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Follow her \u003ca href=\"https://twitter.com/JoyLanzendorfer\">on Twitter.\u003c/a>","avatar":"https://secure.gravatar.com/avatar/ad1c022371f706897aa2db1f99c1951b?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"bayareabites","roles":["contributor"]}],"headData":{"title":"Joy Lanzendorfer | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/ad1c022371f706897aa2db1f99c1951b?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ad1c022371f706897aa2db1f99c1951b?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jlanzendorfer"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13859890":{"type":"posts","id":"arts_13859890","meta":{"index":"posts_1591205157","site":"arts","id":"13859890","score":null,"sort":[1560962268000]},"guestAuthors":[],"slug":"joy-harjo-becomes-the-first-native-american-u-s-poet-laureate","title":"Joy Harjo Becomes The First Native American U.S. Poet Laureate","publishDate":1560962268,"format":"standard","headTitle":"Joy Harjo Becomes The First Native American U.S. Poet Laureate | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"A member of the Muscogee Creek Nation, the 68-year-old poet and musician says she bears \"the honor on behalf of the people and my ancestors\" and aims to serve as an \"ambassador\" of the art form.","status":"publish","parent":0,"modified":1705025998,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1183},"headData":{"title":"Joy Harjo Becomes The First Native American U.S. Poet Laureate | KQED","description":"A member of the Muscogee Creek Nation, the 68-year-old poet and musician says she bears "the honor on behalf of the people and my ancestors" and aims to serve as an "ambassador" of the art form.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Joy Harjo Becomes The First Native American U.S. Poet Laureate","datePublished":"2019-06-19T16:37:48.000Z","dateModified":"2024-01-12T02:19:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Shawn Miller","nprByline":"Lynn Neary, Patrick Jarenwattananon","nprImageAgency":"Library of Congress","nprStoryId":"733727917","nprApiLink":"http://api.npr.org/query?id=733727917&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/06/19/733727917/joy-harjo-becomes-the-first-native-american-u-s-poet-laureate?ft=nprml&f=733727917","nprRetrievedStory":"1","nprPubDate":"Wed, 19 Jun 2019 11:13:00 -0400","nprStoryDate":"Wed, 19 Jun 2019 08:00:17 -0400","nprLastModifiedDate":"Wed, 19 Jun 2019 11:13:28 -0400","path":"/arts/13859890/joy-harjo-becomes-the-first-native-american-u-s-poet-laureate","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13859890/joy-harjo-becomes-the-first-native-american-u-s-poet-laureate","authors":["byline_arts_13859890"],"programs":["arts_1272"],"categories":["arts_73","arts_835","arts_235"],"tags":["arts_928","arts_4566","arts_7669","arts_1496","arts_2728","arts_1234"],"affiliates":["arts_137"],"featImg":"arts_13859892","label":"arts_1272"},"arts_13839454":{"type":"posts","id":"arts_13839454","meta":{"index":"posts_1591205157","site":"arts","id":"13839454","score":null,"sort":[1535382048000]},"guestAuthors":[],"slug":"brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall","title":"Brunch with Isabel Allende and Other Book Events to Look Forward to This Fall","publishDate":1535382048,"format":"image","headTitle":"Brunch with Isabel Allende and Other Book Events to Look Forward to This Fall | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>Fall is the best season for reading—there are no oily thumbprints to stain your pages, no sand getting stuck in the crevice of your book spine and no squinting at a glaringly sunlit page. Instead, time is spent indoors, fireside, donning comfortable sweaters, sipping tea. If squinting happens, it is only in accompaniment to the silent judgment of an author’s unfortunate word choice.\u003c/p>\n\u003cp>This fall, the Bay Area is exceptionally wealthy in books and literary events. With new releases by Eileen Myles and Juan Gabriel Vásquez and exciting engagements—including a brunch with Chilean author Isabel Allende—this fall’s literary season is not one to miss. Here are some of the highlights from the coming months.\u003c/p>\n\u003ch2>September\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>Z Space. Sept. 1–2, 8pm. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839469 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-800x333.png\" alt=\"\" width=\"800\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-768x320.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-375x156.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-520x216.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I read a lot this summer and am looking forward to taking a break with Z Space’s \u003cem>Word for Word—\u003c/em>a series where a short story is turned into a play and performed in full (in whatever way possible). \u003cem>Word for Word \u003c/em>celebrates its 25th anniversary with performances of Tobias Wolff’s \u003cem>Deep Kiss \u003c/em>and George Saunders’ \u003cem>Victory Lap\u003c/em>. Both are stories about teenage lives and that incandescent moment when everything changes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Gabriela Alemán reads from \u003cem>Poso Wells\u003c/em>\u003c/strong>\u003cstrong>.\u003cbr>\nSept. 4, 7pm. \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100812940\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Ecuadorian author Gabriela Alemán’s celebrates her first work in English at City Lights. \u003cem>Poso Wells\u003c/em> is a noir, feminist and absurdist eco-thriller about corruption, exploitation and a woman on the run.\u003c/p>\n\u003cp>\u003cstrong>Vanessa Hua in conversation with Lydia Kiesling. \u003c/strong>\u003cbr>\n\u003cstrong>Sept. 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3253\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839479 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/river-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-240x364.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river.jpg 313w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In one of my favorite pairings of the season, Vanessa Hua and Lydia Kiesling will read from their debuts, both of which touch on different aspects of motherhood. \u003cem>A River of Stars\u003c/em> tells the story of a Chinese woman who comes to the U.S. to a secret maternity center seeking citizenship for her unborn baby; in \u003cem>The Golden State, \u003c/em>a young mother careens on the verge of a breakdown.\u003c/p>\n\u003cp>\u003cstrong>Brunch with Isabel Allende.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 15, 10:30am. \u003ca href=\"https://www.bookpassage.com/event/literary-brunch-isabel-allende-midst-winter-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839485 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg\" alt=\"\" width=\"160\" height=\"209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-918x1200.jpg 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-960x1255.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-520x680.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145.jpg 962w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is not a drill: you can get brunch with Isabel Allende. Allende is celebrating the paperback release of \u003cem>In the Midst of Winter\u003c/em>. If this event sells out before you can snag a ticket, Allende will be in conversation with Khaled Hosseini on Friday, Sept. 28 at 7pm, also at \u003ca href=\"https://www.bookpassage.com/event/khaled-hosseini-isabel-allende-sea-prayer-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nomadic Press chapbook release party.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 22, 7pm. \u003ca href=\"https://www.facebook.com/events/191304171447195\" target=\"_blank\" rel=\"noopener\">Nomadic Press\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13839480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg\" alt=\"\" width=\"800\" height=\"287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-160x57.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1020x366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1200x431.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1920x690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1180x424.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-960x345.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-240x86.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-375x135.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-520x187.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The chapbooks Nomadic Press puts out are a joy to read. So save all your money so you can have your pick at Nomadic Press’ fall release party for their chapbook collection: it includes \u003cem>Ordinary Villains\u003c/em> by EK Keith, \u003cem>Adaptations\u003c/em> by Emily Pinkerton,\u003cem> By the Lemon Tree\u003c/em> by Keenan Norris,\u003cem> How it Happens\u003c/em> by Joyce E. Young,\u003cem> If the Color is Fugitive\u003c/em> by Sara Mithra, \u003cem>When a Purple Rose Blooms\u003c/em> by Jenee Darden and\u003cem> An Object in Motion\u003c/em> by Patrick Newson.\u003c/p>\n\u003ch2>October\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839483 size-thumbnail alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins.jpg 263w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cstrong>Juan Gabriel presents \u003cem>The Shape of Ruins\u003c/em>. \u003c/strong>\u003cbr>\n\u003cstrong>Oct. 1, 7pm. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-juan-gabriel-vasquez-0\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Start your October right by securing your copy of \u003cem>The Shape of the Ruins\u003c/em>, the latest by Juan Gabriel Vásquez. This novel distills and expands on the questions and myths surrounding two different assassinations of important Colombian leaders in the ’80s. In \u003cem>The Shape of the Ruins, \u003c/em>Vásquez seems to be asking how life relates to history and facts and conspiracy, where none are obviously demarcated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839484 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1180x1781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home.jpg 1400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cstrong>Reyna Grande in conversation with Carolina De Robertis.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 3 at 7:30pm. \u003ca href=\"https://www.facebook.com/events/1848137401947135/\" target=\"_blank\" rel=\"noopener\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Reyna Grande is the acclaimed author of \u003cem>The Distance Between Us\u003c/em>, a heartfelt and dazzling memoir about crossing the border when she was nine years old. In her latest memoir, \u003cem>A Dream Called Home\u003c/em>, Grande writes with searing wit and candor about pursuing her dreams, finding a home in words and the quest to build a home that will endure.\u003c/p>\n\u003cp>\u003cstrong>Nadya Tolokonnikova of Pussy Riot.\u003c/strong>\u003cbr>\n\u003cstrong>Oct 10. 7pm. \u003ca href=\"https://www.jccsf.org/arts-ideas/nadya-tolokonnikova/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Here’s a chance to hear Nadya Tolokonnikova of Pussy Riot speak about her 10 rules of revolution. Tolokonnikova was imprisoned for 18 months by the Russian government when she and other Pussy Riot members performed an anti-Putin protest song in a Moscow church. Her new book, \u003cem>Read & Riot\u003c/em>, is a Pussy Riot guide to activism.\u003c/p>\n\u003cp>\u003cstrong>Kiese Laymon in conversation with Tongo Eisen Martin.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 25, \u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\">6:30pm.\u003c/span>\u003c/span>\u003c/strong>\u003cstrong>\u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\"> \u003ca href=\"http://poetry.sfsu.edu/events/29098-common-writers-series-kiese-laymon-and-tongo-eisen-martin-reading-their-work\">Marcus Books\u003c/a>.\u003c/span>\u003c/span>\u003c/strong>\u003c/p>\n\u003cp>Beloved writer Kiese Laymon will be reading with Tongo Eisen Martin for this evening curated by San Francisco State University’s In Common writer series. In \u003cem>Heavy: An American Memoir, \u003c/em>Laymon turns his attention to his coming of age in Mississippi, a lifetime of secrets and what his and his family’s failed attempts to attain freedom and love mean to the nation.\u003c/p>\n\u003ch2>November\u003cstrong>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839499 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution.jpg 334w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/em>\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>Eileen Myles reads new poetry. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.ptreyesbooks.com/event/eileen-myles\" target=\"_blank\" rel=\"noopener\">Point Reyes Bookstore\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I’ve waited eleven years for a new poetry collection by Eileen Myles, and I couldn’t be more excited. In \u003cem>Evolution,\u003c/em> Myles writes with trademark wit and candor about travel, the aisles of Target and an utopian future where Myles is elected president.\u003c/p>\n\u003cp>\u003cstrong>Micah Perks in conversation with Kate Schatz and Lucy Jane Bledsoe.\u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.facebook.com/events/426512097848699/\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>True Love and Other Dreams of Miraculous Escape \u003c/em>is a strange and hilarious wonder. These interlinked stories explore the eventualities of escape, of running from and toward love. Micah Perks is the author of the novels \u003cem>What Becomes Us, We Are Gathered Here \u003c/em>and the memoir \u003cem>Pagan Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nicole Chung in conversation with Daniel Mallory Ortberg. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 12, 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-nicole-chung-and-daniel-mallory-ortberg\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003cem>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839503 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow.jpg 265w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>There’s been considerable excitement over Nicole Chung’s debut memoir, \u003cem>All You Can Ever Know, \u003c/em>and with good reason. In this stunning memoir, Chung questions her origin story and searches for the people who gave her up for adoption. It is a book full of flights of insight, beauty and so much heart. At Green Apple Books, Daniel Mallory Ortberg, the author of Slate’s \u003ca href=\"http://www.slate.com/articles/life/dear_prudence.html\" target=\"_blank\" rel=\"noopener\">Dear Prudence\u003c/a> advice column, will join her in conversation.\u003c/p>\n\u003ch2>December\u003c/h2>\n\u003cp>\u003cstrong>Chaya Bhuvaneswar reads from \u003cem>White Dancing Elephants\u003c/em>. Dec, 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3292\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Winner of the Dzanc Books Short Story Collection Prize, \u003cem>White Dancing Elephants \u003c/em>is urgent, captivating and deeply evocative. In seventeen stories, Chaya Bhuvaneswar explores experiences of harassment and violence from the points of view of women of color.\u003c/p>\n\u003cfigure id=\"attachment_11092805\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-800x450.jpg\" alt=\"Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015 \u003ccite>(Photo: Anna Webber/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A conversation with Ta-Nehisi Coates. \u003c/strong>\u003cbr>\n\u003cstrong>Dec. 17 at 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.jccsf.org/arts-ideas/ta-nehisi-coates/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I can’t think of a better way to finish your literary year than by going to see Ta-Nehisi Coates. With his incisive journalism and best-selling books (\u003cem>Between the World and Me \u003c/em>and \u003cem>We Were Eight Years in Power\u003c/em>), Coates has shifted national debate over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Readings, parties and panels for Bay Area book lovers. ","status":"publish","parent":0,"modified":1705027325,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":1239},"headData":{"title":"Brunch with Isabel Allende and Other Book Events to Look Forward to This Fall | KQED","description":"Readings, parties and panels for Bay Area book lovers. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Brunch with Isabel Allende and Other Book Events to Look Forward to This Fall","datePublished":"2018-08-27T15:00:48.000Z","dateModified":"2024-01-12T02:42:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839454/brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is the best season for reading—there are no oily thumbprints to stain your pages, no sand getting stuck in the crevice of your book spine and no squinting at a glaringly sunlit page. Instead, time is spent indoors, fireside, donning comfortable sweaters, sipping tea. If squinting happens, it is only in accompaniment to the silent judgment of an author’s unfortunate word choice.\u003c/p>\n\u003cp>This fall, the Bay Area is exceptionally wealthy in books and literary events. With new releases by Eileen Myles and Juan Gabriel Vásquez and exciting engagements—including a brunch with Chilean author Isabel Allende—this fall’s literary season is not one to miss. Here are some of the highlights from the coming months.\u003c/p>\n\u003ch2>September\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>Z Space. Sept. 1–2, 8pm. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839469 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-800x333.png\" alt=\"\" width=\"800\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-768x320.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-375x156.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-520x216.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I read a lot this summer and am looking forward to taking a break with Z Space’s \u003cem>Word for Word—\u003c/em>a series where a short story is turned into a play and performed in full (in whatever way possible). \u003cem>Word for Word \u003c/em>celebrates its 25th anniversary with performances of Tobias Wolff’s \u003cem>Deep Kiss \u003c/em>and George Saunders’ \u003cem>Victory Lap\u003c/em>. Both are stories about teenage lives and that incandescent moment when everything changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Gabriela Alemán reads from \u003cem>Poso Wells\u003c/em>\u003c/strong>\u003cstrong>.\u003cbr>\nSept. 4, 7pm. \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100812940\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Ecuadorian author Gabriela Alemán’s celebrates her first work in English at City Lights. \u003cem>Poso Wells\u003c/em> is a noir, feminist and absurdist eco-thriller about corruption, exploitation and a woman on the run.\u003c/p>\n\u003cp>\u003cstrong>Vanessa Hua in conversation with Lydia Kiesling. \u003c/strong>\u003cbr>\n\u003cstrong>Sept. 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3253\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839479 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/river-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-240x364.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river.jpg 313w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In one of my favorite pairings of the season, Vanessa Hua and Lydia Kiesling will read from their debuts, both of which touch on different aspects of motherhood. \u003cem>A River of Stars\u003c/em> tells the story of a Chinese woman who comes to the U.S. to a secret maternity center seeking citizenship for her unborn baby; in \u003cem>The Golden State, \u003c/em>a young mother careens on the verge of a breakdown.\u003c/p>\n\u003cp>\u003cstrong>Brunch with Isabel Allende.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 15, 10:30am. \u003ca href=\"https://www.bookpassage.com/event/literary-brunch-isabel-allende-midst-winter-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839485 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg\" alt=\"\" width=\"160\" height=\"209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-918x1200.jpg 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-960x1255.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-520x680.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145.jpg 962w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is not a drill: you can get brunch with Isabel Allende. Allende is celebrating the paperback release of \u003cem>In the Midst of Winter\u003c/em>. If this event sells out before you can snag a ticket, Allende will be in conversation with Khaled Hosseini on Friday, Sept. 28 at 7pm, also at \u003ca href=\"https://www.bookpassage.com/event/khaled-hosseini-isabel-allende-sea-prayer-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nomadic Press chapbook release party.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 22, 7pm. \u003ca href=\"https://www.facebook.com/events/191304171447195\" target=\"_blank\" rel=\"noopener\">Nomadic Press\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13839480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg\" alt=\"\" width=\"800\" height=\"287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-160x57.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1020x366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1200x431.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1920x690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1180x424.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-960x345.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-240x86.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-375x135.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-520x187.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The chapbooks Nomadic Press puts out are a joy to read. So save all your money so you can have your pick at Nomadic Press’ fall release party for their chapbook collection: it includes \u003cem>Ordinary Villains\u003c/em> by EK Keith, \u003cem>Adaptations\u003c/em> by Emily Pinkerton,\u003cem> By the Lemon Tree\u003c/em> by Keenan Norris,\u003cem> How it Happens\u003c/em> by Joyce E. Young,\u003cem> If the Color is Fugitive\u003c/em> by Sara Mithra, \u003cem>When a Purple Rose Blooms\u003c/em> by Jenee Darden and\u003cem> An Object in Motion\u003c/em> by Patrick Newson.\u003c/p>\n\u003ch2>October\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839483 size-thumbnail alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins.jpg 263w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cstrong>Juan Gabriel presents \u003cem>The Shape of Ruins\u003c/em>. \u003c/strong>\u003cbr>\n\u003cstrong>Oct. 1, 7pm. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-juan-gabriel-vasquez-0\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Start your October right by securing your copy of \u003cem>The Shape of the Ruins\u003c/em>, the latest by Juan Gabriel Vásquez. This novel distills and expands on the questions and myths surrounding two different assassinations of important Colombian leaders in the ’80s. In \u003cem>The Shape of the Ruins, \u003c/em>Vásquez seems to be asking how life relates to history and facts and conspiracy, where none are obviously demarcated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839484 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1180x1781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home.jpg 1400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cstrong>Reyna Grande in conversation with Carolina De Robertis.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 3 at 7:30pm. \u003ca href=\"https://www.facebook.com/events/1848137401947135/\" target=\"_blank\" rel=\"noopener\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Reyna Grande is the acclaimed author of \u003cem>The Distance Between Us\u003c/em>, a heartfelt and dazzling memoir about crossing the border when she was nine years old. In her latest memoir, \u003cem>A Dream Called Home\u003c/em>, Grande writes with searing wit and candor about pursuing her dreams, finding a home in words and the quest to build a home that will endure.\u003c/p>\n\u003cp>\u003cstrong>Nadya Tolokonnikova of Pussy Riot.\u003c/strong>\u003cbr>\n\u003cstrong>Oct 10. 7pm. \u003ca href=\"https://www.jccsf.org/arts-ideas/nadya-tolokonnikova/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Here’s a chance to hear Nadya Tolokonnikova of Pussy Riot speak about her 10 rules of revolution. Tolokonnikova was imprisoned for 18 months by the Russian government when she and other Pussy Riot members performed an anti-Putin protest song in a Moscow church. Her new book, \u003cem>Read & Riot\u003c/em>, is a Pussy Riot guide to activism.\u003c/p>\n\u003cp>\u003cstrong>Kiese Laymon in conversation with Tongo Eisen Martin.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 25, \u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\">6:30pm.\u003c/span>\u003c/span>\u003c/strong>\u003cstrong>\u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\"> \u003ca href=\"http://poetry.sfsu.edu/events/29098-common-writers-series-kiese-laymon-and-tongo-eisen-martin-reading-their-work\">Marcus Books\u003c/a>.\u003c/span>\u003c/span>\u003c/strong>\u003c/p>\n\u003cp>Beloved writer Kiese Laymon will be reading with Tongo Eisen Martin for this evening curated by San Francisco State University’s In Common writer series. In \u003cem>Heavy: An American Memoir, \u003c/em>Laymon turns his attention to his coming of age in Mississippi, a lifetime of secrets and what his and his family’s failed attempts to attain freedom and love mean to the nation.\u003c/p>\n\u003ch2>November\u003cstrong>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839499 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution.jpg 334w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/em>\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>Eileen Myles reads new poetry. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.ptreyesbooks.com/event/eileen-myles\" target=\"_blank\" rel=\"noopener\">Point Reyes Bookstore\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I’ve waited eleven years for a new poetry collection by Eileen Myles, and I couldn’t be more excited. In \u003cem>Evolution,\u003c/em> Myles writes with trademark wit and candor about travel, the aisles of Target and an utopian future where Myles is elected president.\u003c/p>\n\u003cp>\u003cstrong>Micah Perks in conversation with Kate Schatz and Lucy Jane Bledsoe.\u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.facebook.com/events/426512097848699/\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>True Love and Other Dreams of Miraculous Escape \u003c/em>is a strange and hilarious wonder. These interlinked stories explore the eventualities of escape, of running from and toward love. Micah Perks is the author of the novels \u003cem>What Becomes Us, We Are Gathered Here \u003c/em>and the memoir \u003cem>Pagan Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nicole Chung in conversation with Daniel Mallory Ortberg. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 12, 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-nicole-chung-and-daniel-mallory-ortberg\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003cem>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839503 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow.jpg 265w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>There’s been considerable excitement over Nicole Chung’s debut memoir, \u003cem>All You Can Ever Know, \u003c/em>and with good reason. In this stunning memoir, Chung questions her origin story and searches for the people who gave her up for adoption. It is a book full of flights of insight, beauty and so much heart. At Green Apple Books, Daniel Mallory Ortberg, the author of Slate’s \u003ca href=\"http://www.slate.com/articles/life/dear_prudence.html\" target=\"_blank\" rel=\"noopener\">Dear Prudence\u003c/a> advice column, will join her in conversation.\u003c/p>\n\u003ch2>December\u003c/h2>\n\u003cp>\u003cstrong>Chaya Bhuvaneswar reads from \u003cem>White Dancing Elephants\u003c/em>. Dec, 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3292\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Winner of the Dzanc Books Short Story Collection Prize, \u003cem>White Dancing Elephants \u003c/em>is urgent, captivating and deeply evocative. In seventeen stories, Chaya Bhuvaneswar explores experiences of harassment and violence from the points of view of women of color.\u003c/p>\n\u003cfigure id=\"attachment_11092805\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-800x450.jpg\" alt=\"Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015 \u003ccite>(Photo: Anna Webber/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A conversation with Ta-Nehisi Coates. \u003c/strong>\u003cbr>\n\u003cstrong>Dec. 17 at 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.jccsf.org/arts-ideas/ta-nehisi-coates/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I can’t think of a better way to finish your literary year than by going to see Ta-Nehisi Coates. With his incisive journalism and best-selling books (\u003cem>Between the World and Me \u003c/em>and \u003cem>We Were Eight Years in Power\u003c/em>), Coates has shifted national debate over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839454/brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_928","arts_5537","arts_1006","arts_4566","arts_1496","arts_913","arts_1234"],"featImg":"arts_13839535","label":"arts_1054"},"arts_13810393":{"type":"posts","id":"arts_13810393","meta":{"index":"posts_1591205157","site":"arts","id":"13810393","score":null,"sort":[1507467609000]},"guestAuthors":[],"slug":"literary-snapshot-a-day-in-the-bay","title":"Literary Snapshot: How Do Bay Area Writers Spend Their Day?","publishDate":1507467609,"format":"image","headTitle":"Literary Snapshot: How Do Bay Area Writers Spend Their Day? | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>The act of writing can be fickle, merciless, tiresome. Many writers cling to routines as creative hail marys to the gods of productivity. While some have a no-fuss schedule, able to write whenever time is available, others favor routines with habitual locations and specific times. What does a literary day look like for the Bay Area? Think of it: as most get in cars, trains, and bicycles to begin their commutes, a whole other class of people — writers — engage in their daily rituals to settle down at their desks and do the work.\u003c/p>\n\u003cp>I asked five Bay Area authors to describe a typical writing day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tobias Wolff, Peninsula\u003c/em>\u003c/h2>\n\u003cp>True writerly work is the most unromantic enterprise imaginable. If you’re doing it right, you have sentenced yourself to what any court would deem cruel and unusual punishment. Daily solitary confinement made more cruel by additional confinement to a chair for hours on end, during which you beat your brains out against a screen while taking semicolons out and putting them back in.\u003c/p>\n\u003cp>I’m serving my sentence in a carrell in the basement of Green Library at Stanford, under a buzzing fluorescent light. Some cells have windows; mine does not, by my choice—I would waste too much time gazing out of it, yearning for freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hope to be out on parole in 2018, provided I finish the book I’m working on, and don’t go crazy first.\u003c/p>\n\u003cp>\u003cem>Tobias Wolff is the author of ‘A Boy’s Life,’ and more recently ‘\u003ca href=\"https://www.indiebound.org/book/9780880010498\">The Barracks Thief\u003c/a>.’\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Vanessa Hua, East Bay\u003c/em>\u003c/h2>\n\u003cp>Now that the days are getting shorter, my six-year-old twins are rising before dawn, but still we scramble to get out the door to school. After drop off, I settle down at my desk, where I look over my task list—I’m big on lists!—which keep me on track about what I need to revise in my novel, what I need to do for an upcoming column or freelance piece, and other correspondence I need to return. I listen to ambient electronic music: \u003cem>Tycho, Ulrich Schnauss, Bonobo, Boards of Canada, Air. \u003c/em>Lyrics can be distracting, but sometimes I get into a nostalgic mood and listen to favorites from college, \u003cem>They Might Be Giants, Indigo Girls, \u003c/em>or \u003cem>Erasure. \u003c/em>Towards the end of the day, I go for a run or a swim—exercise is key to my creative practice. It’s when I’m away from my computer that solutions to narrative dilemmas bubble up from my unconscious. It’s been said that sitting is the new smoking, in terms of the harm it causes, and we need to keep our strength! After I get back, I start getting dinner ready—something I can pop into the oven and don’t have to tend to—then work for another hour and a half or so before the babysitter leaves. I write a to-do list at the end of the day, so that I’m ready to go the next morning. After family time and putting the twins to bed, I read research related to my novel, for pleasure, or catch up on the news before light’s out.\u003c/p>\n\u003cp>\u003cem>Vanessa Hua is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780997199628\">Deceit and Other Possibilities\u003c/a>.’ Catch her at Litquake for \u003ca href=\"https://litquake2017.sched.com/event/BJvx/you-cant-write-that-writing-from-privilege\">You Can’t Write That: Writing from Privilege\u003c/a> on Monday, Oct. 9, at the San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tongo Eisen-Martin, San Francisco\u003c/em>\u003c/h2>\n\u003cp>I write in kitchens (a home’s true commons) or back bedrooms (for inner-city hermitage purposes). I start small. Sometimes three or four words are already there for me to begin excavating around. Sometimes I use immediate sights within a room or sounds from outside to fish lines of representation or corresponding phenomena out of my mind. I stay pretty close to the immediate and even after lines throw me off of cliffs down into a past, future or parallel, I try to land back in the room. Energies, sensations, joys, and aggravations are all starting points. Out and back. Sometimes I will have music playing if my mind won’t let energy in. Music is a good jump-start. The trade off is that music also dominates the tones, colors, even topics of a given landscape of a poem; zaps some of my lucidity. I like to leave my immediate reality just where it is when writing.\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780872867451\">Heaven is All Goodbyes\u003c/a>.’ He reads at Grace Cathedral on Oct. 13 at 7:30pm as part of Litquake’s \u003ca href=\"http://sched.co/BY3T\">Exalted Verse: Poets at Grace Cathedral\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Shanthi Sekaran, San Francisco\u003c/em>\u003c/h2>\n\u003cp>When I was writing \u003cem>Lucky Boy\u003c/em>, steeped in teaching and childcare, I gave myself one full writing day per week at the San Francisco Writers’ Grotto. My do-or-die day. Once I got into the swing of that book, I could write anywhere, anytime, and that’s what I did. Maybe that’s what mothers do. I’d steal a few minutes before bed, an hour during soccer practice. Now, starting my next novel, I’m searching again for some sort of process. All I know is that I like writing free-hand before I start typing. Writing by hand creates a physical—maybe metaphysical?—flow from mind to hand, passing, somewhere along the way, through avenues of longing and urgency. Wednesdays are my saving grace, when I meet two writer friends for coffee-and-no-gossip (the gossip happens at lunch). We work in a café in Oakland, where the tables are big and chunky. My only requirement: a big, meaty table. None of those coaster-sized French café tables for me. And tea. A big table and tea. And often chocolate. Table, tea, chocolate. One day, I fully intend to start the daily thing: 9:35 every morning, like a good and disciplined writer. I hope to start tomorrow. Or maybe the day after that.\u003c/p>\n\u003cp>\u003cem>Shanthi Sekaran is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781101982266\">Lucky Boy\u003c/a>.’ Hear her read for \u003ca href=\"https://litcrawlsanfrancisco2017.sched.com/event/BROw/an-evening-with-the-rumpus\">The Rumpus at Litcrawl\u003c/a> on Oct. 14 at The Laundry in San Francisco at 6:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Andrew Lam, San Francisco\u003c/em>\u003c/h2>\n\u003cp>My daily rituals have been odd for many reasons: Until two weeks ago, I worked three days a week as an editor at New America Media, and those three days more or less were shot. They afforded me little time to work on my own writing. Instead I worked on others’ writing and posting stories for that website. The remaining days I ended up doing freelance work or working on writing that was close to my heart. Preferably, I get up early in the morning when dreams and memories and reality share a tenuous terrain. It’s when writing is most fluid and uninhibited. If I get some writing done then throughout the day I think about what I managed to jot down and, even when walking or out and about, I would use my cell phone to record new ideas and thoughts. Then again the next morning…\u003c/p>\n\u003cp>\u003cem>Andrew Lam is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781597141383\">East Eats West: Writing in Two Hemispheres\u003c/a>.’ Catch him on Wednesday, Oct. 11 at 7pm in conversation at the Swedish American Hall for Litquake’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\">Some Stories Deserve to be True: International Nonfiction\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Tobias Wolff, Vanessa Hua, Tongo Eisen-Martin, Shanthi Sekaran, and Andrew Lam reveal their habitual locations and times to get their writing done. ","status":"publish","parent":0,"modified":1705029385,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1295},"headData":{"title":"Literary Snapshot: How Do Bay Area Writers Spend Their Day? | KQED","description":"Tobias Wolff, Vanessa Hua, Tongo Eisen-Martin, Shanthi Sekaran, and Andrew Lam reveal their habitual locations and times to get their writing done. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Literary Snapshot: How Do Bay Area Writers Spend Their Day?","datePublished":"2017-10-08T13:00:09.000Z","dateModified":"2024-01-12T03:16:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810393/literary-snapshot-a-day-in-the-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The act of writing can be fickle, merciless, tiresome. Many writers cling to routines as creative hail marys to the gods of productivity. While some have a no-fuss schedule, able to write whenever time is available, others favor routines with habitual locations and specific times. What does a literary day look like for the Bay Area? Think of it: as most get in cars, trains, and bicycles to begin their commutes, a whole other class of people — writers — engage in their daily rituals to settle down at their desks and do the work.\u003c/p>\n\u003cp>I asked five Bay Area authors to describe a typical writing day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tobias Wolff, Peninsula\u003c/em>\u003c/h2>\n\u003cp>True writerly work is the most unromantic enterprise imaginable. If you’re doing it right, you have sentenced yourself to what any court would deem cruel and unusual punishment. Daily solitary confinement made more cruel by additional confinement to a chair for hours on end, during which you beat your brains out against a screen while taking semicolons out and putting them back in.\u003c/p>\n\u003cp>I’m serving my sentence in a carrell in the basement of Green Library at Stanford, under a buzzing fluorescent light. Some cells have windows; mine does not, by my choice—I would waste too much time gazing out of it, yearning for freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hope to be out on parole in 2018, provided I finish the book I’m working on, and don’t go crazy first.\u003c/p>\n\u003cp>\u003cem>Tobias Wolff is the author of ‘A Boy’s Life,’ and more recently ‘\u003ca href=\"https://www.indiebound.org/book/9780880010498\">The Barracks Thief\u003c/a>.’\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Vanessa Hua, East Bay\u003c/em>\u003c/h2>\n\u003cp>Now that the days are getting shorter, my six-year-old twins are rising before dawn, but still we scramble to get out the door to school. After drop off, I settle down at my desk, where I look over my task list—I’m big on lists!—which keep me on track about what I need to revise in my novel, what I need to do for an upcoming column or freelance piece, and other correspondence I need to return. I listen to ambient electronic music: \u003cem>Tycho, Ulrich Schnauss, Bonobo, Boards of Canada, Air. \u003c/em>Lyrics can be distracting, but sometimes I get into a nostalgic mood and listen to favorites from college, \u003cem>They Might Be Giants, Indigo Girls, \u003c/em>or \u003cem>Erasure. \u003c/em>Towards the end of the day, I go for a run or a swim—exercise is key to my creative practice. It’s when I’m away from my computer that solutions to narrative dilemmas bubble up from my unconscious. It’s been said that sitting is the new smoking, in terms of the harm it causes, and we need to keep our strength! After I get back, I start getting dinner ready—something I can pop into the oven and don’t have to tend to—then work for another hour and a half or so before the babysitter leaves. I write a to-do list at the end of the day, so that I’m ready to go the next morning. After family time and putting the twins to bed, I read research related to my novel, for pleasure, or catch up on the news before light’s out.\u003c/p>\n\u003cp>\u003cem>Vanessa Hua is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780997199628\">Deceit and Other Possibilities\u003c/a>.’ Catch her at Litquake for \u003ca href=\"https://litquake2017.sched.com/event/BJvx/you-cant-write-that-writing-from-privilege\">You Can’t Write That: Writing from Privilege\u003c/a> on Monday, Oct. 9, at the San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tongo Eisen-Martin, San Francisco\u003c/em>\u003c/h2>\n\u003cp>I write in kitchens (a home’s true commons) or back bedrooms (for inner-city hermitage purposes). I start small. Sometimes three or four words are already there for me to begin excavating around. Sometimes I use immediate sights within a room or sounds from outside to fish lines of representation or corresponding phenomena out of my mind. I stay pretty close to the immediate and even after lines throw me off of cliffs down into a past, future or parallel, I try to land back in the room. Energies, sensations, joys, and aggravations are all starting points. Out and back. Sometimes I will have music playing if my mind won’t let energy in. Music is a good jump-start. The trade off is that music also dominates the tones, colors, even topics of a given landscape of a poem; zaps some of my lucidity. I like to leave my immediate reality just where it is when writing.\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780872867451\">Heaven is All Goodbyes\u003c/a>.’ He reads at Grace Cathedral on Oct. 13 at 7:30pm as part of Litquake’s \u003ca href=\"http://sched.co/BY3T\">Exalted Verse: Poets at Grace Cathedral\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Shanthi Sekaran, San Francisco\u003c/em>\u003c/h2>\n\u003cp>When I was writing \u003cem>Lucky Boy\u003c/em>, steeped in teaching and childcare, I gave myself one full writing day per week at the San Francisco Writers’ Grotto. My do-or-die day. Once I got into the swing of that book, I could write anywhere, anytime, and that’s what I did. Maybe that’s what mothers do. I’d steal a few minutes before bed, an hour during soccer practice. Now, starting my next novel, I’m searching again for some sort of process. All I know is that I like writing free-hand before I start typing. Writing by hand creates a physical—maybe metaphysical?—flow from mind to hand, passing, somewhere along the way, through avenues of longing and urgency. Wednesdays are my saving grace, when I meet two writer friends for coffee-and-no-gossip (the gossip happens at lunch). We work in a café in Oakland, where the tables are big and chunky. My only requirement: a big, meaty table. None of those coaster-sized French café tables for me. And tea. A big table and tea. And often chocolate. Table, tea, chocolate. One day, I fully intend to start the daily thing: 9:35 every morning, like a good and disciplined writer. I hope to start tomorrow. Or maybe the day after that.\u003c/p>\n\u003cp>\u003cem>Shanthi Sekaran is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781101982266\">Lucky Boy\u003c/a>.’ Hear her read for \u003ca href=\"https://litcrawlsanfrancisco2017.sched.com/event/BROw/an-evening-with-the-rumpus\">The Rumpus at Litcrawl\u003c/a> on Oct. 14 at The Laundry in San Francisco at 6:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Andrew Lam, San Francisco\u003c/em>\u003c/h2>\n\u003cp>My daily rituals have been odd for many reasons: Until two weeks ago, I worked three days a week as an editor at New America Media, and those three days more or less were shot. They afforded me little time to work on my own writing. Instead I worked on others’ writing and posting stories for that website. The remaining days I ended up doing freelance work or working on writing that was close to my heart. Preferably, I get up early in the morning when dreams and memories and reality share a tenuous terrain. It’s when writing is most fluid and uninhibited. If I get some writing done then throughout the day I think about what I managed to jot down and, even when walking or out and about, I would use my cell phone to record new ideas and thoughts. Then again the next morning…\u003c/p>\n\u003cp>\u003cem>Andrew Lam is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781597141383\">East Eats West: Writing in Two Hemispheres\u003c/a>.’ Catch him on Wednesday, Oct. 11 at 7pm in conversation at the Swedish American Hall for Litquake’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\">Some Stories Deserve to be True: International Nonfiction\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810393/literary-snapshot-a-day-in-the-bay","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_928","arts_1118","arts_1194","arts_596","arts_1234","arts_2209"],"featImg":"arts_13810530","label":"arts_1054"},"arts_13647547":{"type":"posts","id":"arts_13647547","meta":{"index":"posts_1591205157","site":"arts","id":"13647547","score":null,"sort":[1500217222000]},"guestAuthors":[],"slug":"hooked-on-twin-peaks-have-some-dark-dark-to-go-with-it","title":"Hooked on 'Twin Peaks'? Have Some 'Dark Dark' to Go With It","publishDate":1500217222,"format":"image","headTitle":"Hooked on ‘Twin Peaks’? Have Some ‘Dark Dark’ to Go With It | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>I love \u003cem>Twin Peaks\u003c/em> like I love a great thunderstorm. For those not in the know, \u003cem>Twin Peaks\u003c/em> is the \u003ca href=\"http://www.rollingstone.com/tv/lists/20-tv-shows-most-influenced-by-twin-peaks-w481390\" target=\"_blank\" rel=\"noopener\">best television series\u003c/a> ever made, following the strange affairs of an at-first-glance-wholesome town turned upside-down by the murder of a homecoming queen, the investigation of which dregs up tenebrous secrets of both the human and supernatural kind. What’s not to love?\u003c/p>\n\u003cp>http://gph.is/XIdK3w\u003c/p>\n\u003cp>Made in the ’90s, and directed by David Lynch, \u003cem>Twin Peaks\u003c/em> has returned for a new season. I’ve heard the gripes over the fact that Lynch has turned an eye toward colder aspects of modernity rather than the small-town quaintness we came to love—to which I say, \u003cem>phooey\u003c/em>, the eerie and mystical is like mold and it can exist anywhere. We’re at a point in the season where the newly-arrived have tuned into something more digestible, while the Lynchean evangelists continue to watch, saying, \u003cem>hold on, just one more episode, this is about to get really good\u003c/em>. But perhaps even the most evangelist-ist of us are beginning to lose heart.\u003c/p>\n\u003cp>While we wait for David Lynch to either torch the series and watch it go up in flames like the gleeful monster he is, or bring back the beloved Agent Dale Cooper (\u003cem>do the right thing, David\u003c/em>), I’ve got the book just for you—it is Samantha Hunt’s first story collection, \u003cem>The Dark Dark\u003c/em>.\u003c/p>\n\u003cp>In these stories, life is inspected under the glaring lights of suburbia, Home Depot, and Walmart: women court madness and danger, and are at the edge of becoming something other—and, like in our best Lynchean dreams, these are stories with talons dipped into the eerie and the supernatural.\u003c/p>\n\u003cfigure id=\"attachment_13647550\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13647550 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg\" alt=\"\" width=\"640\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1180x1713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-960x1393.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samantha Hunt. Author of the novels ‘The Invention of Everything Else,’ ‘Mr. Splitfoot,’ and ‘The Seas.’\u003c/figcaption>\u003c/figure>\n\u003cp>In one story, for example, a town is thrown into disarray by the simultaneous pregnancy of 13 mysterious teens; in another, a woman trying to convince herself that death is uncomplicated watches her dog come back to life. The writing in \u003cem>The Dark Dark \u003c/em>is swoon-worthy, and craft-wise, there is not one hair out of place. In fact, if you were standing before me I might push this book immediately into your hands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s more, I might open the book to page 47, to the third story titled \u003cem>Beast \u003c/em>, and instruct you to read.\u003c/p>\n\u003cblockquote>\u003cp>I read the newspaper in bed at night, propping it open on my belly. My boobs fall off to either side as if they are already asleep, as if they care little for the news of the world after the day is done. Still, I read the paper as a refreshment, like a breath mint or a catalog filled with clothes I would never buy.\u003c/p>\u003c/blockquote>\n\u003cp>She personally had me at “\u003cem>My boobs fall off to either side as if they are already asleep.”\u003c/em> The woman in this story is an endearing worrier. She cannot sleep thinking about whether she has lyme disease, what the noises are in the dark, whether her husband is cheating, whether she herself might cheat—then she turns into a deer at night:\u003c/p>\n\u003cblockquote>\u003cp>[This] week I haven’t been able to fall asleep quickly. I know it’s coming, so I fret and listen while my husband’s breath deepens and slows. […] I wait, and just when I think too much time has passed, that maybe it won’t happen tonight, it happens so quickly I can’t scream. My hands and feet harden into small hooves, the fingers and toes swallowed up by bone, and then the most frightening part is over with, the part where I lose my opposable thumbs. Next the fur, brown speckled with some white. This sprouting feels like a stretch or like I’m itching each individual follicle from the inside as a wiry hair pokes through a pore. My arms and legs grow narrow, driving all their muscles up the flank. My neck thickens and grows. I feel my tail. I like my tail. Finally my face pulls into a tight, hard nose. My jaw extends, my tongue grows long and thick, my lips shrink before turning black and hard as leather. And then it’s done. And then I am a deer.\u003c/p>\u003c/blockquote>\n\u003cp>Samantha Hunt has written a perfect story collection, and she’s opened and closed the book with stories that actually hold a mirror to each other. I cannot say more without spoiling your fun. All I can say is to read this master of turning peddling dramas of the self into supernatural visitations. As any Lynchian evangelist can tell you, the landscape of pedestrian worries never quite looks so beautiful or meaningful as when it is unsettled by something like eels roiling beneath.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Samantha Hunt reads from ‘The Dark Dark’ on Wednesday, July 26, at 7:30pm at Green Apple Books (1231 Ninth Ave., San Francisco). \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-samantha-hunt\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Samantha Hunt's newest story collection is distinctly Lynchian, a book in which small-town quaintness is thrown into disarray by the unexpected and eerie.","status":"publish","parent":0,"modified":1705030049,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":877},"headData":{"title":"Hooked on 'Twin Peaks'? Have Some 'Dark Dark' to Go With It | KQED","description":"Samantha Hunt's newest story collection is distinctly Lynchian, a book in which small-town quaintness is thrown into disarray by the unexpected and eerie.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hooked on 'Twin Peaks'? Have Some 'Dark Dark' to Go With It","datePublished":"2017-07-16T15:00:22.000Z","dateModified":"2024-01-12T03:27:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13647547/hooked-on-twin-peaks-have-some-dark-dark-to-go-with-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I love \u003cem>Twin Peaks\u003c/em> like I love a great thunderstorm. For those not in the know, \u003cem>Twin Peaks\u003c/em> is the \u003ca href=\"http://www.rollingstone.com/tv/lists/20-tv-shows-most-influenced-by-twin-peaks-w481390\" target=\"_blank\" rel=\"noopener\">best television series\u003c/a> ever made, following the strange affairs of an at-first-glance-wholesome town turned upside-down by the murder of a homecoming queen, the investigation of which dregs up tenebrous secrets of both the human and supernatural kind. What’s not to love?\u003c/p>\n\u003cp>http://gph.is/XIdK3w\u003c/p>\n\u003cp>Made in the ’90s, and directed by David Lynch, \u003cem>Twin Peaks\u003c/em> has returned for a new season. I’ve heard the gripes over the fact that Lynch has turned an eye toward colder aspects of modernity rather than the small-town quaintness we came to love—to which I say, \u003cem>phooey\u003c/em>, the eerie and mystical is like mold and it can exist anywhere. We’re at a point in the season where the newly-arrived have tuned into something more digestible, while the Lynchean evangelists continue to watch, saying, \u003cem>hold on, just one more episode, this is about to get really good\u003c/em>. But perhaps even the most evangelist-ist of us are beginning to lose heart.\u003c/p>\n\u003cp>While we wait for David Lynch to either torch the series and watch it go up in flames like the gleeful monster he is, or bring back the beloved Agent Dale Cooper (\u003cem>do the right thing, David\u003c/em>), I’ve got the book just for you—it is Samantha Hunt’s first story collection, \u003cem>The Dark Dark\u003c/em>.\u003c/p>\n\u003cp>In these stories, life is inspected under the glaring lights of suburbia, Home Depot, and Walmart: women court madness and danger, and are at the edge of becoming something other—and, like in our best Lynchean dreams, these are stories with talons dipped into the eerie and the supernatural.\u003c/p>\n\u003cfigure id=\"attachment_13647550\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13647550 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg\" alt=\"\" width=\"640\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-1180x1713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-960x1393.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hunt.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samantha Hunt. Author of the novels ‘The Invention of Everything Else,’ ‘Mr. Splitfoot,’ and ‘The Seas.’\u003c/figcaption>\u003c/figure>\n\u003cp>In one story, for example, a town is thrown into disarray by the simultaneous pregnancy of 13 mysterious teens; in another, a woman trying to convince herself that death is uncomplicated watches her dog come back to life. The writing in \u003cem>The Dark Dark \u003c/em>is swoon-worthy, and craft-wise, there is not one hair out of place. In fact, if you were standing before me I might push this book immediately into your hands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s more, I might open the book to page 47, to the third story titled \u003cem>Beast \u003c/em>, and instruct you to read.\u003c/p>\n\u003cblockquote>\u003cp>I read the newspaper in bed at night, propping it open on my belly. My boobs fall off to either side as if they are already asleep, as if they care little for the news of the world after the day is done. Still, I read the paper as a refreshment, like a breath mint or a catalog filled with clothes I would never buy.\u003c/p>\u003c/blockquote>\n\u003cp>She personally had me at “\u003cem>My boobs fall off to either side as if they are already asleep.”\u003c/em> The woman in this story is an endearing worrier. She cannot sleep thinking about whether she has lyme disease, what the noises are in the dark, whether her husband is cheating, whether she herself might cheat—then she turns into a deer at night:\u003c/p>\n\u003cblockquote>\u003cp>[This] week I haven’t been able to fall asleep quickly. I know it’s coming, so I fret and listen while my husband’s breath deepens and slows. […] I wait, and just when I think too much time has passed, that maybe it won’t happen tonight, it happens so quickly I can’t scream. My hands and feet harden into small hooves, the fingers and toes swallowed up by bone, and then the most frightening part is over with, the part where I lose my opposable thumbs. Next the fur, brown speckled with some white. This sprouting feels like a stretch or like I’m itching each individual follicle from the inside as a wiry hair pokes through a pore. My arms and legs grow narrow, driving all their muscles up the flank. My neck thickens and grows. I feel my tail. I like my tail. Finally my face pulls into a tight, hard nose. My jaw extends, my tongue grows long and thick, my lips shrink before turning black and hard as leather. And then it’s done. And then I am a deer.\u003c/p>\u003c/blockquote>\n\u003cp>Samantha Hunt has written a perfect story collection, and she’s opened and closed the book with stories that actually hold a mirror to each other. I cannot say more without spoiling your fun. All I can say is to read this master of turning peddling dramas of the self into supernatural visitations. As any Lynchian evangelist can tell you, the landscape of pedestrian worries never quite looks so beautiful or meaningful as when it is unsettled by something like eels roiling beneath.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Samantha Hunt reads from ‘The Dark Dark’ on Wednesday, July 26, at 7:30pm at Green Apple Books (1231 Ninth Ave., San Francisco). \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-samantha-hunt\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13647547/hooked-on-twin-peaks-have-some-dark-dark-to-go-with-it","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_1118","arts_596","arts_1234"],"featImg":"arts_13656308","label":"arts_1054"},"arts_13540673":{"type":"posts","id":"arts_13540673","meta":{"index":"posts_1591205157","site":"arts","id":"13540673","score":null,"sort":[1499000457000]},"guestAuthors":[],"slug":"the-coming-of-age-of-an-american-islamist-radical-recruit","title":"The Coming of Age of an American-Islamist Radical Recruit","publishDate":1499000457,"format":"standard","headTitle":"The Coming of Age of an American-Islamist Radical Recruit | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>Sometimes we turn to fiction for the things we don’t understand. My favorite novels are about a lunatic, a pedophile, twins with an incestuous relationship—\u003cem>Don Quixote, Lolita, The God of Small Things\u003c/em>, respectively\u003cem>. \u003c/em>These books have brought me to the shores of the unforeseen and the unexplainable. Looking at things from the other side of the mirror has value; this is what we’re after when we read fiction—we want to be taken far away, and we want to return, with something new to show.\u003c/p>\n\u003cp>The third in a trilogy following three generations of Kurdish-Iranian men as they leave their homeland and take on new identities, Laleh Khadivi’s \u003cem>A Good Country\u003c/em> gets at our most modern interrogation—what is the path to terrorism, how does it unfold, and how is it possible?\u003c/p>\n\u003cfigure id=\"attachment_13540847\" class=\"wp-caption alignright\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/cover.jpg\" alt=\"'A Good Country,' by Laleh Khadivi.\" width=\"329\" height=\"499\" class=\"size-full wp-image-13540847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-240x364.jpg 240w\" sizes=\"(max-width: 329px) 100vw, 329px\">\u003cfigcaption class=\"wp-caption-text\">‘A Good Country,’ by Laleh Khadivi.\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve ever wondered about these questions, this is the book for you. An unblinking coming-of-age portrait of an American-islamist radical recruit, \u003cem>A Good Country\u003c/em> is a heartbreaking story you won’t soon forget.\u003c/p>\n\u003cp>“This was high school,” Laleh Khadivi writes. “You started out as one thing and ended as something else.” In \u003cem>A Good Country,\u003c/em> Khadivi explores teenagedom as a phase of combustion in this story of a young Iranian-American boy’s radicalization. Born in an affluent community in Orange County, Reza Courdee goes from model immigrant, to stoner, to a boy shunned by his friends and targeted for his skin in the wake of a terrorist event, to a young man searching for what is right and wrong, true and false. In this search, he chooses a path which happens to be a false promise.\u003c/p>\n\u003cp>It is hard to imagine, at the book’s onset, how Khadivi will get from one end of the social spectrum to the other — from the inconsequential pressures of a sunny high school and prospects of Bay Area Ivy Leagues to war-torn Syria, where Rez’s boundless dreaming bottoms out as he realizes he’s signed up to join a radical Islamist militant group, and that the new country promised, the great utopia, does not exist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Somehow we get there, and it’s because Khadivi is a magician. Written, I would say, with a scalpel, Khadivi is equal parts teenage-boy whisperer and magic-ball seer. The book opens:\u003c/p>\n\u003cblockquote>\u003cp>They told him it was the best, there was nothing better. After they started, at twelve and thirteen and fourteen, his friends tried to convince him to try it. \u003cem>Rez, dude,\u003c/em> they’d say, \u003cem>it’s no big deal. You don’t puke. You don’t pass out. No one can even tell. It’s like daydreaming, like that second just before you fall asleep, but for hours,\u003c/em> they said, for the whole of eighth grade, their eyes glazed with the shine of the newly converted, and by tenth grade they gave up, and now, start of junior year, it was habit to make fun of him every time there was occasion, every time they circled up to light and puff and smoke, these friends.\u003c/p>\u003c/blockquote>\n\u003cp>In the background of this book, between the lines, Khadivi seems to be asking: what is a good country? Is it the America of Rez’s father, which Rez disrespects by getting a B in History? Is it his white friend Kelly’s America, of “the network of invisible sewers gushing under everything and the fair laws over them all, good police who don’t fuck with you for no reason”?\u003c/p>\n\u003cp>It is \u003cem>not\u003c/em> the America, Rez concludes, that turns on skin color after a terrorist attack, where a man at a car casually walks by and spits on his father’s shoe. It is not America “the pressure cooker.” It is certainly not Mexico, whose decorative skeletons and poverty “freak him out.” At times Rez believes it might be the ocean, where he surfs, where “the water turned the same navy as the sky and when Rez paddled out far from the breaks to take a rest, the water grew still and he saw little flecks of stars in the ocean, their shimmer mixed with the easy rolls and laps of the sea. Sandwiched, he thought, folded in, a galaxy above, a galaxy below.”\u003c/p>\n\u003cfigure id=\"attachment_13540874\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1020x679.jpg\" alt=\"Currents and waves off Baja coast in Mexico as seen from NASA's space station by astronaut Tim Kopra. \" width=\"640\" height=\"426\" class=\"size-large wp-image-13540874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Currents and waves off Baja coast in Mexico as seen from NASA’s space station by astronaut Tim Kopra. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who study recent history know that in 2014 ISIL claimed the city of Raqqah as the Caliphate, the capital of the Muslim state. It was supposed to be the return of a great Muslim capital, a new state built from the ground up, land reclaimed, a place where Muslims could finally have brotherhood and be in peace. The ISIL propaganda \u003ca href=\"http://www.newyorker.com/news/news-desk/telling-the-truth-about-isis-and-raqqa\">attracted\u003c/a> a wide range of Muslims, who flew to Raqqah to be part of the birth of the new city, but it was always an empty promise built on genocide. We may imagine Rez as one of the foreigners who flew to Raqqah looking for such a sense of place.\u003c/p>\n\u003cp>A good country, Khadivi seems to argue in this complex, hypnotizing novel, is a state of belonging. Wherever that feeling is missing, that’s where a good country fails.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Good Country’ is out now from Bloomsbury and is available where books are sold. Laleh Khadivi lives in Northern California.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Laleh Khadivi’s 'A Good Country' gets at our most modern question — what is the path to terrorism, how does it unfold, and how is it possible?","status":"publish","parent":0,"modified":1705030170,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":944},"headData":{"title":"The Coming of Age of an American-Islamist Radical Recruit | KQED","description":"Laleh Khadivi’s 'A Good Country' gets at our most modern question — what is the path to terrorism, how does it unfold, and how is it possible?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Coming of Age of an American-Islamist Radical Recruit","datePublished":"2017-07-02T13:00:57.000Z","dateModified":"2024-01-12T03:29:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13540673/the-coming-of-age-of-an-american-islamist-radical-recruit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes we turn to fiction for the things we don’t understand. My favorite novels are about a lunatic, a pedophile, twins with an incestuous relationship—\u003cem>Don Quixote, Lolita, The God of Small Things\u003c/em>, respectively\u003cem>. \u003c/em>These books have brought me to the shores of the unforeseen and the unexplainable. Looking at things from the other side of the mirror has value; this is what we’re after when we read fiction—we want to be taken far away, and we want to return, with something new to show.\u003c/p>\n\u003cp>The third in a trilogy following three generations of Kurdish-Iranian men as they leave their homeland and take on new identities, Laleh Khadivi’s \u003cem>A Good Country\u003c/em> gets at our most modern interrogation—what is the path to terrorism, how does it unfold, and how is it possible?\u003c/p>\n\u003cfigure id=\"attachment_13540847\" class=\"wp-caption alignright\" style=\"max-width: 329px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/cover.jpg\" alt=\"'A Good Country,' by Laleh Khadivi.\" width=\"329\" height=\"499\" class=\"size-full wp-image-13540847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/cover-240x364.jpg 240w\" sizes=\"(max-width: 329px) 100vw, 329px\">\u003cfigcaption class=\"wp-caption-text\">‘A Good Country,’ by Laleh Khadivi.\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve ever wondered about these questions, this is the book for you. An unblinking coming-of-age portrait of an American-islamist radical recruit, \u003cem>A Good Country\u003c/em> is a heartbreaking story you won’t soon forget.\u003c/p>\n\u003cp>“This was high school,” Laleh Khadivi writes. “You started out as one thing and ended as something else.” In \u003cem>A Good Country,\u003c/em> Khadivi explores teenagedom as a phase of combustion in this story of a young Iranian-American boy’s radicalization. Born in an affluent community in Orange County, Reza Courdee goes from model immigrant, to stoner, to a boy shunned by his friends and targeted for his skin in the wake of a terrorist event, to a young man searching for what is right and wrong, true and false. In this search, he chooses a path which happens to be a false promise.\u003c/p>\n\u003cp>It is hard to imagine, at the book’s onset, how Khadivi will get from one end of the social spectrum to the other — from the inconsequential pressures of a sunny high school and prospects of Bay Area Ivy Leagues to war-torn Syria, where Rez’s boundless dreaming bottoms out as he realizes he’s signed up to join a radical Islamist militant group, and that the new country promised, the great utopia, does not exist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Somehow we get there, and it’s because Khadivi is a magician. Written, I would say, with a scalpel, Khadivi is equal parts teenage-boy whisperer and magic-ball seer. The book opens:\u003c/p>\n\u003cblockquote>\u003cp>They told him it was the best, there was nothing better. After they started, at twelve and thirteen and fourteen, his friends tried to convince him to try it. \u003cem>Rez, dude,\u003c/em> they’d say, \u003cem>it’s no big deal. You don’t puke. You don’t pass out. No one can even tell. It’s like daydreaming, like that second just before you fall asleep, but for hours,\u003c/em> they said, for the whole of eighth grade, their eyes glazed with the shine of the newly converted, and by tenth grade they gave up, and now, start of junior year, it was habit to make fun of him every time there was occasion, every time they circled up to light and puff and smoke, these friends.\u003c/p>\u003c/blockquote>\n\u003cp>In the background of this book, between the lines, Khadivi seems to be asking: what is a good country? Is it the America of Rez’s father, which Rez disrespects by getting a B in History? Is it his white friend Kelly’s America, of “the network of invisible sewers gushing under everything and the fair laws over them all, good police who don’t fuck with you for no reason”?\u003c/p>\n\u003cp>It is \u003cem>not\u003c/em> the America, Rez concludes, that turns on skin color after a terrorist attack, where a man at a car casually walks by and spits on his father’s shoe. It is not America “the pressure cooker.” It is certainly not Mexico, whose decorative skeletons and poverty “freak him out.” At times Rez believes it might be the ocean, where he surfs, where “the water turned the same navy as the sky and when Rez paddled out far from the breaks to take a rest, the water grew still and he saw little flecks of stars in the ocean, their shimmer mixed with the easy rolls and laps of the sea. Sandwiched, he thought, folded in, a galaxy above, a galaxy below.”\u003c/p>\n\u003cfigure id=\"attachment_13540874\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1020x679.jpg\" alt=\"Currents and waves off Baja coast in Mexico as seen from NASA's space station by astronaut Tim Kopra. \" width=\"640\" height=\"426\" class=\"size-large wp-image-13540874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/ISS-47_Currents_and_waves_off_the_Baja_coast-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Currents and waves off Baja coast in Mexico as seen from NASA’s space station by astronaut Tim Kopra. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who study recent history know that in 2014 ISIL claimed the city of Raqqah as the Caliphate, the capital of the Muslim state. It was supposed to be the return of a great Muslim capital, a new state built from the ground up, land reclaimed, a place where Muslims could finally have brotherhood and be in peace. The ISIL propaganda \u003ca href=\"http://www.newyorker.com/news/news-desk/telling-the-truth-about-isis-and-raqqa\">attracted\u003c/a> a wide range of Muslims, who flew to Raqqah to be part of the birth of the new city, but it was always an empty promise built on genocide. We may imagine Rez as one of the foreigners who flew to Raqqah looking for such a sense of place.\u003c/p>\n\u003cp>A good country, Khadivi seems to argue in this complex, hypnotizing novel, is a state of belonging. Wherever that feeling is missing, that’s where a good country fails.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Good Country’ is out now from Bloomsbury and is available where books are sold. Laleh Khadivi lives in Northern California.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13540673/the-coming-of-age-of-an-american-islamist-radical-recruit","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_1118","arts_596","arts_1234"],"featImg":"arts_13553980","label":"arts_1054"},"arts_13343371":{"type":"posts","id":"arts_13343371","meta":{"index":"posts_1591205157","site":"arts","id":"13343371","score":null,"sort":[1496588424000]},"guestAuthors":[],"slug":"the-cosmic-predicament-of-the-body-large-animals-by-jess-arndt","title":"The Cosmic Predicament of the Body: 'Large Animals' by Jess Arndt","publishDate":1496588424,"format":"standard","headTitle":"The Cosmic Predicament of the Body: ‘Large Animals’ by Jess Arndt | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>For the first time in my life I paid extra to have legroom in an airplane. I was getting over a cold, but also I wanted to stretch out and fully enjoy \u003cem>Large Animals\u003c/em> by Jess Arndt. You see, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.\u003c/p>\n\u003cp>Many a great story in \u003cem>Large Animals\u003c/em>, Arndt’s debut collection, has a strong resemblance to Kafka’s shorter fiction — which, unlike his longer work that deals with bureaucracy, are rather works of gorgeously, painfully strange portraiture in which one is irredeemably ill-made for the world. Arndt is fond of creating a constellation of small desires for her characters that are hilariously specific, and as with Kafka’s shorter work, her stories turn on the heel of making one seemingly insignificant obsession lie in wait and then ambush the biggest questions of selfhood.\u003c/p>\n\u003cp>\u003cem>However\u003c/em>.\u003c/p>\n\u003cp>There is no question Jess Arndt would have made Kafka blush.\u003c/p>\n\u003cp>To wit: in \u003cem>Third Arm\u003c/em>, an English Professor drives around touching herself while avoiding her love life and pretending to be largely endowed. “I only liked jerking off while driving — otherwise the sincerity of the act completely killed me,” she quips. This unnamed character sees healers at the Authentic Process Healing Institute, and also, she carries a bit of unspecified gore in alcohol in a jar.\u003c/p>\n\u003cfigure id=\"attachment_13366484\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg\" alt=\"'Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal...' - Franz Kafka, in 'Resolutions,' The Shorter Stories.\" width=\"510\" height=\"646\" class=\"size-full wp-image-13366484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-375x475.jpg 375w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal…’ – Franz Kafka, in ‘Resolutions,’ The Shorter Stories.\u003c/figcaption>\u003c/figure>\n\u003cp>Arndt’s stories are built like this—in as many compelling directions as possible. But invariably, one direction rises above the others. The bit of gore — described as apricot-sized, mostly made of fat, and with darker globs — finally turns allegorical. As you are busy ticking off options for what the jar could possibly contain (an amygdala? definitely an organ?), Arndt continues breathlessly: “It made me think of a bar I’d been to near Joshua Tree.” It is here where you get an answer of a different kind as the unnamed character recounts what she told the bartender: “Scientists have proven that matter doesn’t exist. You see a foot but when you get past all that skin bone squishy stuff et cetera, nothing’s really there,” which is a subterfuge lobbed at the mysterious jar, but also to the feeling of being mismatched with your body which artfully haunts this entire collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arndt’s imagination is amusing and far-flung. Her characters are amorphous and refusing of a gender binary, and the construct of each story is a delight. In \u003cem>Together, \u003c/em>two lovers share an STD, in \u003cem>Jeff \u003c/em>a misheard name introduction (Jess to Jeff) drives a low-key identity crisis. In the title story, \u003cem>Large Animals\u003c/em>, a man who is perceived to be a lesbian whiles away his time in the desert where Walruses seemingly materialize by his bed at night. (Only one story in this collection was a miss for me, \u003cem>Shadow of an Ape\u003c/em>, which details the rather confusing ordeal of a man in 1860’s San Francisco gold rush.)\u003c/p>\n\u003cp>There are some eerily stunning sentences in this collection, nonetheless, foremost of all in \u003cem>Moon Colonies\u003c/em>, the opening story where a threesome haunt the Vegas strip chasing after myriad temporary playthings:\u003c/p>\n\u003cblockquote>\u003cp>In the morning the waves glowed like uranium, a deep sweat coming up off the seafloor. It was beautiful but it was nerve-racking too, being that close to the future.\u003c/p>\u003c/blockquote>\n\u003cp>The great unresolved discomfort of perception and body punctuates the landscape in all the stories in \u003cem>Large Animals\u003c/em>, and each character finds themselves at the mercy of a conniving version of the self that is overpowering, stacks the deck, and ruins the possibility of what is precisely most desired. In this sense, \u003cem>Large Animals\u003c/em> is a collection of humanity reaching toward what might be graspable but remains painfully out of reach. At one point, Arndt writes:\u003c/p>\n\u003cblockquote>\u003cp>Then it’s spring break. I go on a wine tour. We stare into the big sweaty vats of red. “Wine fermentation,” the expert says, “happens when all of the individual grapes explode against the walls of their bodies.”\u003cem> How nice,\u003c/em> I think\u003cem>, for them.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This is a delightful read, perfect for the burgeoning summer, where the fact of the body is always at odds with the life of the mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Jess Arndt reading from ‘Large Animals’ on Wednesday, June 7, at City Lights Books in San Francisco. 7pm. More information \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2954\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In her debut collection, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.","status":"publish","parent":0,"modified":1705030457,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":819},"headData":{"title":"The Cosmic Predicament of the Body: 'Large Animals' by Jess Arndt | KQED","description":"In her debut collection, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Cosmic Predicament of the Body: 'Large Animals' by Jess Arndt","datePublished":"2017-06-04T15:00:24.000Z","dateModified":"2024-01-12T03:34:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13343371/the-cosmic-predicament-of-the-body-large-animals-by-jess-arndt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the first time in my life I paid extra to have legroom in an airplane. I was getting over a cold, but also I wanted to stretch out and fully enjoy \u003cem>Large Animals\u003c/em> by Jess Arndt. You see, Jess Arndt is like a queer Kafka who perambulates the surreal container of the body by dealing almost wholly in non-sequiturs.\u003c/p>\n\u003cp>Many a great story in \u003cem>Large Animals\u003c/em>, Arndt’s debut collection, has a strong resemblance to Kafka’s shorter fiction — which, unlike his longer work that deals with bureaucracy, are rather works of gorgeously, painfully strange portraiture in which one is irredeemably ill-made for the world. Arndt is fond of creating a constellation of small desires for her characters that are hilariously specific, and as with Kafka’s shorter work, her stories turn on the heel of making one seemingly insignificant obsession lie in wait and then ambush the biggest questions of selfhood.\u003c/p>\n\u003cp>\u003cem>However\u003c/em>.\u003c/p>\n\u003cp>There is no question Jess Arndt would have made Kafka blush.\u003c/p>\n\u003cp>To wit: in \u003cem>Third Arm\u003c/em>, an English Professor drives around touching herself while avoiding her love life and pretending to be largely endowed. “I only liked jerking off while driving — otherwise the sincerity of the act completely killed me,” she quips. This unnamed character sees healers at the Authentic Process Healing Institute, and also, she carries a bit of unspecified gore in alcohol in a jar.\u003c/p>\n\u003cfigure id=\"attachment_13366484\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg\" alt=\"'Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal...' - Franz Kafka, in 'Resolutions,' The Shorter Stories.\" width=\"510\" height=\"646\" class=\"size-full wp-image-13366484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-240x304.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Kafka.Blush_-375x475.jpg 375w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Perhaps the best resource is to meet everything passively, to make yourself an inert mass, and if you feel that you are being carried away, not to let yourself be lured into taking a single unnecessary step, to stare at others with the eyes of an animal…’ – Franz Kafka, in ‘Resolutions,’ The Shorter Stories.\u003c/figcaption>\u003c/figure>\n\u003cp>Arndt’s stories are built like this—in as many compelling directions as possible. But invariably, one direction rises above the others. The bit of gore — described as apricot-sized, mostly made of fat, and with darker globs — finally turns allegorical. As you are busy ticking off options for what the jar could possibly contain (an amygdala? definitely an organ?), Arndt continues breathlessly: “It made me think of a bar I’d been to near Joshua Tree.” It is here where you get an answer of a different kind as the unnamed character recounts what she told the bartender: “Scientists have proven that matter doesn’t exist. You see a foot but when you get past all that skin bone squishy stuff et cetera, nothing’s really there,” which is a subterfuge lobbed at the mysterious jar, but also to the feeling of being mismatched with your body which artfully haunts this entire collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arndt’s imagination is amusing and far-flung. Her characters are amorphous and refusing of a gender binary, and the construct of each story is a delight. In \u003cem>Together, \u003c/em>two lovers share an STD, in \u003cem>Jeff \u003c/em>a misheard name introduction (Jess to Jeff) drives a low-key identity crisis. In the title story, \u003cem>Large Animals\u003c/em>, a man who is perceived to be a lesbian whiles away his time in the desert where Walruses seemingly materialize by his bed at night. (Only one story in this collection was a miss for me, \u003cem>Shadow of an Ape\u003c/em>, which details the rather confusing ordeal of a man in 1860’s San Francisco gold rush.)\u003c/p>\n\u003cp>There are some eerily stunning sentences in this collection, nonetheless, foremost of all in \u003cem>Moon Colonies\u003c/em>, the opening story where a threesome haunt the Vegas strip chasing after myriad temporary playthings:\u003c/p>\n\u003cblockquote>\u003cp>In the morning the waves glowed like uranium, a deep sweat coming up off the seafloor. It was beautiful but it was nerve-racking too, being that close to the future.\u003c/p>\u003c/blockquote>\n\u003cp>The great unresolved discomfort of perception and body punctuates the landscape in all the stories in \u003cem>Large Animals\u003c/em>, and each character finds themselves at the mercy of a conniving version of the self that is overpowering, stacks the deck, and ruins the possibility of what is precisely most desired. In this sense, \u003cem>Large Animals\u003c/em> is a collection of humanity reaching toward what might be graspable but remains painfully out of reach. At one point, Arndt writes:\u003c/p>\n\u003cblockquote>\u003cp>Then it’s spring break. I go on a wine tour. We stare into the big sweaty vats of red. “Wine fermentation,” the expert says, “happens when all of the individual grapes explode against the walls of their bodies.”\u003cem> How nice,\u003c/em> I think\u003cem>, for them.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This is a delightful read, perfect for the burgeoning summer, where the fact of the body is always at odds with the life of the mind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Jess Arndt reading from ‘Large Animals’ on Wednesday, June 7, at City Lights Books in San Francisco. 7pm. More information \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2954\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13343371/the-cosmic-predicament-of-the-body-large-animals-by-jess-arndt","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_1118","arts_596","arts_769","arts_1234"],"featImg":"arts_13343668","label":"arts_1054"},"arts_13252754":{"type":"posts","id":"arts_13252754","meta":{"index":"posts_1591205157","site":"arts","id":"13252754","score":null,"sort":[1495371614000]},"guestAuthors":[],"slug":"after-surviving-conversion-therapy-a-sense-of-pride","title":"After Conversion Therapy, a Survivor's Sense of Pride","publishDate":1495371614,"format":"standard","headTitle":"After Conversion Therapy, a Survivor’s Sense of Pride | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>Before reading \u003cem>The Inheritance of Shame\u003c/em>, there were three things I knew about conversion therapy: that children who exhibit signs of homosexuality are whisked away into church basements for exorcisms, that adults are told they can withdraw from their sexuality, and that if they fail, it is portrayed as a lack of piety.\u003c/p>\n\u003cp>Peter Gajdics’ harrowing memoir goes deeper. Covering seven years spent struggling to change his sexual orientation, \u003cem>The Inheritance of Shame\u003c/em> is a profound journey to self-destruction, self-acceptance, and finally a reckoning with the dangers of shame and silence. This is a memoir that is hard to read, but one that must absolutely be read.\u003c/p>\n\u003cp>Conversion therapy (sometimes called reparative therapy, or ex-gay therapy) has been discredited and condemned by most medical organizations, including the American Medical Association and the American Psychological Association, and yet it is not illegal for a licensed psychiatrist to engage in conversion therapy. Only eight states in the country (including California) have instituted a ban on conversion therapy for minors. It continues to exist for adults through churches and faith-allied organizations, or as in the case of \u003cem>The Inheritance of Shame\u003c/em>, through a prejudiced psychiatrist.\u003c/p>\n\u003cfigure id=\"attachment_13252756\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Shame.jpg\" alt=\"'The Inheritance of Shame.'\" width=\"500\" height=\"800\" class=\"size-full wp-image-13252756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-375x600.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Inheritance of Shame.’\u003c/figcaption>\u003c/figure>\n\u003cp>How does one arrive at a place in life to want to seek conversion therapy? And how does one become, essentially, part of a cult?\u003c/p>\n\u003cp>For Gajdics, the answer to both questions is: not all at once. His story begins with \u003ca href=\"https://en.wikipedia.org/wiki/Primal_therapy\" target=\"_blank\" rel=\"noopener\">primal therapy\u003c/a>, wherein Gajdics lays on a mattress, relives repressed traumatic events, and expresses pain and anger through unrestrained screaming. He imagines the moment an older man abused him as a child, and the moments he felt unprotected by his parents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a slow boil to the oncoming calamity as Gajdics’ psychiatrist, Dr. Alfonzo, says an odd thing here, does an odd thing there, insignificant enough to miss or forget. Then, Alfonzo says that he believes Gajdics to be heterosexual — that his true sexuality is buried under the abuse he experienced, and that homosexuality is something he can unlearn. Gajdics writes:\u003c/p>\n\u003cblockquote>\u003cp>This had always been my greatest fear: that my attraction for men had been created, and not by God; that my sexuality had been like a descending staircase I’d been pushed down, one step at a time, into the cellar of my homosexuality […] Alfonzo was saying that I could unlearn my homosexuality, unlock my trap door, and ascend into the light of heterosexuality. [His] words were like a lifeline thrown out to me at sea.\u003c/p>\u003c/blockquote>\n\u003cp>In just five more pages, Gajdics moves into a house with two other patients, where they receive intensive accelerated treatment. The inpatients aptly nickname the house The Styx, but there is no ferrying of the dead to the underworld. Rather, there is Gajdics and eventually five other residential patients who forsake their former lives in favor of Alfonzo, whom they begin to call Papa. He starts medicating them with ketamine (a horse tranquilizer), and bids them shave their heads so they may be like children and get to a place where they can rewire what each of them want changed.\u003c/p>\n\u003cp>https://twitter.com/HungarianWriter/status/855824916163309571\u003c/p>\n\u003cp>It is a relief to witness the full journey of this book, to get through the raw, horrifying parts and reach the other side. Everything is hard-earned in this book, vulnerable, naked, and luminous. Though it’s hard to imagine reaching acceptance after such an experience, Gajdics does. As he wrote in a 2012 op-ed for \u003cem>The Advocate\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>If my experiences taught me anything it was that a change to the ‘map’ of my identity from homosexual to heterosexual would never change the ‘territory’ of my experience from same-sex to opposite-sex desire […] Enacting laws to make it illegal to practice reparative therapy on anyone under the age of 18 is only a start. Reparative therapy may be a lie, but the lie begins not with the idea that we can change from gay to straight, but with the belief that we are who the culture tells us we are, that a change to the map of our identity is a change to the territory of our experience. And no one, no matter what age, is safe from that.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Inheritance of Shame\u003c/em> is an important story — one that isn’t soon forgotten.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Peter Gajdics on Tuesday, May 23, at Dog Eared Books (Castro store) in San Francisco. 7pm; \u003ca href=\"http://www.dogearedbooks.com/castro-events.html\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Gajdics also reads from ‘The Inheritance of Shame’ on Thursday, May 25, at Laurel Bookstore in Oakland. 7pm; \u003ca href=\"http://www.laurelbookstore.com/event/6-years-gay-conversion-therapy-peter-gajdics-conversation-lucy-jane-bledsoe\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'The Inheritance of Shame,' Peter Gajdic’s harrowing memoir of struggling to change his sexual orientation, is a profound journey to self-destruction — and ultimately, self-acceptance.","status":"publish","parent":0,"modified":1705030592,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":780},"headData":{"title":"After Conversion Therapy, a Survivor's Sense of Pride | KQED","description":"'The Inheritance of Shame,' Peter Gajdic’s harrowing memoir of struggling to change his sexual orientation, is a profound journey to self-destruction — and ultimately, self-acceptance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"After Conversion Therapy, a Survivor's Sense of Pride","datePublished":"2017-05-21T13:00:14.000Z","dateModified":"2024-01-12T03:36:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13252754/after-surviving-conversion-therapy-a-sense-of-pride","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before reading \u003cem>The Inheritance of Shame\u003c/em>, there were three things I knew about conversion therapy: that children who exhibit signs of homosexuality are whisked away into church basements for exorcisms, that adults are told they can withdraw from their sexuality, and that if they fail, it is portrayed as a lack of piety.\u003c/p>\n\u003cp>Peter Gajdics’ harrowing memoir goes deeper. Covering seven years spent struggling to change his sexual orientation, \u003cem>The Inheritance of Shame\u003c/em> is a profound journey to self-destruction, self-acceptance, and finally a reckoning with the dangers of shame and silence. This is a memoir that is hard to read, but one that must absolutely be read.\u003c/p>\n\u003cp>Conversion therapy (sometimes called reparative therapy, or ex-gay therapy) has been discredited and condemned by most medical organizations, including the American Medical Association and the American Psychological Association, and yet it is not illegal for a licensed psychiatrist to engage in conversion therapy. Only eight states in the country (including California) have instituted a ban on conversion therapy for minors. It continues to exist for adults through churches and faith-allied organizations, or as in the case of \u003cem>The Inheritance of Shame\u003c/em>, through a prejudiced psychiatrist.\u003c/p>\n\u003cfigure id=\"attachment_13252756\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Shame.jpg\" alt=\"'The Inheritance of Shame.'\" width=\"500\" height=\"800\" class=\"size-full wp-image-13252756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-160x256.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-240x384.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Shame-375x600.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Inheritance of Shame.’\u003c/figcaption>\u003c/figure>\n\u003cp>How does one arrive at a place in life to want to seek conversion therapy? And how does one become, essentially, part of a cult?\u003c/p>\n\u003cp>For Gajdics, the answer to both questions is: not all at once. His story begins with \u003ca href=\"https://en.wikipedia.org/wiki/Primal_therapy\" target=\"_blank\" rel=\"noopener\">primal therapy\u003c/a>, wherein Gajdics lays on a mattress, relives repressed traumatic events, and expresses pain and anger through unrestrained screaming. He imagines the moment an older man abused him as a child, and the moments he felt unprotected by his parents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a slow boil to the oncoming calamity as Gajdics’ psychiatrist, Dr. Alfonzo, says an odd thing here, does an odd thing there, insignificant enough to miss or forget. Then, Alfonzo says that he believes Gajdics to be heterosexual — that his true sexuality is buried under the abuse he experienced, and that homosexuality is something he can unlearn. Gajdics writes:\u003c/p>\n\u003cblockquote>\u003cp>This had always been my greatest fear: that my attraction for men had been created, and not by God; that my sexuality had been like a descending staircase I’d been pushed down, one step at a time, into the cellar of my homosexuality […] Alfonzo was saying that I could unlearn my homosexuality, unlock my trap door, and ascend into the light of heterosexuality. [His] words were like a lifeline thrown out to me at sea.\u003c/p>\u003c/blockquote>\n\u003cp>In just five more pages, Gajdics moves into a house with two other patients, where they receive intensive accelerated treatment. The inpatients aptly nickname the house The Styx, but there is no ferrying of the dead to the underworld. Rather, there is Gajdics and eventually five other residential patients who forsake their former lives in favor of Alfonzo, whom they begin to call Papa. He starts medicating them with ketamine (a horse tranquilizer), and bids them shave their heads so they may be like children and get to a place where they can rewire what each of them want changed.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"855824916163309571"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It is a relief to witness the full journey of this book, to get through the raw, horrifying parts and reach the other side. Everything is hard-earned in this book, vulnerable, naked, and luminous. Though it’s hard to imagine reaching acceptance after such an experience, Gajdics does. As he wrote in a 2012 op-ed for \u003cem>The Advocate\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>If my experiences taught me anything it was that a change to the ‘map’ of my identity from homosexual to heterosexual would never change the ‘territory’ of my experience from same-sex to opposite-sex desire […] Enacting laws to make it illegal to practice reparative therapy on anyone under the age of 18 is only a start. Reparative therapy may be a lie, but the lie begins not with the idea that we can change from gay to straight, but with the belief that we are who the culture tells us we are, that a change to the map of our identity is a change to the territory of our experience. And no one, no matter what age, is safe from that.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Inheritance of Shame\u003c/em> is an important story — one that isn’t soon forgotten.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Peter Gajdics on Tuesday, May 23, at Dog Eared Books (Castro store) in San Francisco. 7pm; \u003ca href=\"http://www.dogearedbooks.com/castro-events.html\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Gajdics also reads from ‘The Inheritance of Shame’ on Thursday, May 25, at Laurel Bookstore in Oakland. 7pm; \u003ca href=\"http://www.laurelbookstore.com/event/6-years-gay-conversion-therapy-peter-gajdics-conversation-lucy-jane-bledsoe\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13252754/after-surviving-conversion-therapy-a-sense-of-pride","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_1118","arts_596","arts_769","arts_1234"],"featImg":"arts_13273865","label":"arts_1054"},"arts_13080398":{"type":"posts","id":"arts_13080398","meta":{"index":"posts_1591205157","site":"arts","id":"13080398","score":null,"sort":[1492959619000]},"guestAuthors":[],"slug":"two-books-to-end-your-circular-arguments-about-immigration","title":"Two Books to End Your Circular Arguments About Immigration","publishDate":1492959619,"format":"image","headTitle":"Two Books to End Your Circular Arguments About Immigration | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp class=\"graf graf--p\">Do you read the comments? I read the comments. I read them after articles on immigration specifically, because the arguments tend to trickle down to the same thing and I like thinking about patterns and semantics. With immigration, you can almost do a countdown—six or seven comments in, a common disagreement appears: are Native Americans original inhabitants or immigrants? The irate will say that Native Americans crossed the Bering Strait and so they are immigrants, and this is one way of saying \u003cem class=\"markup--em markup--p-em\">the country doesn’t belong to them\u003c/em>, as well as \u003cem class=\"markup--em markup--p-em\">the country belongs to those who took possession of it.\u003c/em>\u003c/p>\n\u003cp class=\"graf graf--p\">Two books I read this month promise to take your arguments from the general to the specific: \u003cem class=\"markup--em markup--p-em\">Violent Borders: Refugees and the Right to Move \u003c/em>by Reece Jones (a history of borders, focusing among others on the US-Mexico border, Bangladesh, and Palestine) and \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest (\u003c/em>an oral history of migrant workers in California agriculture). Each provide a wholly focused view on immigration.\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13080402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-160x242.jpg\" alt=\"9781784784713-05f53ae9004b878750eeda11d3b87cde\" width=\"300\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde.jpg 700w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp class=\"graf graf--p\">The United States is one of a few countries whose immigration philosophy is \u003cem class=\"markup--em markup--p-em\">jus solis\u003c/em> or right of land, which means that if you spend enough time on U.S. territory you have a right to citizenship. But who has that right and if it matters how they entered is our all-consuming question.\u003c/p>\n\u003cp class=\"graf graf--p\">In \u003cem class=\"markup--em markup--p-em\">Violent Borders\u003c/em>, Jones provides plenty of examples of how these semantic arguments lead to inequality, isolation, racism, and institutional loss of liberty for entire groups of people. This is the case of the Rohingya, a Muslim minority in Myanmar. As recently as 1982, Myanmar (then Burma) passed a law granting citizenship to specific ethnic groups. It did not include Muslims and so, though the Rohingya never moved an inch, they became foreigners in their own land stripped of rights of labor, travel and representation in government. Myanmar claims the Rohingya immigrated from Bangladesh. Bangladesh argues the Rohingya did not originate there. The Rohingya are stateless and in limbo. They cannot even claim refugee status in another country, because having no state, they cannot prove their origin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"graf graf--p\">If this doesn’t slightly remind you of the migrants of California, then your next read needs to be \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest\u003c/em> (edited by Gabriel Thompson). This book is moving, informative, and quite a page-turner. It is full of joy and pathos with narrators that take you from love of land and family to the shocking circumstance of modern-day labor camps.\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13080403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/chasingtheharvest.jpg\" alt=\"Chasing the Harvest.indd\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-520x781.jpg 520w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp class=\"graf graf--p\">Coachella (yes, \u003cem class=\"markup--em markup--p-em\">that\u003c/em> Coachella, the one teeming with off-duty models wearing flower crowns) is where one narrator from \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest \u003c/em>saw migrant grape workers living in the direst of conditions—their only water source a canal contaminated with pesticide. Jose Saldivar told Gabriel Thompson:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"graf graf--p graf--startsWithDoubleQuote\">There was a family that came from Mexicali, a father and his two sons. We met working in the fields, in an orange orchard. We spoke, and the man asked me, “Can I stay out here in the orchard? Will there be any problem?” He had nowhere else to go. I said, “No, there shouldn’t be a problem as long as you don’t make any problems.” He came with a pickup, and he slept there in the camper and cooked his food outside. He and his sons came everyday to the canal to wash themselves. One day the man started to itch badly. He got sick and developed a rash. The bosses sent him to a hospital in San Diego, and in San Diego the man died. His body was completely covered in blisters and sores. I know this because his sons came back and told me what had happened. And they never knew what chemical it was that affected him.\u003c/p>\n\u003c/blockquote>\n\u003cp class=\"graf graf--p\">This is not the worst of stories in \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest. \u003c/em>These two books provide a direct look at borders and the people who borders wreak havoc upon, who are — in the words of another migrant worker from \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest\u003c/em>, Roberto Valdez — the bodies who “harvest the lemons you use to make the lemonade you’re now drinking. The strawberries that your children eat, we cut them. The grapes that you see in the markets, we cut them. We’re dying out there in the fields.”\u003c/p>\n\u003cp class=\"graf graf--p\">In \u003cem class=\"markup--em markup--p-em\">Violent Borders\u003c/em>, Jones asks: “Are humans defined primarily by our attachments to place or by movement? One way of thinking about humanity is to see humans as a sedentary species with deep ancestral connections to homelands[…] However, movement is also a critical part of humanity and the modern condition.” The conflict between desire for movement and ownership over place is at the core of these two important books.\u003c/p>\n\u003cp class=\"graf graf--p\">Let me return to comment threads. Though juvenile, they are important because of semantics: the philosophical base of who has a right to be in a country and make a life comes down to a poetic question.\u003c/p>\n\u003cp class=\"graf graf--p\">While the U.S. believes in \u003cem class=\"markup--em markup--p-em\">jus solis\u003c/em>, most of the world believes in \u003cem class=\"markup--em markup--p-em\">jus sanguinis, \u003c/em>or right of blood, which means that only those who mix their blood with the original inhabitants can call themselves citizens. Nationalism in America wants to flirt with an ethnic definition of citizenship — in other words, it envisions an America that believes in \u003cem>jus sanguinis\u003c/em> — but it doesn’t quite come off, and here’s why: for America to switch to \u003cem>jus sanguinis\u003c/em>, it would imply that any person who did not mix blood with the original inhabitants (i.e. Native Americans — who, though they crossed the Bering Strait, \u003cem class=\"markup--em markup--p-em\">are\u003c/em> the original inhabitants) would become a foreign national. You would become, as the Rohingya, stateless, and in limbo.\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cem class=\"markup--em markup--p-em\">The writer appeared in conversation with Reece Jones at City Lights Bookstore on April 12. ‘Violent Borders’ is \u003ca href=\"https://www.versobooks.com/search?utf8=%E2%9C%93&q=violent+borders&commit=\">out now\u003c/a> from Verso Books. ‘Chasing the Harvest’ is available this May from \u003ca href=\"http://voiceofwitness.org/\">Voice of Witness\u003c/a>, a San Francisco oral history project started by Dave Eggers. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Violent Borders: Refugees and the Right to Move' and 'Chasing the Harvest' each provide a wholly focused view on immigration.","status":"publish","parent":0,"modified":1705030875,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":2,"wordCount":1015},"headData":{"title":"Two Books to End Your Circular Arguments About Immigration | KQED","description":"'Violent Borders: Refugees and the Right to Move' and 'Chasing the Harvest' each provide a wholly focused view on immigration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Two Books to End Your Circular Arguments About Immigration","datePublished":"2017-04-23T15:00:19.000Z","dateModified":"2024-01-12T03:41:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13080398/two-books-to-end-your-circular-arguments-about-immigration","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"graf graf--p\">Do you read the comments? I read the comments. I read them after articles on immigration specifically, because the arguments tend to trickle down to the same thing and I like thinking about patterns and semantics. With immigration, you can almost do a countdown—six or seven comments in, a common disagreement appears: are Native Americans original inhabitants or immigrants? The irate will say that Native Americans crossed the Bering Strait and so they are immigrants, and this is one way of saying \u003cem class=\"markup--em markup--p-em\">the country doesn’t belong to them\u003c/em>, as well as \u003cem class=\"markup--em markup--p-em\">the country belongs to those who took possession of it.\u003c/em>\u003c/p>\n\u003cp class=\"graf graf--p\">Two books I read this month promise to take your arguments from the general to the specific: \u003cem class=\"markup--em markup--p-em\">Violent Borders: Refugees and the Right to Move \u003c/em>by Reece Jones (a history of borders, focusing among others on the US-Mexico border, Bangladesh, and Palestine) and \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest (\u003c/em>an oral history of migrant workers in California agriculture). Each provide a wholly focused view on immigration.\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13080402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-160x242.jpg\" alt=\"9781784784713-05f53ae9004b878750eeda11d3b87cde\" width=\"300\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/9781784784713-05f53ae9004b878750eeda11d3b87cde.jpg 700w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp class=\"graf graf--p\">The United States is one of a few countries whose immigration philosophy is \u003cem class=\"markup--em markup--p-em\">jus solis\u003c/em> or right of land, which means that if you spend enough time on U.S. territory you have a right to citizenship. But who has that right and if it matters how they entered is our all-consuming question.\u003c/p>\n\u003cp class=\"graf graf--p\">In \u003cem class=\"markup--em markup--p-em\">Violent Borders\u003c/em>, Jones provides plenty of examples of how these semantic arguments lead to inequality, isolation, racism, and institutional loss of liberty for entire groups of people. This is the case of the Rohingya, a Muslim minority in Myanmar. As recently as 1982, Myanmar (then Burma) passed a law granting citizenship to specific ethnic groups. It did not include Muslims and so, though the Rohingya never moved an inch, they became foreigners in their own land stripped of rights of labor, travel and representation in government. Myanmar claims the Rohingya immigrated from Bangladesh. Bangladesh argues the Rohingya did not originate there. The Rohingya are stateless and in limbo. They cannot even claim refugee status in another country, because having no state, they cannot prove their origin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"graf graf--p\">If this doesn’t slightly remind you of the migrants of California, then your next read needs to be \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest\u003c/em> (edited by Gabriel Thompson). This book is moving, informative, and quite a page-turner. It is full of joy and pathos with narrators that take you from love of land and family to the shocking circumstance of modern-day labor camps.\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13080403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/chasingtheharvest.jpg\" alt=\"Chasing the Harvest.indd\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/chasingtheharvest-520x781.jpg 520w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp class=\"graf graf--p\">Coachella (yes, \u003cem class=\"markup--em markup--p-em\">that\u003c/em> Coachella, the one teeming with off-duty models wearing flower crowns) is where one narrator from \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest \u003c/em>saw migrant grape workers living in the direst of conditions—their only water source a canal contaminated with pesticide. Jose Saldivar told Gabriel Thompson:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"graf graf--p graf--startsWithDoubleQuote\">There was a family that came from Mexicali, a father and his two sons. We met working in the fields, in an orange orchard. We spoke, and the man asked me, “Can I stay out here in the orchard? Will there be any problem?” He had nowhere else to go. I said, “No, there shouldn’t be a problem as long as you don’t make any problems.” He came with a pickup, and he slept there in the camper and cooked his food outside. He and his sons came everyday to the canal to wash themselves. One day the man started to itch badly. He got sick and developed a rash. The bosses sent him to a hospital in San Diego, and in San Diego the man died. His body was completely covered in blisters and sores. I know this because his sons came back and told me what had happened. And they never knew what chemical it was that affected him.\u003c/p>\n\u003c/blockquote>\n\u003cp class=\"graf graf--p\">This is not the worst of stories in \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest. \u003c/em>These two books provide a direct look at borders and the people who borders wreak havoc upon, who are — in the words of another migrant worker from \u003cem class=\"markup--em markup--p-em\">Chasing the Harvest\u003c/em>, Roberto Valdez — the bodies who “harvest the lemons you use to make the lemonade you’re now drinking. The strawberries that your children eat, we cut them. The grapes that you see in the markets, we cut them. We’re dying out there in the fields.”\u003c/p>\n\u003cp class=\"graf graf--p\">In \u003cem class=\"markup--em markup--p-em\">Violent Borders\u003c/em>, Jones asks: “Are humans defined primarily by our attachments to place or by movement? One way of thinking about humanity is to see humans as a sedentary species with deep ancestral connections to homelands[…] However, movement is also a critical part of humanity and the modern condition.” The conflict between desire for movement and ownership over place is at the core of these two important books.\u003c/p>\n\u003cp class=\"graf graf--p\">Let me return to comment threads. Though juvenile, they are important because of semantics: the philosophical base of who has a right to be in a country and make a life comes down to a poetic question.\u003c/p>\n\u003cp class=\"graf graf--p\">While the U.S. believes in \u003cem class=\"markup--em markup--p-em\">jus solis\u003c/em>, most of the world believes in \u003cem class=\"markup--em markup--p-em\">jus sanguinis, \u003c/em>or right of blood, which means that only those who mix their blood with the original inhabitants can call themselves citizens. Nationalism in America wants to flirt with an ethnic definition of citizenship — in other words, it envisions an America that believes in \u003cem>jus sanguinis\u003c/em> — but it doesn’t quite come off, and here’s why: for America to switch to \u003cem>jus sanguinis\u003c/em>, it would imply that any person who did not mix blood with the original inhabitants (i.e. Native Americans — who, though they crossed the Bering Strait, \u003cem class=\"markup--em markup--p-em\">are\u003c/em> the original inhabitants) would become a foreign national. You would become, as the Rohingya, stateless, and in limbo.\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"graf graf--p\">\u003cem class=\"markup--em markup--p-em\">The writer appeared in conversation with Reece Jones at City Lights Bookstore on April 12. ‘Violent Borders’ is \u003ca href=\"https://www.versobooks.com/search?utf8=%E2%9C%93&q=violent+borders&commit=\">out now\u003c/a> from Verso Books. ‘Chasing the Harvest’ is available this May from \u003ca href=\"http://voiceofwitness.org/\">Voice of Witness\u003c/a>, a San Francisco oral history project started by Dave Eggers. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13080398/two-books-to-end-your-circular-arguments-about-immigration","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_1118","arts_1773","arts_596","arts_769","arts_1234"],"featImg":"arts_13095267","label":"arts_1054"},"arts_13043609":{"type":"posts","id":"arts_13043609","meta":{"index":"posts_1591205157","site":"arts","id":"13043609","score":null,"sort":[1492369205000]},"guestAuthors":[],"slug":"examining-how-years-slip-away-in-hourglass-time-memory-marriage","title":"Examining How Years Slip Away in 'Hourglass: Time, Memory, Marriage'","publishDate":1492369205,"format":"standard","headTitle":"Examining How Years Slip Away in ‘Hourglass: Time, Memory, Marriage’ | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>My 15th wedding anniversary is in June. It seems impossible that my husband and I have been together for that long. The first 10 years of our marriage galloped by, or so it seems to me, before we finally had a child. Now my son is turning 5, my parents are elderly, and I’ve been married 15 years. These facts don’t feel real to me, but I guess they are anyway. \u003c/p>\n\u003cp>My experience of marriage goes like this: You fall in love and “start your life together.” In the constancy of marriage, your perception of the self rests in stasis. Which is to say, you somehow believe you’re in a permanent state of being a young person who’s building something with your partner. Then life events happen—you buy a house, someone dies, your child goes to kindergarten—and you realize that whoops, time has been passing all along. You’re no longer as young, or maybe no longer young at all. Before you can adjust to this new version of yourself, you learn that it too has passed away and you’re something else yet again. You’re shedding selves left and right, and you keep forgetting to notice. Then you’re shocked all over again when you do. \u003c/p>\n\u003cp>At least, that’s what happens to me. \u003c/p>\n\u003cfigure id=\"attachment_13062650\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert.jpg\" alt=\"Dani Shapiro.\" width=\"800\" height=\"1198\" class=\"size-full wp-image-13062650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-520x779.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dani Shapiro.\u003c/figcaption>\u003c/figure>\n\u003cp>Dani Shapiro’s lovely memoir \u003cem>Hourglass: Time, Memory, Marriage\u003c/em> examines this passing of time within the confines of matrimony. Shifting deftly between domestic experiences and the journals she kept on her honeymoon, Shapiro explores aging, love, family, career, and most of all, our concept of time. Now in her 50s, she’s both looking back at the woman who got married 18 years ago, and forward to the future.\u003c/p>\n\u003cblockquote>\u003cp>How do you suppose time works? A slippery succession of long hours adding up to ever-shorter days and years that disappear like falling dominoes? Near the end of her life, Grace Paley once remarked that the decades between fifty and eighty feel not like minutes, but seconds. I don’t know yet if this is the case, but I do know the decades that separate that young mother making her lists from the middle-aged woman discovering them feel like the membrane of a giant floating bubble. A pinprick and I’m back there.\u003c/p>\u003c/blockquote>\n\u003cp>I think about time constantly — how I should spend it, how much of it has passed, and what I should do with the rest of it. I’m not sure if this obsession is healthy, but it drives me to get things done. Time, after all, is the ultimate precious resource. So it’s necessary to limit social media, for example. No one wants “Checked Twitter A Lot” on her gravestone. My goal is to focus on the things that matter, but it can be hard to define what that is sometimes. There’s always the danger that you’ll invest your time in the wrong thing. You might choose option A when option B may have given you a happier, better life. Who can say? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shapiro’s book is haunted by a sense of \u003cem>what if\u003c/em>. What if her husband, M., hadn’t given up his job as a war correspondent to become a screenwriter? What if they don’t have enough money for old age and retirement? What if he’s not quite the person she thinks he is? What if they had never married at all? \u003c/p>\n\u003cp>“We have formed ourselves over the years as two branches form, twisting, rooting, growing, stunting, pushing, budding, stagnating, reaching ever further, together,” she writes. “Who would I have become without him?”\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo one wants “Checked Twitter A Lot” on her gravestone.\u003c/aside>\n\u003cp>There’s disappointment here as well. Despite considerable success, Shapiro feels she and M. haven’t quite lived up to the “grand ambitions” of their youth. M. gave up the dangerous life of a war correspondent at Shapiro’s request, and now chases success in Hollywood. Where once he was a regular guest on CNN, now “he is no longer in anyone’s Rolodex.” Meanwhile, things are slipping away—her parents die, his mother has Alzheimer’s, friendships end, their child is a teenager who doesn’t need her as much anymore. Financial pressures are continuous. \u003c/p>\n\u003cp>After 18 years of marriage, Shapiro can read her husband’s every expression. She knows how he’s feeling based on the sound of his tread in the hallway. Yet she has begun to question M.’s continuous assurance, “I’ll take care of it.” Her anxiety about the future, about whether he \u003cem>can\u003c/em> take care of it, is increasing. \u003c/p>\n\u003cp>“His body is my home,” she writes. “Yet lately, I have had flashes, unbidden moments in which I wonder who the hell he is. I secretly fear I’ve been wrong about him.” \u003c/p>\n\u003cp>We can never know another person completely. You are both in and outside of time. You both do and don’t know your spouse.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nShapiro can read her husband’s every expression. She knows how he’s feeling based on the sound of his tread in the hallway.\u003c/aside>\n\u003cp>In Bjork’s song “Notget,” off of \u003cem>Vulnicura\u003c/em>, an album about her divorce, she sings, “Our love couldn’t carry you / And I didn’t even notice / For our love / Kept me safe from death.” Marriage tends to trick the mind. For years, you may bask in the security that’s supposed to come from a legal contract and an overpriced party, but of course that’s not enough. My marriage works because, as corny as it sounds, we believe we are each other’s “match,” as my husband likes to say. Shapiro writes that when she met M., “our eyes met and—neither years nor memory have altered this fact—I thought: \u003cem>There you are\u003c/em>.” These more mysterious connections sustain relationships for the long term. Marriage just solidifies and makes the existing bond public. \u003c/p>\n\u003cp>But, as Shapiro suggests, you can’t build a barrier from time, and you can’t stop the flow of life. Marriage cannot save you from death. \u003c/p>\n\u003cp>At one point, Shapiro lists the things she brought back from her honeymoon in France. She explains how all these things are gone now, except for the faience pottery they’d purchased. It’s still in perfect condition, for now. “Someday—perhaps late at night, tired, washing dishes—one will slip through my soapy fingers and shatter,” Shapiro writes. “It’s only a matter of time.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-12935470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Dani Shapiro’s lovely memoir explores a strange fact: that in the constancy of marriage, one's perception of the self rests in stasis. Until it doesn't.","status":"publish","parent":0,"modified":1705030940,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1173},"headData":{"title":"Examining How Years Slip Away in 'Hourglass: Time, Memory, Marriage' | KQED","description":"Dani Shapiro’s lovely memoir explores a strange fact: that in the constancy of marriage, one's perception of the self rests in stasis. Until it doesn't.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Examining How Years Slip Away in 'Hourglass: Time, Memory, Marriage'","datePublished":"2017-04-16T19:00:05.000Z","dateModified":"2024-01-12T03:42:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13043609/examining-how-years-slip-away-in-hourglass-time-memory-marriage","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>My 15th wedding anniversary is in June. It seems impossible that my husband and I have been together for that long. The first 10 years of our marriage galloped by, or so it seems to me, before we finally had a child. Now my son is turning 5, my parents are elderly, and I’ve been married 15 years. These facts don’t feel real to me, but I guess they are anyway. \u003c/p>\n\u003cp>My experience of marriage goes like this: You fall in love and “start your life together.” In the constancy of marriage, your perception of the self rests in stasis. Which is to say, you somehow believe you’re in a permanent state of being a young person who’s building something with your partner. Then life events happen—you buy a house, someone dies, your child goes to kindergarten—and you realize that whoops, time has been passing all along. You’re no longer as young, or maybe no longer young at all. Before you can adjust to this new version of yourself, you learn that it too has passed away and you’re something else yet again. You’re shedding selves left and right, and you keep forgetting to notice. Then you’re shocked all over again when you do. \u003c/p>\n\u003cp>At least, that’s what happens to me. \u003c/p>\n\u003cfigure id=\"attachment_13062650\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert.jpg\" alt=\"Dani Shapiro.\" width=\"800\" height=\"1198\" class=\"size-full wp-image-13062650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/DaniShapiro.ElenaSeibert-520x779.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dani Shapiro.\u003c/figcaption>\u003c/figure>\n\u003cp>Dani Shapiro’s lovely memoir \u003cem>Hourglass: Time, Memory, Marriage\u003c/em> examines this passing of time within the confines of matrimony. Shifting deftly between domestic experiences and the journals she kept on her honeymoon, Shapiro explores aging, love, family, career, and most of all, our concept of time. Now in her 50s, she’s both looking back at the woman who got married 18 years ago, and forward to the future.\u003c/p>\n\u003cblockquote>\u003cp>How do you suppose time works? A slippery succession of long hours adding up to ever-shorter days and years that disappear like falling dominoes? Near the end of her life, Grace Paley once remarked that the decades between fifty and eighty feel not like minutes, but seconds. I don’t know yet if this is the case, but I do know the decades that separate that young mother making her lists from the middle-aged woman discovering them feel like the membrane of a giant floating bubble. A pinprick and I’m back there.\u003c/p>\u003c/blockquote>\n\u003cp>I think about time constantly — how I should spend it, how much of it has passed, and what I should do with the rest of it. I’m not sure if this obsession is healthy, but it drives me to get things done. Time, after all, is the ultimate precious resource. So it’s necessary to limit social media, for example. No one wants “Checked Twitter A Lot” on her gravestone. My goal is to focus on the things that matter, but it can be hard to define what that is sometimes. There’s always the danger that you’ll invest your time in the wrong thing. You might choose option A when option B may have given you a happier, better life. Who can say? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shapiro’s book is haunted by a sense of \u003cem>what if\u003c/em>. What if her husband, M., hadn’t given up his job as a war correspondent to become a screenwriter? What if they don’t have enough money for old age and retirement? What if he’s not quite the person she thinks he is? What if they had never married at all? \u003c/p>\n\u003cp>“We have formed ourselves over the years as two branches form, twisting, rooting, growing, stunting, pushing, budding, stagnating, reaching ever further, together,” she writes. “Who would I have become without him?”\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo one wants “Checked Twitter A Lot” on her gravestone.\u003c/aside>\n\u003cp>There’s disappointment here as well. Despite considerable success, Shapiro feels she and M. haven’t quite lived up to the “grand ambitions” of their youth. M. gave up the dangerous life of a war correspondent at Shapiro’s request, and now chases success in Hollywood. Where once he was a regular guest on CNN, now “he is no longer in anyone’s Rolodex.” Meanwhile, things are slipping away—her parents die, his mother has Alzheimer’s, friendships end, their child is a teenager who doesn’t need her as much anymore. Financial pressures are continuous. \u003c/p>\n\u003cp>After 18 years of marriage, Shapiro can read her husband’s every expression. She knows how he’s feeling based on the sound of his tread in the hallway. Yet she has begun to question M.’s continuous assurance, “I’ll take care of it.” Her anxiety about the future, about whether he \u003cem>can\u003c/em> take care of it, is increasing. \u003c/p>\n\u003cp>“His body is my home,” she writes. “Yet lately, I have had flashes, unbidden moments in which I wonder who the hell he is. I secretly fear I’ve been wrong about him.” \u003c/p>\n\u003cp>We can never know another person completely. You are both in and outside of time. You both do and don’t know your spouse.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nShapiro can read her husband’s every expression. She knows how he’s feeling based on the sound of his tread in the hallway.\u003c/aside>\n\u003cp>In Bjork’s song “Notget,” off of \u003cem>Vulnicura\u003c/em>, an album about her divorce, she sings, “Our love couldn’t carry you / And I didn’t even notice / For our love / Kept me safe from death.” Marriage tends to trick the mind. For years, you may bask in the security that’s supposed to come from a legal contract and an overpriced party, but of course that’s not enough. My marriage works because, as corny as it sounds, we believe we are each other’s “match,” as my husband likes to say. Shapiro writes that when she met M., “our eyes met and—neither years nor memory have altered this fact—I thought: \u003cem>There you are\u003c/em>.” These more mysterious connections sustain relationships for the long term. Marriage just solidifies and makes the existing bond public. \u003c/p>\n\u003cp>But, as Shapiro suggests, you can’t build a barrier from time, and you can’t stop the flow of life. Marriage cannot save you from death. \u003c/p>\n\u003cp>At one point, Shapiro lists the things she brought back from her honeymoon in France. She explains how all these things are gone now, except for the faience pottery they’d purchased. It’s still in perfect condition, for now. “Someday—perhaps late at night, tired, washing dishes—one will slip through my soapy fingers and shatter,” Shapiro writes. “It’s only a matter of time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-12935470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13043609/examining-how-years-slip-away-in-hourglass-time-memory-marriage","authors":["11351"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_1118","arts_596","arts_769","arts_1234"],"featImg":"arts_13062651","label":"arts_1054"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png","officialWebsiteLink":"https://www.npr.org/podcasts/510313/how-i-built-this","airtime":"SUN 7:30pm-8pm","meta":{"site":"news","source":"npr"},"link":"/radio/program/how-i-built-this","subscribe":{"npr":"https://rpb3r.app.goo.gl/3zxy","apple":"https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2","tuneIn":"https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/","rss":"https://feeds.npr.org/510313/podcast.xml"}},"inside-europe":{"id":"inside-europe","title":"Inside Europe","info":"Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.","airtime":"SAT 3am-4am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg","meta":{"site":"news","source":"Deutsche Welle"},"link":"/radio/program/inside-europe","subscribe":{"apple":"https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2","tuneIn":"https://tunein.com/radio/Inside-Europe-p731/","rss":"https://partner.dw.com/xml/podcast_inside-europe"}},"latino-usa":{"id":"latino-usa","title":"Latino USA","airtime":"MON 1am-2am, SUN 6pm-7pm","info":"Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg","officialWebsiteLink":"http://latinousa.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/latino-usa","subscribe":{"npr":"https://rpb3r.app.goo.gl/xtTd","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Latino-USA-p621/","rss":"https://feeds.npr.org/510016/podcast.xml"}},"live-from-here-highlights":{"id":"live-from-here-highlights","title":"Live from Here Highlights","info":"Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.","airtime":"SAT 6pm-8pm, SUN 11am-1pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.livefromhere.org/","meta":{"site":"arts","source":"american public media"},"link":"/radio/program/live-from-here-highlights","subscribe":{"apple":"https://itunes.apple.com/us/podcast/id1167173941","tuneIn":"https://tunein.com/radio/Live-from-Here-Highlights-p921744/","rss":"https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"}},"marketplace":{"id":"marketplace","title":"Marketplace","info":"Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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