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"bio": "Ingrid Rojas Contreras lives in San Francisco with her books. Her debut novel\u003cem> Fruit of the Drunken Tree \u003c/em>is forthcoming from Doubleday (Summer 2018). Find more at \u003ca href=\"http://www.ingridrojascontreras.com\">www.ingridrojascontreras.com\u003c/a>.",
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"title": "Literary Snapshot: How Do Bay Area Writers Spend Their Day?",
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"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",
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"headline": "Literary Snapshot: How Do Bay Area Writers Spend Their Day?",
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"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>",
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"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>",
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"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>",
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"content": "\u003cp>What with the stunning eclipse, the troubling interactions of President Trump and Kim Jong-un, the daily fraying of truth, the melting arctic, and white supremacists gathering in Berkeley and San Francisco, the end of the world comes easily to mind.\u003c/p>\n\u003cp>The poet Czeslaw Milosz \u003ca href=\"https://www.poetryfoundation.org/poems/49451/a-song-on-the-end-of-the-world\">imagined\u003c/a> the end of the world as an unnamed destruction not remarked upon by the happy porpoises that jump in the sea, the women walking through fields, nor the vegetable peddlers that shout in the street. Instead, he writes:\u003c/p>\n\u003cblockquote>\u003cp>Only a white-haired old man, who would be a prophet\u003cbr>\nYet is not a prophet, for he’s much too busy,\u003cbr>\nRepeats while he binds his tomatoes:\u003cbr>\nThere will be no other end of the world,\u003cbr>\nThere will be no other end of the world.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13806401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin, author of ‘someone’s dead already’ and ‘Heaven is All Goodbyes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Heaven is All Goodbyes \u003c/em>by Tongo Eisen-Martin is not a book about the end of the world. But the author’s second poetry collection, \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800\" target=\"_blank\" rel=\"noopener\">released by City Lights\u003c/a>, has an feeling of being written from the brink of cataclysm.\u003c/p>\n\u003cp>In Eisen-Martin’s verse, black men get out of cars “against white supremacy,” Europe reaches America “carrying headaches and mirrors,” alarms are made of gold, and in perhaps the most succinct description of our national circumstance, “People are newspapers / and actors / And the congregation is all going to die in character.”\u003c/p>\n\u003cp>I read this book while in the bathtub, with my ears below water, like I was listening to a pristine record with headphones. Musical references pepper this collection, so it is no wonder I had music in mind. There is a sublime cadence in Eisen-Martin’s work that is polyphonic, gritty, and unexpectedly fragile, like jazz. These poems yell, shriek, whisper, mumble in a mosaic of disenfranchised voices pondering police brutality, guns, the power of community, the terror of inherited addiction, and the cold nature of a city that blankets the poor and colored in oppression.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And of course, death, and the passing of the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13806403 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg\" alt=\"\" width=\"351\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg 351w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-240x308.jpg 240w\" sizes=\"(max-width: 351px) 100vw, 351px\">In a recent interview for the Poetry Foundation, Eisen-Martin \u003ca href=\"https://www.poetryfoundation.org/harriet/2017/07/our-generation-rules-are-aeant-to-be-broken\">said\u003c/a> that watching musicians gave him ideas: “For example (and to paraphrase), the saxophonist Sonny Rollins, speaking about soloing, said that what he does is start with a familiar phrase everyone recognizes, and then through the following notes walks away from it towards his subconscious.”\u003c/p>\n\u003cp>These poems certainly do that — walk away from themselves and toward a subconscious riff.\u003c/p>\n\u003cp>Probably the most unique aspect of Eisen-Martin’s style is the decentralization of power featured in his poems, from which he builds a spectacle. The “I” is often not writ large; instead, buildings, streets, and alleys have eminence:\u003c/p>\n\u003cblockquote>\u003cp>When a neighborhood is in pain, houses stutter at each other\u003cbr>\nIn a theater of human and plaster\u003c/p>\n\u003cp>No one ever goes free, but the walls become more thoughtful and\u003cbr>\nremember our names\u003c/p>\n\u003cp>Men think they are passing around cigarettes\u003cbr>\nBut really the cigarettes are passing around men\u003c/p>\n\u003cp style=\"text-align: right\">houses stutter at each other\u003cbr>\nabout the rich man’s world\u003c/p>\n\u003cp style=\"text-align: right\">and the poor man’s water\u003cbr>\nabout the rich man’s world\u003cbr>\nand the poor man’s repetition\u003c/p>\n\u003c/blockquote>\n\u003cp>There is something comforting and soothing about this syntax, the way Eisen-Martin shifts the axis and importance of personhood from people to inanimate things. The air talks to itself in these poems, streets want to be ceilings, the coffin stares at the nails. And though there is grief in this work, it is often faceless, universal, and embodied—as in the last lines of \u003cem>The Confidence Scheme\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“I will buy you a drink tomorrow,”\u003cbr>\nthe pain here told the pain there.\u003c/p>\u003c/blockquote>\n\u003cp>I don’t know about you, but it’s exactly the type of poetry I would want to be reading at the end of the world — the kind that holds a mirror to itself, then a mirror to that mirror.\u003c/p>\n\u003cp>Eisen-Martin some years ago \u003ca href=\"https://thepoetryquestion.com/2015/06/09/the-power-of-poetry-5-tongo-eisen-martin/\">described\u003c/a> poetry as being “every stitch of an expanding universe speaking for itself.” The act of poetry was “the playfulness of people who are outnumbered and outgunned,” in his eyes.\u003c/p>\n\u003cp>“The universe expands, possibly contracts, and always wants us to be free,” he wrote. “And always we are ready for liberation. We are the universe looking at itself. Talking to itself. Healing itself. Instructing itself even. Always. We are ready for liberation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Tongo Eisen-Martin celebrates the release of \u003c/em>Heaven is All Goodbyes \u003cem>at City Lights Bookstore in San Francisco on Thursday, Sept. 14, at 8pm. More information \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=events\">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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What with the stunning eclipse, the troubling interactions of President Trump and Kim Jong-un, the daily fraying of truth, the melting arctic, and white supremacists gathering in Berkeley and San Francisco, the end of the world comes easily to mind.\u003c/p>\n\u003cp>The poet Czeslaw Milosz \u003ca href=\"https://www.poetryfoundation.org/poems/49451/a-song-on-the-end-of-the-world\">imagined\u003c/a> the end of the world as an unnamed destruction not remarked upon by the happy porpoises that jump in the sea, the women walking through fields, nor the vegetable peddlers that shout in the street. Instead, he writes:\u003c/p>\n\u003cblockquote>\u003cp>Only a white-haired old man, who would be a prophet\u003cbr>\nYet is not a prophet, for he’s much too busy,\u003cbr>\nRepeats while he binds his tomatoes:\u003cbr>\nThere will be no other end of the world,\u003cbr>\nThere will be no other end of the world.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13806401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tongo-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin, author of ‘someone’s dead already’ and ‘Heaven is All Goodbyes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Heaven is All Goodbyes \u003c/em>by Tongo Eisen-Martin is not a book about the end of the world. But the author’s second poetry collection, \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800\" target=\"_blank\" rel=\"noopener\">released by City Lights\u003c/a>, has an feeling of being written from the brink of cataclysm.\u003c/p>\n\u003cp>In Eisen-Martin’s verse, black men get out of cars “against white supremacy,” Europe reaches America “carrying headaches and mirrors,” alarms are made of gold, and in perhaps the most succinct description of our national circumstance, “People are newspapers / and actors / And the congregation is all going to die in character.”\u003c/p>\n\u003cp>I read this book while in the bathtub, with my ears below water, like I was listening to a pristine record with headphones. Musical references pepper this collection, so it is no wonder I had music in mind. There is a sublime cadence in Eisen-Martin’s work that is polyphonic, gritty, and unexpectedly fragile, like jazz. These poems yell, shriek, whisper, mumble in a mosaic of disenfranchised voices pondering police brutality, guns, the power of community, the terror of inherited addiction, and the cold nature of a city that blankets the poor and colored in oppression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And of course, death, and the passing of the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13806403 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg\" alt=\"\" width=\"351\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8.jpg 351w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/C54KbUcUoAAsLe8-240x308.jpg 240w\" sizes=\"(max-width: 351px) 100vw, 351px\">In a recent interview for the Poetry Foundation, Eisen-Martin \u003ca href=\"https://www.poetryfoundation.org/harriet/2017/07/our-generation-rules-are-aeant-to-be-broken\">said\u003c/a> that watching musicians gave him ideas: “For example (and to paraphrase), the saxophonist Sonny Rollins, speaking about soloing, said that what he does is start with a familiar phrase everyone recognizes, and then through the following notes walks away from it towards his subconscious.”\u003c/p>\n\u003cp>These poems certainly do that — walk away from themselves and toward a subconscious riff.\u003c/p>\n\u003cp>Probably the most unique aspect of Eisen-Martin’s style is the decentralization of power featured in his poems, from which he builds a spectacle. The “I” is often not writ large; instead, buildings, streets, and alleys have eminence:\u003c/p>\n\u003cblockquote>\u003cp>When a neighborhood is in pain, houses stutter at each other\u003cbr>\nIn a theater of human and plaster\u003c/p>\n\u003cp>No one ever goes free, but the walls become more thoughtful and\u003cbr>\nremember our names\u003c/p>\n\u003cp>Men think they are passing around cigarettes\u003cbr>\nBut really the cigarettes are passing around men\u003c/p>\n\u003cp style=\"text-align: right\">houses stutter at each other\u003cbr>\nabout the rich man’s world\u003c/p>\n\u003cp style=\"text-align: right\">and the poor man’s water\u003cbr>\nabout the rich man’s world\u003cbr>\nand the poor man’s repetition\u003c/p>\n\u003c/blockquote>\n\u003cp>There is something comforting and soothing about this syntax, the way Eisen-Martin shifts the axis and importance of personhood from people to inanimate things. The air talks to itself in these poems, streets want to be ceilings, the coffin stares at the nails. And though there is grief in this work, it is often faceless, universal, and embodied—as in the last lines of \u003cem>The Confidence Scheme\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“I will buy you a drink tomorrow,”\u003cbr>\nthe pain here told the pain there.\u003c/p>\u003c/blockquote>\n\u003cp>I don’t know about you, but it’s exactly the type of poetry I would want to be reading at the end of the world — the kind that holds a mirror to itself, then a mirror to that mirror.\u003c/p>\n\u003cp>Eisen-Martin some years ago \u003ca href=\"https://thepoetryquestion.com/2015/06/09/the-power-of-poetry-5-tongo-eisen-martin/\">described\u003c/a> poetry as being “every stitch of an expanding universe speaking for itself.” The act of poetry was “the playfulness of people who are outnumbered and outgunned,” in his eyes.\u003c/p>\n\u003cp>“The universe expands, possibly contracts, and always wants us to be free,” he wrote. “And always we are ready for liberation. We are the universe looking at itself. Talking to itself. Healing itself. Instructing itself even. Always. We are ready for liberation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12935470 aligncenter\" 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>\u003cem>Tongo Eisen-Martin celebrates the release of \u003c/em>Heaven is All Goodbyes \u003cem>at City Lights Bookstore in San Francisco on Thursday, Sept. 14, at 8pm. More information \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=events\">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>",
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"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
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