henry Adams described him. Louis stares out beyond the confines of the portrait at us, the viewers, as if to share an idea he’s just had.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fanny sits barefoot on a chair at the opposite end of the room, all but shrouded, like a piece of furniture, in a golden Indian sari. No fool, Fanny recognized Sargent’s depiction as yet another attempt by an admirer of her husband’s to diminish her. “I am but a cipher under the shadow,” she complained to Sargent.\u003c/p>\n\u003cp>Camille Peri’s lively and substantive dual biography of the Stevensons, called \u003cem>A Wilder Shore\u003c/em>, whisks those obscuring draperies off Fanny and restores her to full personhood. But, Peri aims for something even more ambitious than a feminist recovery of a mostly forgotten wife of a famous writer. In her “Introduction,” Peri describes her book as: “an intimate window into how [the Stevensons] lived and loved — a story that is at once a travel adventure, a journey into the literary creative process, and, I hope, an inspiration for anyone seeking a freer, more unconventional life.”\u003c/p>\n\u003cfigure id=\"attachment_13962966\" class=\"wp-caption aligncenter\" style=\"max-width: 1695px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-scaled.jpeg\" alt=\"A book cover featuring a photograph of a 19th century couple and, separately, an exotic landscape.\" width=\"1695\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-scaled.jpeg 1695w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1020x1540.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1017x1536.jpeg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1356x2048.jpeg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/9780670786190-1920x2900.jpeg 1920w\" sizes=\"auto, (max-width: 1695px) 100vw, 1695px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wilder Shore’ by Camille Peri. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Inspiration” is something of a quaint term these days in lit crit circles and, yet, it’s always been an abiding draw of biographies. Speaking for myself, after reading \u003cem>A Wilder Shore\u003c/em>, I’m inspired to do two things: I want to reread Robert Louis Stevenson’s three great works of fiction: \u003cem>Treasure Island\u003c/em>, \u003cem>Kidnapped\u003c/em> and \u003ca href=\"https://www.npr.org/2010/01/01/272028836/excerpt-the-strange-case-of-dr-jekyll-and-mr-hyde\">\u003cem>The Strange Case of Dr. Jekyll and Mr. Hyde\u003c/em>\u003c/a>\u003cem>. \u003c/em>And, I want to schedule a séance with Fanny to get some one-on-one instruction on how to live more fearlessly as a woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was no pleasure trip: To reach their destination the little band rode a wagon through floodwaters, but Fanny was desperate to escape her humiliating marriage to a prospector who lived openly with his mistress. With the little money she’d earned by sewing, Fanny planned to enroll herself and her teenaged daughter in art school.\u003c/p>\n\u003cp>Hurtling into the unknown put the 36-year-old, still-married mother of three in the orbit of Robert Louis Stevenson — a sickly Scottish writer who was 10 years her junior. It was love at first sight, at least for Louis. Peri says that:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>Fanny likely saw their affair as something that could not last. For him, though, sexual intimacy with Fanny was not simply a romp with an older woman. It cemented his emotional commitment to her — a kind of role reversal that is striking for a Victorian man.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Peri details how the bohemian relationship that evolved between Fanny and Louis included other such gender role reversals: The frail “Louis was what the Scots call a “handless” man,” she writes. During the couple’s honeymoon spent squatting in an abandoned silver mine in California, it was Fanny who “out of scraps of wood and packing crates … nailed together furniture.” Of course, the Stevensons’ union caused dismay among Louis’ friends who disparaged Fanny for her age, her American-ness, her short hair and cigarette smoking, and, most virulently, her olive skin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As convincing as she is about the progressive relationship between the Stevensons, Peri is also clear-eyed about the fact that Fanny still got the somewhat shorter end of the stick. While Louis respected Fanny as his best critic, he also assumed she would handle the mundane household routine and provide nursing care.\u003c/p>\n\u003cp>Louis’ undiagnosed illness — he chronically coughed up blood — did have the “upside” of broadening the couple’s life through travel in search of a healthier climate. They spent their final years together before Louis’ death in 1894 at the age of 44, in Samoa. Fanny lived on for 20 more years, writing, traveling and attracting male protégés. No doubt her contemporaries derided her for that, too; but, thanks to Peri’s vivid biography, Fanny has the last fearless laugh.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Wilder Shore: The Romantic Odyssey of Fanny and Robert Louis Stevenson’ by Camille Peri is out now, via Viking.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Trying to explain why abused people stay with abusers has been an almighty challenge for survivors’ advocates for decades — one that has only grown more difficult as women have gained increasing independence in society. If you’re not trapped by financial constraints, skeptics wonder, why else would you stay?\u003c/p>\n\u003cp>Anyone still perplexed by how people get ensnared in abusive relationships would do well to read Joy Neumeyer’s new book, \u003cem>A Survivor’s Education: Women, Violence and the Stories We Don’t Tell\u003c/em>. In it, Neumeyer boldly and unflinchingly describes a relationship spiraling out of her control while in the process of earning her PhD at \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13956667']Neumeyer’s partner at the time — referred to only as Daniel — was a man who was “disarmingly vulnerable and reassuring” the day she met him. He was a dear friend who became “the closest person in [her] life.” Only after three years of extremely close friendship did Neumeyer and Daniel become “enraptured with each other” as a couple. It was shortly after physical intimacy became part of their relationship that Neumeyer suddenly found herself on the receiving end of verbal tirades, guilt trips, death threats and waking up with Daniel’s hand around her throat.\u003c/p>\n\u003cp>In Neumeyer’s case, her roots with Daniel were so deep and his manipulations so pernicious, she first attributed his erratic mood swings to mental health issues and the disadvantaged background that Daniel said made him feel like an outsider. Neumeyer, like many people in similar situations, blamed herself for Daniel’s sudden change in behavior, thought her love and support could help him to stabilize, and feared revealing the extent of the abuse to friends lest they judge him too harshly. This despite the visceral fear she was living with daily. (“It’s like a solar eclipse,” she writes at one point, “the moment you realize that someone you trust might kill you.”)\u003c/p>\n\u003cp>In \u003cem>A Survivor’s Education\u003c/em>, Neumeyer doesn’t just detail the degeneration of her relationship with Daniel. The book relays everything she learned in the process of extricating herself from him, as well as the arduous legal actions she was eventually forced to take to keep him at a safe distance from her. With a sense that they might assist others, Neumeyer even dutifully passes on the texts that most helped her understand her own predicament. These include: Lundy Bancroft’s \u003cem>Why Does He Do That? Inside the Minds of Angry and Controlling Men\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13876710/in-recollections-of-my-nonexistence-rebecca-solnit-once-again-tackles-gender-bias\">Rebecca Solnit\u003c/a>’s \u003cem>Men Explain Things to Me\u003c/em>, and \u003ca href=\"https://www.kqed.org/bayareabites/130833/how-a-19th-century-chemist-took-on-the-food-industry-with-a-grisly-experiment\">Deborah Blum\u003c/a>’s \u003cem>Bad Karma: A True Story of Obsession and Murder\u003c/em>. (The last book tells the story of Tanya Tarasoff, a Berkeley student who was murdered by her ex-boyfriend.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Neumeyer vividly tells her story against the backdrop of Berkeley student life, her studies of Russian history and the pop culture of the period. The end of her relationship happened to coincide with the \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo movement\u003c/a>, which seems to have equipped her with a wider understanding of just how depressingly commonplace her situation was. While reading correspondence between \u003ca href=\"https://www.kqed.org/arts/13913533/amber-heard-johnny-depp-trial-misogyny-abuse-defamation-libel\">Amber Heard and Johnny Depp\u003c/a>, Neumeyer notes: “The texts matched my dynamic with Daniel so closely that it hurt to look at them.”\u003c/p>\n\u003cp>Neumeyer is also not shy when it comes to explaining how UC Berkeley has failed women like her on many occasions before. In a chapter titled “Patterns,” she writes:\u003c/p>\n\u003cblockquote>\u003cp>In Berkeley’s overview of 2017–2018 — the year of my case — [Berkeley’s Office for the Prevention of Harassment and Discrimination] received 446 reports of sexual violence or harassment … Only 14 percent of the cases it closed that year included an investigation … The vast majority, 77 percent, were ‘administratively closed’ — in other words, nothing happened.\u003c/p>\u003c/blockquote>\n\u003cp>She also widens that scope to look at national trends, pointing out:\u003c/p>\n\u003cblockquote>\u003cp>Nearly half of all murdered women in the US are killed by their current or former male partners, with Black women the most likely to die of all groups. According to a 2021 study, around two-thirds of American mass shootings are rooted in domestic violence.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13962847']Neumeyer is a lively, frank and passionate writer. By combining her very personal story with an analysis of misogyny in the wider culture, she has created a book full of invaluable information. It will surely be of assistance not just to survivors struggling with both legal processes and trauma, but also to people struggling to comprehend intimate partner violence in a theoretical sense. In passing on the extracurricular education she was forced to take on during her time at Berkeley, Neumeyer is illuminating some of the darkest corners in our midst.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.hachettebookgroup.com/titles/joy-neumeyer/a-survivors-education/9781541702790/\">A Survivor’s Education: Women, Violence and the Stories We Don’t Tell\u003c/a>’ by Joy Neumeyer is out on Aug. 20, 2024 from PublicAffairs.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Neumeyer is scheduled to appear at \u003ca href=\"https://www.bookpassage.com/event/joy-neumeyer-maha-ibrahim-survivors-education-ferry-building-store\">Book Passage\u003c/a>’s San Francisco Ferry Building store on Sept. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trying to explain why abused people stay with abusers has been an almighty challenge for survivors’ advocates for decades — one that has only grown more difficult as women have gained increasing independence in society. If you’re not trapped by financial constraints, skeptics wonder, why else would you stay?\u003c/p>\n\u003cp>Anyone still perplexed by how people get ensnared in abusive relationships would do well to read Joy Neumeyer’s new book, \u003cem>A Survivor’s Education: Women, Violence and the Stories We Don’t Tell\u003c/em>. In it, Neumeyer boldly and unflinchingly describes a relationship spiraling out of her control while in the process of earning her PhD at \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Neumeyer’s partner at the time — referred to only as Daniel — was a man who was “disarmingly vulnerable and reassuring” the day she met him. He was a dear friend who became “the closest person in [her] life.” Only after three years of extremely close friendship did Neumeyer and Daniel become “enraptured with each other” as a couple. It was shortly after physical intimacy became part of their relationship that Neumeyer suddenly found herself on the receiving end of verbal tirades, guilt trips, death threats and waking up with Daniel’s hand around her throat.\u003c/p>\n\u003cp>In Neumeyer’s case, her roots with Daniel were so deep and his manipulations so pernicious, she first attributed his erratic mood swings to mental health issues and the disadvantaged background that Daniel said made him feel like an outsider. Neumeyer, like many people in similar situations, blamed herself for Daniel’s sudden change in behavior, thought her love and support could help him to stabilize, and feared revealing the extent of the abuse to friends lest they judge him too harshly. This despite the visceral fear she was living with daily. (“It’s like a solar eclipse,” she writes at one point, “the moment you realize that someone you trust might kill you.”)\u003c/p>\n\u003cp>In \u003cem>A Survivor’s Education\u003c/em>, Neumeyer doesn’t just detail the degeneration of her relationship with Daniel. The book relays everything she learned in the process of extricating herself from him, as well as the arduous legal actions she was eventually forced to take to keep him at a safe distance from her. With a sense that they might assist others, Neumeyer even dutifully passes on the texts that most helped her understand her own predicament. These include: Lundy Bancroft’s \u003cem>Why Does He Do That? Inside the Minds of Angry and Controlling Men\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13876710/in-recollections-of-my-nonexistence-rebecca-solnit-once-again-tackles-gender-bias\">Rebecca Solnit\u003c/a>’s \u003cem>Men Explain Things to Me\u003c/em>, and \u003ca href=\"https://www.kqed.org/bayareabites/130833/how-a-19th-century-chemist-took-on-the-food-industry-with-a-grisly-experiment\">Deborah Blum\u003c/a>’s \u003cem>Bad Karma: A True Story of Obsession and Murder\u003c/em>. (The last book tells the story of Tanya Tarasoff, a Berkeley student who was murdered by her ex-boyfriend.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neumeyer vividly tells her story against the backdrop of Berkeley student life, her studies of Russian history and the pop culture of the period. The end of her relationship happened to coincide with the \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo movement\u003c/a>, which seems to have equipped her with a wider understanding of just how depressingly commonplace her situation was. While reading correspondence between \u003ca href=\"https://www.kqed.org/arts/13913533/amber-heard-johnny-depp-trial-misogyny-abuse-defamation-libel\">Amber Heard and Johnny Depp\u003c/a>, Neumeyer notes: “The texts matched my dynamic with Daniel so closely that it hurt to look at them.”\u003c/p>\n\u003cp>Neumeyer is also not shy when it comes to explaining how UC Berkeley has failed women like her on many occasions before. In a chapter titled “Patterns,” she writes:\u003c/p>\n\u003cblockquote>\u003cp>In Berkeley’s overview of 2017–2018 — the year of my case — [Berkeley’s Office for the Prevention of Harassment and Discrimination] received 446 reports of sexual violence or harassment … Only 14 percent of the cases it closed that year included an investigation … The vast majority, 77 percent, were ‘administratively closed’ — in other words, nothing happened.\u003c/p>\u003c/blockquote>\n\u003cp>She also widens that scope to look at national trends, pointing out:\u003c/p>\n\u003cblockquote>\u003cp>Nearly half of all murdered women in the US are killed by their current or former male partners, with Black women the most likely to die of all groups. According to a 2021 study, around two-thirds of American mass shootings are rooted in domestic violence.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Neumeyer is a lively, frank and passionate writer. By combining her very personal story with an analysis of misogyny in the wider culture, she has created a book full of invaluable information. It will surely be of assistance not just to survivors struggling with both legal processes and trauma, but also to people struggling to comprehend intimate partner violence in a theoretical sense. In passing on the extracurricular education she was forced to take on during her time at Berkeley, Neumeyer is illuminating some of the darkest corners in our midst.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.hachettebookgroup.com/titles/joy-neumeyer/a-survivors-education/9781541702790/\">A Survivor’s Education: Women, Violence and the Stories We Don’t Tell\u003c/a>’ by Joy Neumeyer is out on Aug. 20, 2024 from PublicAffairs.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Neumeyer is scheduled to appear at \u003ca href=\"https://www.bookpassage.com/event/joy-neumeyer-maha-ibrahim-survivors-education-ferry-building-store\">Book Passage\u003c/a>’s San Francisco Ferry Building store on Sept. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bampfa-to-exalt-the-ephemeral-review",
"title": "A New BAMPFA Show ‘Exalts’ the Museum’s Most Impermanent Things",
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"content": "\u003cp>The show has a straightforward but interestingly complicated premise: artworks are living, breathing, decaying, broken things. All artworks, like all things, are transitory. Organized by the Berkeley Art Museum and Pacific Film Archive’s chief curator, Margot Norton, \u003ci>\u003ca href=\"https://bampfa.org/program/exalt-ephemeral-impermanent-collection\">To Exalt the Ephemeral: The (Im)permanent Collection\u003c/a>\u003c/i> might be a conservator’s nightmare, but it’s also an audience’s dream. \u003c/p>\n\u003cp>This is Norton’s first curatorial project since joining the museum last year, and it’s based on an idea she dreamed up while interviewing for the job. Pulled from the museum’s collections, the show focuses on ephemeral, conceptual and performance art — genres with a rich history in the Bay Area. Yet today, we see less of the ephemeral and more that is easily transacted upon.\u003c/p>\n\u003cp>Should art function like Dorian Gray, remaining perfectly young as time passes? It’s definitely easier to assign value to such work, and then let it sit, unblemished, accruing monetary worth on the art market. \u003c/p>\n\u003cfigure id=\"attachment_13962907\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000.jpg\" alt=\"Red horseshoe-shaped sculpture with lightbulbs and banner that reads FADING FLOWERS\" width=\"2000\" height=\"1513\" class=\"size-full wp-image-13962907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-1536x1162.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-1920x1452.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ree Morton, ‘Fading Flowers,’ 1974. \u003ccite>(Photo by Rob Corder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>To Exalt the Ephemeral\u003c/i> honors an alternate route. Included in the exhibition are examples of artists who rebelled against the idea of permanence, either because they refused to participate in the status quo of the art market or because their artistic concerns took them into novel territory. The tension here is that the majority of the works in this show reference the idea of ephemerality as a subject rather than evidencing it physically. For example, a suite of Andy Warhol Polaroids refers to the fleeting nature of time as captured in a snapshot — but there is little in the medium that challenges traditional modes of photography. \u003c/p>\n\u003cp>The show opens with works that are the most materially relevant to the theme of ephemerality: objects that embody a sense of transience, because they were constructed with organic materials or because they are traces of past actions and fleeting moments. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eva Hesse’s \u003cem>Aught\u003c/em> (1968), a set of latex-covered canvases, connects to the crux of the show most directly. During her life, Hesse specified that no efforts towards conservation should be made, and thus, the works have acquired temporality as their co-author. These objects have gone beyond yellowing. They are pumpkin-colored, sagging, wrinkled slabs hanging inert in a series of four on the wall. \u003c/p>\n\u003cp>When they were first shown nearly 60 years ago, they were more translucent, BAMPFA curatorial associate and exhibition co-curator Tausif Noor told me. Hesse complicated the clean sterility of minimalism with the uncooperative nature of the body. These works, meant to be seen aging, bear the effects of time like flesh, boldly counteracting the idea that artworks should remain halted in their current state, perpetually preserved.\u003c/p>\n\u003cfigure id=\"attachment_13962908\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000.jpg\" alt=\"Installation view with projected video and collage\" width=\"2000\" height=\"1291\" class=\"size-full wp-image-13962908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-1020x658.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-1536x991.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-1920x1239.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jonas, ‘The Shape, the Scent, the Feel of Things,’ 2004–2006. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this first gallery, we also get a framed diagram of directions drawn by strangers for Stanley Brouwn as part of his \u003ci>This Way Brouwn\u003c/i> series. A small vitrine holds documentation and text from past performances, like William T. Wiley’s erased letter to Tom Marioni, a West Coast take on Robert Rauschenberg’s \u003cem>Erased De Kooning Drawing\u003c/em>. Berkeley artist Lucy Puls’ \u003cem>Seer\u003c/em> (1988), a bundle of fiberglass strips and bolts forming a multilayered eye-shaped hole, is especially muscular.\u003c/p>\n\u003cp>From there, the show expounds on the idea of impermanence more metaphorically. The gallery categorized under “Atmosphere and Environment” contains some of my favorite works in the show and yields some of the most curatorially liberated moments. Here you will find Joan Mitchell’s furiously painted \u003cem>High Water\u003c/em> (1970) positioned beside Hans Haake’s \u003cem>Small Wave #5\u003c/em> (1968) — a skinny plexiglass sleeve suspended around eye-level with water trapped in between its translucent legs. When nudged with the tip of a finger, the sculpture swings side to side and the liquid momentarily forms a very thin wave. (Visitors are encouraged to activate it.)\u003c/p>\n\u003cp>[aside postID='arts_13805914'] \u003c/p>\n\u003cp>Through the plexi wave, Sarah Charlesworth’s \u003cem>Arc of Total Eclipse, February 26, 1979\u003c/em> (1979) can be seen. Her series chronicles front-page newspaper coverage of the celestial event as it moves across North America. It’s a simple idea, executed with enviable precision. I cannot help but enjoy the relationship between the waves and moon that these artworks underscore through sheer proximity.\u003c/p>\n\u003cfigure id=\"attachment_13962909\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo.jpg\" alt=\"Painting of ASL fingerspelling and a vertical scroll painting of a waterfall\" width=\"1467\" height=\"1654\" class=\"size-full wp-image-13962909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-800x902.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-1020x1150.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-768x866.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-1362x1536.jpg 1362w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">L: Martin Wong, ‘Silence,’ 1982. R: Okamoto Shuki, ‘White Swallows by a Waterfall,’ 1801–1862. \u003ccite>(Courtesy of the Martin Wong Foundation and P·P·O·W, New York; Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This gallery also presents some of the earliest works from the museum’s collections: 19th-century Japanese scrolls by Okamoto Shuki, acquired in 1909. These works illustrate aspects of nature, representations of impermanence in Zen Buddhism, and flank a much newer piece, Martin Wong’s 1982 painting \u003cem>Silence\u003c/em>. \u003c/p>\n\u003cp>Narrow, muted in palette, Wong’s painting features hands arranged in American Sign Language fingerspelling — an iconography he adopted after receiving a “Hello, I’m Deaf” card aboard a New York City subway train, a fingerspelling alphabet on its reverse side. The pairing of the ink paintings with the implied hustle and bustle of an urban transit system yields a surprisingly delightful combination.\u003c/p>\n\u003cp>Honestly, all of \u003ci>To Exalt the Ephemeral\u003c/i> is a delight. By showing works that are difficult to present, BAMPFA gives audiences a rare chance to see the true breadth of the museum’s holdings. The show overflows with the strength of the artworks in it. My personal preference would have been for even more non-object-based pieces, but I will settle for this peculiarity: the works on paper must be switched out every three months due to light levels. And so the show will grow over time because of conservation constraints. Ephemerality is never far behind us, necessitating return visits to see the evolution of the exhibition itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/exalt-ephemeral-impermanent-collection\">To Exalt the Ephemeral: The (Im)permanent Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through July 6, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The show has a straightforward but interestingly complicated premise: artworks are living, breathing, decaying, broken things. All artworks, like all things, are transitory. Organized by the Berkeley Art Museum and Pacific Film Archive’s chief curator, Margot Norton, \u003ci>\u003ca href=\"https://bampfa.org/program/exalt-ephemeral-impermanent-collection\">To Exalt the Ephemeral: The (Im)permanent Collection\u003c/a>\u003c/i> might be a conservator’s nightmare, but it’s also an audience’s dream. \u003c/p>\n\u003cp>This is Norton’s first curatorial project since joining the museum last year, and it’s based on an idea she dreamed up while interviewing for the job. Pulled from the museum’s collections, the show focuses on ephemeral, conceptual and performance art — genres with a rich history in the Bay Area. Yet today, we see less of the ephemeral and more that is easily transacted upon.\u003c/p>\n\u003cp>Should art function like Dorian Gray, remaining perfectly young as time passes? It’s definitely easier to assign value to such work, and then let it sit, unblemished, accruing monetary worth on the art market. \u003c/p>\n\u003cfigure id=\"attachment_13962907\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000.jpg\" alt=\"Red horseshoe-shaped sculpture with lightbulbs and banner that reads FADING FLOWERS\" width=\"2000\" height=\"1513\" class=\"size-full wp-image-13962907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-1536x1162.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/14_Morton_Fading-Flowers-1974_2000-1920x1452.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ree Morton, ‘Fading Flowers,’ 1974. \u003ccite>(Photo by Rob Corder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>To Exalt the Ephemeral\u003c/i> honors an alternate route. Included in the exhibition are examples of artists who rebelled against the idea of permanence, either because they refused to participate in the status quo of the art market or because their artistic concerns took them into novel territory. The tension here is that the majority of the works in this show reference the idea of ephemerality as a subject rather than evidencing it physically. For example, a suite of Andy Warhol Polaroids refers to the fleeting nature of time as captured in a snapshot — but there is little in the medium that challenges traditional modes of photography. \u003c/p>\n\u003cp>The show opens with works that are the most materially relevant to the theme of ephemerality: objects that embody a sense of transience, because they were constructed with organic materials or because they are traces of past actions and fleeting moments. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eva Hesse’s \u003cem>Aught\u003c/em> (1968), a set of latex-covered canvases, connects to the crux of the show most directly. During her life, Hesse specified that no efforts towards conservation should be made, and thus, the works have acquired temporality as their co-author. These objects have gone beyond yellowing. They are pumpkin-colored, sagging, wrinkled slabs hanging inert in a series of four on the wall. \u003c/p>\n\u003cp>When they were first shown nearly 60 years ago, they were more translucent, BAMPFA curatorial associate and exhibition co-curator Tausif Noor told me. Hesse complicated the clean sterility of minimalism with the uncooperative nature of the body. These works, meant to be seen aging, bear the effects of time like flesh, boldly counteracting the idea that artworks should remain halted in their current state, perpetually preserved.\u003c/p>\n\u003cfigure id=\"attachment_13962908\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000.jpg\" alt=\"Installation view with projected video and collage\" width=\"2000\" height=\"1291\" class=\"size-full wp-image-13962908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-1020x658.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-1536x991.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20_Jonas_ShapeScentFeel-2004-6_2000-1920x1239.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jonas, ‘The Shape, the Scent, the Feel of Things,’ 2004–2006. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this first gallery, we also get a framed diagram of directions drawn by strangers for Stanley Brouwn as part of his \u003ci>This Way Brouwn\u003c/i> series. A small vitrine holds documentation and text from past performances, like William T. Wiley’s erased letter to Tom Marioni, a West Coast take on Robert Rauschenberg’s \u003cem>Erased De Kooning Drawing\u003c/em>. Berkeley artist Lucy Puls’ \u003cem>Seer\u003c/em> (1988), a bundle of fiberglass strips and bolts forming a multilayered eye-shaped hole, is especially muscular.\u003c/p>\n\u003cp>From there, the show expounds on the idea of impermanence more metaphorically. The gallery categorized under “Atmosphere and Environment” contains some of my favorite works in the show and yields some of the most curatorially liberated moments. Here you will find Joan Mitchell’s furiously painted \u003cem>High Water\u003c/em> (1970) positioned beside Hans Haake’s \u003cem>Small Wave #5\u003c/em> (1968) — a skinny plexiglass sleeve suspended around eye-level with water trapped in between its translucent legs. When nudged with the tip of a finger, the sculpture swings side to side and the liquid momentarily forms a very thin wave. (Visitors are encouraged to activate it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>Through the plexi wave, Sarah Charlesworth’s \u003cem>Arc of Total Eclipse, February 26, 1979\u003c/em> (1979) can be seen. Her series chronicles front-page newspaper coverage of the celestial event as it moves across North America. It’s a simple idea, executed with enviable precision. I cannot help but enjoy the relationship between the waves and moon that these artworks underscore through sheer proximity.\u003c/p>\n\u003cfigure id=\"attachment_13962909\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo.jpg\" alt=\"Painting of ASL fingerspelling and a vertical scroll painting of a waterfall\" width=\"1467\" height=\"1654\" class=\"size-full wp-image-13962909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-800x902.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-1020x1150.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-768x866.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Wong_Shuki_combo-1362x1536.jpg 1362w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">L: Martin Wong, ‘Silence,’ 1982. R: Okamoto Shuki, ‘White Swallows by a Waterfall,’ 1801–1862. \u003ccite>(Courtesy of the Martin Wong Foundation and P·P·O·W, New York; Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This gallery also presents some of the earliest works from the museum’s collections: 19th-century Japanese scrolls by Okamoto Shuki, acquired in 1909. These works illustrate aspects of nature, representations of impermanence in Zen Buddhism, and flank a much newer piece, Martin Wong’s 1982 painting \u003cem>Silence\u003c/em>. \u003c/p>\n\u003cp>Narrow, muted in palette, Wong’s painting features hands arranged in American Sign Language fingerspelling — an iconography he adopted after receiving a “Hello, I’m Deaf” card aboard a New York City subway train, a fingerspelling alphabet on its reverse side. The pairing of the ink paintings with the implied hustle and bustle of an urban transit system yields a surprisingly delightful combination.\u003c/p>\n\u003cp>Honestly, all of \u003ci>To Exalt the Ephemeral\u003c/i> is a delight. By showing works that are difficult to present, BAMPFA gives audiences a rare chance to see the true breadth of the museum’s holdings. The show overflows with the strength of the artworks in it. My personal preference would have been for even more non-object-based pieces, but I will settle for this peculiarity: the works on paper must be switched out every three months due to light levels. And so the show will grow over time because of conservation constraints. Ephemerality is never far behind us, necessitating return visits to see the evolution of the exhibition itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/exalt-ephemeral-impermanent-collection\">To Exalt the Ephemeral: The (Im)permanent Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through July 6, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A procession of books in recent years have explored the \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">UFO phenomenon\u003c/a> but few perhaps with the authority Luis Elizondo brings as a Defense Department insider, laboring for decades to learn who the visitors are, where they are from and what they want.\u003c/p>\n\u003cp>In the 275 pages of \u003cem>Imminent: Inside the Pentagon’s Hunt for UFOs\u003c/em>, Elizondo provides evidence of what the U.S. Department of Defense knows with this somewhat surprising conclusion — Defense Department higher-ups often thwart Elizondo and his team’s efforts.\u003c/p>\n\u003cp>[aside postid='arts_13962847']Why? Elizondo writes that the defense establishment doesn’t want to present a problem it neither can explain nor offer a solution. But are these visitors a threat? Elizondo concludes that the visitors’ capabilities make them a “very serious national security issue.”\u003c/p>\n\u003cp>Earliest documented UFO sightings go back to before World War II and since then, many UFOs have violated sensitive military airspace but no one appears to have been deliberately hurt by a UFO in the United States. However, perhaps given his combat experiences and long association with Defense Department work, Elizondo worries about another 9-11-type attack, a threat we should have anticipated but did not.\u003c/p>\n\u003cfigure id=\"attachment_13962930\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00%E2%80%AFPM.png\" alt=\"A book cover featuring a screenshot of military footage zeroing in on an unidentified flying object.\" width=\"770\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00 PM.png 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00 PM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00 PM-768x1101.png 768w\" sizes=\"auto, (max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">‘Imminent: Inside the Pentagon’s Hunt for UFOs’ by Luis Elizondo. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elizondo deploys way too many government acronyms — consider AAWSAAP/AATIP, for example — but he’s undeniably thorough in presenting what he has worked on and learned over two decades. Pages of diagrams and explanations suggest how UFOs might propel themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elizondo became so alarmed at what he was learning about UFOs that the Defense Department refused to disclose to the public that he ultimately resigned his job with the Defense Department so he could go public with much of what he knows about the presence of visitors whose vehicles are far more advanced than what we earthlings have built. Several passages in the book are redacted and Elizondo writes multiple times that he cannot say more about certain subjects.\u003c/p>\n\u003cp>[aside postid='arts_13957514']Perhaps more alarmingly, as he points out, the Defense Department and other government entities at every level tend to regard our elected representatives as “temporary hires” who need to be managed and fed information as the departments see fit. The Defense bureaucracy, for example, didn’t trust President Nixon, so it didn’t tell him much about UFOs.\u003c/p>\n\u003cp>The Defense Department recently has released more information on UFOs, thanks largely to Elizondo and his colleagues, but given the reluctant government pace, the bureaucracy doesn’t appear to judge UFOs as an “imminent” threat.\u003c/p>\n\u003cp>Meantime, the American people — make that the world — seem to regard the proven-beyond-reasonable-doubt arrival of visitors from far away as news eliciting little more than a shrug.\u003c/p>\n\u003cp>A Defense Department briefing detailing much more of what it knows might change that. A good starting point might be what happened to the remains of non-human bodies that have been recovered from crash sites.\u003c/p>\n\u003cp>Elizondo fears the Defense Department never will disclose what it knows about that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Imminent: Inside the Pentagon’s Hunt for UFOs’ by Luis Elizondo is released on Aug. 20, 2024, via William Morrow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why? Elizondo writes that the defense establishment doesn’t want to present a problem it neither can explain nor offer a solution. But are these visitors a threat? Elizondo concludes that the visitors’ capabilities make them a “very serious national security issue.”\u003c/p>\n\u003cp>Earliest documented UFO sightings go back to before World War II and since then, many UFOs have violated sensitive military airspace but no one appears to have been deliberately hurt by a UFO in the United States. However, perhaps given his combat experiences and long association with Defense Department work, Elizondo worries about another 9-11-type attack, a threat we should have anticipated but did not.\u003c/p>\n\u003cfigure id=\"attachment_13962930\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00%E2%80%AFPM.png\" alt=\"A book cover featuring a screenshot of military footage zeroing in on an unidentified flying object.\" width=\"770\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00 PM.png 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00 PM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-20-at-1.40.00 PM-768x1101.png 768w\" sizes=\"auto, (max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">‘Imminent: Inside the Pentagon’s Hunt for UFOs’ by Luis Elizondo. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elizondo deploys way too many government acronyms — consider AAWSAAP/AATIP, for example — but he’s undeniably thorough in presenting what he has worked on and learned over two decades. Pages of diagrams and explanations suggest how UFOs might propel themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elizondo became so alarmed at what he was learning about UFOs that the Defense Department refused to disclose to the public that he ultimately resigned his job with the Defense Department so he could go public with much of what he knows about the presence of visitors whose vehicles are far more advanced than what we earthlings have built. Several passages in the book are redacted and Elizondo writes multiple times that he cannot say more about certain subjects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps more alarmingly, as he points out, the Defense Department and other government entities at every level tend to regard our elected representatives as “temporary hires” who need to be managed and fed information as the departments see fit. The Defense bureaucracy, for example, didn’t trust President Nixon, so it didn’t tell him much about UFOs.\u003c/p>\n\u003cp>The Defense Department recently has released more information on UFOs, thanks largely to Elizondo and his colleagues, but given the reluctant government pace, the bureaucracy doesn’t appear to judge UFOs as an “imminent” threat.\u003c/p>\n\u003cp>Meantime, the American people — make that the world — seem to regard the proven-beyond-reasonable-doubt arrival of visitors from far away as news eliciting little more than a shrug.\u003c/p>\n\u003cp>A Defense Department briefing detailing much more of what it knows might change that. A good starting point might be what happened to the remains of non-human bodies that have been recovered from crash sites.\u003c/p>\n\u003cp>Elizondo fears the Defense Department never will disclose what it knows about that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Imminent: Inside the Pentagon’s Hunt for UFOs’ by Luis Elizondo is released on Aug. 20, 2024, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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