Joy Lanzendorfer's work has been in The Atlantic, Smithsonian, NPR, San Francisco Chronicle, The Guardian, Salon, Tin House, and many others. Follow her on Twitter.
By Joy Lanzendorfer
The Sorrow of Isadora Duncan
Examining How Years Slip Away in 'Hourglass: Time, Memory, Marriage'
Bountiful Beach Buffet: Fresh Seaweed Is Making Waves Among Foragers
In Michael Chabon's 'Moonglow,' Deathbed Confessions Enhance a Life
Church, Abortion and Family Converge in Debut Novel 'The Mothers'
Violins, Valedictorians, and Video Games: Felicia Day's New Memoir
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"content": "\u003cp>Fun fact: Isadora Duncan and Jack London were contemporaries. Both were born in San Francisco, in 1877 and 1876, respectively. Both experienced poverty-stricken childhoods in Oakland and went on to make definitive marks on their art forms — London in fiction, Duncan in dance. Both lived dramatic lives full of travel, alcohol, and socialist politics.\u003c/p>\n\u003cp>And both died young — London in 1916 at age 40, from kidney failure; Duncan in 1927 at age 49, famously in a car accident. The long red scarf she was wearing tangled in the hubcap of a moving car. Her neck was broken. \u003c/p>\n\u003cp>We live in a time where the lives of famous artists can attract more interest than the art itself. Sometimes this is a shame, and sometimes it’s a sign that the artist’s persona has outlived her art. Duncan’s work, while important to the history of modern dance, \u003ca href=\"https://www.youtube.com/watch?v=Kq2GgIMM060\" target=\"_blank\" rel=\"noopener\">might look a little silly to modern eyes\u003c/a>. Her life, however, remains fascinating, and thus, a dancer who intended to leave behind an artistic legacy is now a character in other people’s art. Last year, Lily-Rose Depp, Johnny Depp’s daughter, played Duncan in a movie called \u003cem>The Dancer\u003c/em>. This month, there’s a novel, \u003cem>Isadora\u003c/em>, by Amelia Gray. \u003c/p>\n\u003cfigure id=\"attachment_13322817\" class=\"wp-caption alignright\" style=\"max-width: 733px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg\" alt=\"'Isadora,' by Amelia Gray.\" width=\"733\" height=\"1100\" class=\"size-full wp-image-13322817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-520x780.jpg 520w\" sizes=\"(max-width: 733px) 100vw, 733px\">\u003cfigcaption class=\"wp-caption-text\">‘Isadora,’ by Amelia Gray.\u003c/figcaption>\u003c/figure>\n\u003cp>Gray’s novel isn’t the stuff of a Netflix series, however. It’s a serious meditation on grief in the life of an artist. The story starts with the death of Duncan’s children, who drowned when the car they were in accidentally drove into the Seine. The novel stays so mercilessly focused on this tragic event, diving deeper into the effects of grief, that it plunges the reader into an atmosphere suffocated by the presence of loss. “A keening scream spread swiftly from my body to reach the walls and the floor,” Isadora says. “It made a residence of sound [that] echoed through my empty core, my ribs a spider’s web strung ragged across my spine, a sagging cradle for the mess of my broken heart.” She is shattered, and Gray is too ruthless a writer to look away or soften her pain.\u003c/p>\n\u003cp>Told in short chapters, the novel alternates four different voices: Isadora; the father of her son, Paris Singer; her sister, Elizabeth; and her lover, Max. The story moves slowly, inching through the funeral, Isadora’s travels in Europe, and her return to the dance school. There are long, lingering sections about her illness and mundane descriptions of waiting or eating or drinking. There’s an entire chapter where Paris studies the figures in the painting \u003ca href=\"https://en.wikipedia.org/wiki/The_Coronation_of_Napoleon#/media/File:Jacques-Louis_David,_The_Coronation_of_Napoleon_edit.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Coronation of Napoleon\u003c/em>\u003c/a>. This focus on details dissipates the intensity of action — it’s fairly boring to read about funeral arrangements — but does humanize and intensify Duncan’s grief.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Without the dull details fogging things up,” Isadora says, “we can exist forever as in a museum diorama, standing forever in a perfect state of admiration and anticipation.” Certainly, Gray is not interested in a diorama of her famous subject. Her Duncan is a woman rooted deeply in her body. She’s unpleasant, wry, complex, and verging on madness — she pees on the floor, bites people, and eats her children’s ashes. There is her slow, arduous return from the sea of grief to her art, which she also wields with almost careless power. “You don’t have a bit of philosophy you didn’t scrape off the shoes of greater man, and there is no greater man than me,” she says to Max. “You have failed to see how each planet in my orbit is lashed to me with diamond thread.”\u003c/p>\n\u003cp>Fictionalizing a real person is difficult, especially when dealing with personal tragedy. As I read, I found myself wondering about the real Isadora Duncan, and what in the text is fictionalized and what is true. I was perplexed that there weren’t more details of her life before the accident, but maybe that would have been too predictable. (This led to me looking Duncan up online, and remembering the similarities to Jack London. Also, the Duncan siblings used to climb the fence of Gertrude Stein’s house in Oakland and steal apples from her orchard.)\u003c/p>\n\u003cp>But perhaps factoids are best left to biographers. \u003cem>Isadora\u003c/em> explores themes of art and genius, history and personal grief, and the specific sorrows of the female body. It’s not an entirely successful book, nor a happy one, but it does transcend the entertainment value and repurposed gossip of most biographical novels to stand apart as a depiction of an artist’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Amelia Gray reads at The Booksmith in San Francisco on June 26; \u003ca href=\"http://www.booksmith.com/event/amelia-gray-and-rosecrans-baldwin\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: Isadora Duncan and Jack London were contemporaries. Both were born in San Francisco, in 1877 and 1876, respectively. Both experienced poverty-stricken childhoods in Oakland and went on to make definitive marks on their art forms — London in fiction, Duncan in dance. Both lived dramatic lives full of travel, alcohol, and socialist politics.\u003c/p>\n\u003cp>And both died young — London in 1916 at age 40, from kidney failure; Duncan in 1927 at age 49, famously in a car accident. The long red scarf she was wearing tangled in the hubcap of a moving car. Her neck was broken. \u003c/p>\n\u003cp>We live in a time where the lives of famous artists can attract more interest than the art itself. Sometimes this is a shame, and sometimes it’s a sign that the artist’s persona has outlived her art. Duncan’s work, while important to the history of modern dance, \u003ca href=\"https://www.youtube.com/watch?v=Kq2GgIMM060\" target=\"_blank\" rel=\"noopener\">might look a little silly to modern eyes\u003c/a>. Her life, however, remains fascinating, and thus, a dancer who intended to leave behind an artistic legacy is now a character in other people’s art. Last year, Lily-Rose Depp, Johnny Depp’s daughter, played Duncan in a movie called \u003cem>The Dancer\u003c/em>. This month, there’s a novel, \u003cem>Isadora\u003c/em>, by Amelia Gray. \u003c/p>\n\u003cfigure id=\"attachment_13322817\" class=\"wp-caption alignright\" style=\"max-width: 733px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg\" alt=\"'Isadora,' by Amelia Gray.\" width=\"733\" height=\"1100\" class=\"size-full wp-image-13322817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_.jpg 733w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Isadora.Novel_-520x780.jpg 520w\" sizes=\"(max-width: 733px) 100vw, 733px\">\u003cfigcaption class=\"wp-caption-text\">‘Isadora,’ by Amelia Gray.\u003c/figcaption>\u003c/figure>\n\u003cp>Gray’s novel isn’t the stuff of a Netflix series, however. It’s a serious meditation on grief in the life of an artist. The story starts with the death of Duncan’s children, who drowned when the car they were in accidentally drove into the Seine. The novel stays so mercilessly focused on this tragic event, diving deeper into the effects of grief, that it plunges the reader into an atmosphere suffocated by the presence of loss. “A keening scream spread swiftly from my body to reach the walls and the floor,” Isadora says. “It made a residence of sound [that] echoed through my empty core, my ribs a spider’s web strung ragged across my spine, a sagging cradle for the mess of my broken heart.” She is shattered, and Gray is too ruthless a writer to look away or soften her pain.\u003c/p>\n\u003cp>Told in short chapters, the novel alternates four different voices: Isadora; the father of her son, Paris Singer; her sister, Elizabeth; and her lover, Max. The story moves slowly, inching through the funeral, Isadora’s travels in Europe, and her return to the dance school. There are long, lingering sections about her illness and mundane descriptions of waiting or eating or drinking. There’s an entire chapter where Paris studies the figures in the painting \u003ca href=\"https://en.wikipedia.org/wiki/The_Coronation_of_Napoleon#/media/File:Jacques-Louis_David,_The_Coronation_of_Napoleon_edit.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Coronation of Napoleon\u003c/em>\u003c/a>. This focus on details dissipates the intensity of action — it’s fairly boring to read about funeral arrangements — but does humanize and intensify Duncan’s grief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Without the dull details fogging things up,” Isadora says, “we can exist forever as in a museum diorama, standing forever in a perfect state of admiration and anticipation.” Certainly, Gray is not interested in a diorama of her famous subject. Her Duncan is a woman rooted deeply in her body. She’s unpleasant, wry, complex, and verging on madness — she pees on the floor, bites people, and eats her children’s ashes. There is her slow, arduous return from the sea of grief to her art, which she also wields with almost careless power. “You don’t have a bit of philosophy you didn’t scrape off the shoes of greater man, and there is no greater man than me,” she says to Max. “You have failed to see how each planet in my orbit is lashed to me with diamond thread.”\u003c/p>\n\u003cp>Fictionalizing a real person is difficult, especially when dealing with personal tragedy. As I read, I found myself wondering about the real Isadora Duncan, and what in the text is fictionalized and what is true. I was perplexed that there weren’t more details of her life before the accident, but maybe that would have been too predictable. (This led to me looking Duncan up online, and remembering the similarities to Jack London. Also, the Duncan siblings used to climb the fence of Gertrude Stein’s house in Oakland and steal apples from her orchard.)\u003c/p>\n\u003cp>But perhaps factoids are best left to biographers. \u003cem>Isadora\u003c/em> explores themes of art and genius, history and personal grief, and the specific sorrows of the female body. It’s not an entirely successful book, nor a happy one, but it does transcend the entertainment value and repurposed gossip of most biographical novels to stand apart as a depiction of an artist’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Amelia Gray reads at The Booksmith in San Francisco on June 26; \u003ca href=\"http://www.booksmith.com/event/amelia-gray-and-rosecrans-baldwin\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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",
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"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>",
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"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>",
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"disqusTitle": "Bountiful Beach Buffet: Fresh Seaweed Is Making Waves Among Foragers",
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"content": "\u003cp>As seaweed continues to gain popularity for its nutritional benefits and culinary versatility, more people are skipping the dried stuff in the grocery store and going straight to the source: the ocean itself.\u003c/p>\n\u003cp>At low tide on West Coast beaches, foragers hop between rocks looking for bladderwrack, sea lettuce and Irish moss to take home with them. Sea vegetable foraging has become so common, in fact, that you can take a class to learn what to harvest and what to avoid.\u003c/p>\n\u003cfigure id=\"attachment_114660\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85.jpg\" alt=\"Turkish towel growing on a rock. Some chefs like to boil this seaweed down for a natural thickener for sauces.\" width=\"400\" height=\"266\" class=\"size-full wp-image-114660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85-375x249.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Turkish towel growing on a rock. Some chefs like to boil this seaweed down for a natural thickener for sauces. \u003ccite>(Joy Lanzendorfer for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Seaweed foraging is more popular than it used to be,\" says Heidi Herrmann, owner of \u003ca href=\"http://www.strongarmfarm.com/\">Strong Arm Farm\u003c/a> in Healdsburg, Calif. \"With the rise of those little flavored snack packs of seaweed that kids eat in their lunches, seaweed is now a normal household word.\"\u003c/p>\n\u003cp>Herrmann commercially forages seaweed to sell to restaurants in places like Napa and San Francisco. She also leads seaweed foraging classes several times a year. The only equipment her students need is a pair of scissors and a bag to carry the seaweed. It's one of many foraging classes offered along the West Coast. They can cost anywhere between \u003ca href=\"http://www.foragesf.com/seaweed-foraging/\">$90\u003c/a>-\u003ca href=\"http://earthwalknorthwest.com/course-calendar/course-list/seaweeds-coastal-foraging/\">$445\u003c/a>, and can last for several hours or several days. Some include cooking lessons. Others teach how to harvest seaweed from a kayak.\u003c/p>\n\u003cp>With or without a class, seaweed may be the safest food to forage. Unlike mushroom foraging, where many species can kill you, there are no deadly seaweeds. This has led to the idea that it's safe to \"eat the beach,\" which is not exactly true. Some seaweed should be avoided. For example, consuming a lot of acid kelp (\u003cem>Desmarestia ligulata\u003c/em>) can cause intestinal distress. As with all foraging, research is key.\u003c/p>\n\u003cfigure id=\"attachment_114654\" class=\"wp-caption aligncenter\" style=\"max-width: 1997px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb.jpg\" alt=\"Dictyoneurum californicum, which Dennis Judson uses to make the basis of dashi soup stock.\" width=\"1997\" height=\"1123\" class=\"size-full wp-image-114654\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb.jpg 1997w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-520x292.jpg 520w\" sizes=\"(max-width: 1997px) 100vw, 1997px\">\u003cfigcaption class=\"wp-caption-text\">Dictyoneurum californicum, which Dennis Judson uses to make the basis of dashi soup stock. \u003ccite>(Joy Lanzendorfer for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Those general rules that say, 'All of this is edible' or 'All of that is edible' [are] a lazy person's way of not having to know anything,\" says John Kallas, a researcher and educator for \u003ca href=\"http://wildfoodadventures.com/\">Wild Food Adventures in Oregon\u003c/a>. \"You don't just blindly go out and gather stuff. Knowledge is what keeps you safe.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, as Kallas is quick to point out, the beach is full of edible seaweed. Many West Coast varieties are similar to well-known Asian seaweeds. This includes versions of nori, which the Japanese use in sushi; kombu, the base for the broth dashi; and wakame, commonly used in seaweed salad.\u003c/p>\n\u003cp>There are also lesser-known varieties, like sea lettuce, a delicate green seaweed also used in salads. Then there's bladderwrack, which looks like flattened deer antlers and can season meat or thicken sauces. Another example is dulse, which looks like red film tape and is commonly dried and flaked into dishes for seasoning.\u003c/p>\n\u003cfigure id=\"attachment_114662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85.jpg\" alt=\"Feather boa kelp has a leathery strap and small blades that give it a corrugated, leafy appearance. Not only are the leaflets edible, so are the hollow oval bladders that keep the plant afloat.\" width=\"400\" height=\"599\" class=\"size-full wp-image-114662\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85-240x359.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85-375x562.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Feather boa kelp has a leathery strap and small blades that give it a corrugated, leafy appearance. Not only are the leaflets edible, so are the hollow oval bladders that keep the plant afloat. \u003ccite>(Joy Lanzendorfer for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even something as unappetizing as feather boa kelp can have surprising culinary applications. This aptly named kelp — it looks like something you'd wear to a costume party — has a leathery strap and small blades that give it a corrugated, leafy appearance. Not only are the leaflets edible, so are the hollow oval bladders that keep the plant afloat.\u003c/p>\n\u003cp>\"The bladders are a great substitute for olives,\" says Kallas. \"But when you bite them, they pop.\"\u003c/p>\n\u003cp>Seaweed is high in protein, and contains Vitamin B12, iodine and omega-3 fatty acids. It can be a natural source of MSG, which helps provide a savory \u003cem>umami\u003c/em> flavor in dishes. As such, seaweed can flavor soups, thicken sauces, be baked into bread or cakes, or dried and eaten like potato chips. Dennis Judson, who leads seafood foraging classes for \u003ca href=\"http://asudoit.com/product/seafood-foraging-class/\">Adventure Sports Unlimited\u003c/a>, recommends making pickles out of seaweed, particularly bullwhip kelp, which is a long tube with a ball at the end that looks like a whip.\u003c/p>\n\u003cp>\"I cut it into strips, like little donuts,\" says Judson. \"Then I put it in jars and pickle it. Then I put the pickles in Bloody Marys. They're delicious.\"\u003c/p>\n\u003cp>Seaweeds are algae, not plants. They're divided into three types: red, green and brown. (Kelp is a type of seaweed.) Like plants, seaweed uses photosynthesis to convert sunlight into energy. While they can be harvested all year, they're usually at the height of growth in spring and summer. They often grow rapidly, as much as two feet a day.\u003c/p>\n\u003cp>Because of this, most seaweed can withstand ethical foraging. The important thing is to only take the leaf-like blades and leave the hold-fast — essentially, the roots of the seaweed — intact so it can keep producing.\u003c/p>\n\u003cp>It's also important to check regulations before foraging, which can vary drastically based on location. Washington state requires a permit to forage, while Oregon restricts seaweed foraging to a season. California, on the other hand, allows personal seaweed foraging all year long, restricting it to 10 pounds per person a day.\u003c/p>\n\u003cp>Both the California and Washington state departments of fish & wildlife report increased interest in seaweed foraging from the public. But while harvesting seaweed may seem new, it's an ancient activity, stretching back thousands of years. For Herrmann, seaweed foraging is more than just gathering food. It's about feeling connected to the past, and to nature.\u003c/p>\n\u003cp>\"When you're at the shore, you see all these colors and textures and creatures, so many questions come to mind,\" she says. \"And it's timeless in the sense that you're collecting food in a way that has been done for so many years before you, in so many cultures and climates. So it feels like being in a long continuum, and the practices of gathering food in general.\"\u003c/p>\n\u003chr>\n\u003cp>Jo\u003cem>y Lanzendorfer is a writer based in Petaluma, Calif. Her work has appeared in\u003c/em> The Atlantic, Smithsonian, \u003cem>and others\u003c/em>. \u003cem>She's on Twitter \u003c/em>\u003ca href=\"https://twitter.com/JoyLanzendorfer\">@JoyLanzendorfer\u003c/a>. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "Ocean algae is plentiful and grows rapidly, and most of it is safe to eat. People have been harvesting seaweed for thousands of years, but now it's become so popular, you can even take a class.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As seaweed continues to gain popularity for its nutritional benefits and culinary versatility, more people are skipping the dried stuff in the grocery store and going straight to the source: the ocean itself.\u003c/p>\n\u003cp>At low tide on West Coast beaches, foragers hop between rocks looking for bladderwrack, sea lettuce and Irish moss to take home with them. Sea vegetable foraging has become so common, in fact, that you can take a class to learn what to harvest and what to avoid.\u003c/p>\n\u003cfigure id=\"attachment_114660\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85.jpg\" alt=\"Turkish towel growing on a rock. Some chefs like to boil this seaweed down for a natural thickener for sauces.\" width=\"400\" height=\"266\" class=\"size-full wp-image-114660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0385-56_custom-4ee4824b514a76943381999e0b53f81cb313f02b-s400-c85-375x249.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Turkish towel growing on a rock. Some chefs like to boil this seaweed down for a natural thickener for sauces. \u003ccite>(Joy Lanzendorfer for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Seaweed foraging is more popular than it used to be,\" says Heidi Herrmann, owner of \u003ca href=\"http://www.strongarmfarm.com/\">Strong Arm Farm\u003c/a> in Healdsburg, Calif. \"With the rise of those little flavored snack packs of seaweed that kids eat in their lunches, seaweed is now a normal household word.\"\u003c/p>\n\u003cp>Herrmann commercially forages seaweed to sell to restaurants in places like Napa and San Francisco. She also leads seaweed foraging classes several times a year. The only equipment her students need is a pair of scissors and a bag to carry the seaweed. It's one of many foraging classes offered along the West Coast. They can cost anywhere between \u003ca href=\"http://www.foragesf.com/seaweed-foraging/\">$90\u003c/a>-\u003ca href=\"http://earthwalknorthwest.com/course-calendar/course-list/seaweeds-coastal-foraging/\">$445\u003c/a>, and can last for several hours or several days. Some include cooking lessons. Others teach how to harvest seaweed from a kayak.\u003c/p>\n\u003cp>With or without a class, seaweed may be the safest food to forage. Unlike mushroom foraging, where many species can kill you, there are no deadly seaweeds. This has led to the idea that it's safe to \"eat the beach,\" which is not exactly true. Some seaweed should be avoided. For example, consuming a lot of acid kelp (\u003cem>Desmarestia ligulata\u003c/em>) can cause intestinal distress. As with all foraging, research is key.\u003c/p>\n\u003cfigure id=\"attachment_114654\" class=\"wp-caption aligncenter\" style=\"max-width: 1997px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb.jpg\" alt=\"Dictyoneurum californicum, which Dennis Judson uses to make the basis of dashi soup stock.\" width=\"1997\" height=\"1123\" class=\"size-full wp-image-114654\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb.jpg 1997w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0468-56_wide-3aa64d04f6898559413079dfd02771f3214568bb-520x292.jpg 520w\" sizes=\"(max-width: 1997px) 100vw, 1997px\">\u003cfigcaption class=\"wp-caption-text\">Dictyoneurum californicum, which Dennis Judson uses to make the basis of dashi soup stock. \u003ccite>(Joy Lanzendorfer for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Those general rules that say, 'All of this is edible' or 'All of that is edible' [are] a lazy person's way of not having to know anything,\" says John Kallas, a researcher and educator for \u003ca href=\"http://wildfoodadventures.com/\">Wild Food Adventures in Oregon\u003c/a>. \"You don't just blindly go out and gather stuff. Knowledge is what keeps you safe.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, as Kallas is quick to point out, the beach is full of edible seaweed. Many West Coast varieties are similar to well-known Asian seaweeds. This includes versions of nori, which the Japanese use in sushi; kombu, the base for the broth dashi; and wakame, commonly used in seaweed salad.\u003c/p>\n\u003cp>There are also lesser-known varieties, like sea lettuce, a delicate green seaweed also used in salads. Then there's bladderwrack, which looks like flattened deer antlers and can season meat or thicken sauces. Another example is dulse, which looks like red film tape and is commonly dried and flaked into dishes for seasoning.\u003c/p>\n\u003cfigure id=\"attachment_114662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85.jpg\" alt=\"Feather boa kelp has a leathery strap and small blades that give it a corrugated, leafy appearance. Not only are the leaflets edible, so are the hollow oval bladders that keep the plant afloat.\" width=\"400\" height=\"599\" class=\"size-full wp-image-114662\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85-240x359.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/01/dsc_0481-56_custom-0db4f373e87fa44cd9bf26d42556dc9b2c8cb6bf-s400-c85-375x562.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Feather boa kelp has a leathery strap and small blades that give it a corrugated, leafy appearance. Not only are the leaflets edible, so are the hollow oval bladders that keep the plant afloat. \u003ccite>(Joy Lanzendorfer for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even something as unappetizing as feather boa kelp can have surprising culinary applications. This aptly named kelp — it looks like something you'd wear to a costume party — has a leathery strap and small blades that give it a corrugated, leafy appearance. Not only are the leaflets edible, so are the hollow oval bladders that keep the plant afloat.\u003c/p>\n\u003cp>\"The bladders are a great substitute for olives,\" says Kallas. \"But when you bite them, they pop.\"\u003c/p>\n\u003cp>Seaweed is high in protein, and contains Vitamin B12, iodine and omega-3 fatty acids. It can be a natural source of MSG, which helps provide a savory \u003cem>umami\u003c/em> flavor in dishes. As such, seaweed can flavor soups, thicken sauces, be baked into bread or cakes, or dried and eaten like potato chips. Dennis Judson, who leads seafood foraging classes for \u003ca href=\"http://asudoit.com/product/seafood-foraging-class/\">Adventure Sports Unlimited\u003c/a>, recommends making pickles out of seaweed, particularly bullwhip kelp, which is a long tube with a ball at the end that looks like a whip.\u003c/p>\n\u003cp>\"I cut it into strips, like little donuts,\" says Judson. \"Then I put it in jars and pickle it. Then I put the pickles in Bloody Marys. They're delicious.\"\u003c/p>\n\u003cp>Seaweeds are algae, not plants. They're divided into three types: red, green and brown. (Kelp is a type of seaweed.) Like plants, seaweed uses photosynthesis to convert sunlight into energy. While they can be harvested all year, they're usually at the height of growth in spring and summer. They often grow rapidly, as much as two feet a day.\u003c/p>\n\u003cp>Because of this, most seaweed can withstand ethical foraging. The important thing is to only take the leaf-like blades and leave the hold-fast — essentially, the roots of the seaweed — intact so it can keep producing.\u003c/p>\n\u003cp>It's also important to check regulations before foraging, which can vary drastically based on location. Washington state requires a permit to forage, while Oregon restricts seaweed foraging to a season. California, on the other hand, allows personal seaweed foraging all year long, restricting it to 10 pounds per person a day.\u003c/p>\n\u003cp>Both the California and Washington state departments of fish & wildlife report increased interest in seaweed foraging from the public. But while harvesting seaweed may seem new, it's an ancient activity, stretching back thousands of years. For Herrmann, seaweed foraging is more than just gathering food. It's about feeling connected to the past, and to nature.\u003c/p>\n\u003cp>\"When you're at the shore, you see all these colors and textures and creatures, so many questions come to mind,\" she says. \"And it's timeless in the sense that you're collecting food in a way that has been done for so many years before you, in so many cultures and climates. So it feels like being in a long continuum, and the practices of gathering food in general.\"\u003c/p>\n\u003chr>\n\u003cp>Jo\u003cem>y Lanzendorfer is a writer based in Petaluma, Calif. Her work has appeared in\u003c/em> The Atlantic, Smithsonian, \u003cem>and others\u003c/em>. \u003cem>She's on Twitter \u003c/em>\u003ca href=\"https://twitter.com/JoyLanzendorfer\">@JoyLanzendorfer\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Michael Chabon's 'Moonglow,' Deathbed Confessions Enhance a Life",
"headTitle": "In Michael Chabon’s ‘Moonglow,’ Deathbed Confessions Enhance a Life | KQED",
"content": "\u003cp>\u003cem>Moonglow\u003c/em>, the newest book by Michael Chabon, is a novel wrapped in a memoir. Or maybe it’s memoir wrapped in a novel. Either way, it’s an elegantly structured narrative that examines what can be known about a family history colored by personal and historical suffering.\u003c/p>\n\u003cp>The book is based on the deathbed confessions of Chabon’s grandfather. While high on painkillers, he began telling Chabon stories about his stint in jail, serving in World War II, retirement in Florida, and marriage to Chabon’s grandmother. \u003cem>Moonglow\u003c/em> is the grandfather’s life story, but with embellishments to fill in the gaps. As Chabon puts it, “I have stuck to facts, except when facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it.”\u003c/p>\n\u003cp>The grandfather is a familiar 20th-century type, emotionally repressed and controlled. He’s the kind of man who drinks one glass of scotch every Friday night and makes models of lunar bases in his spare time. Chabon’s grandmother, on the other hand, is a dramatic figure who tells stories to her grandson using Tarot cards and who plays an Elvira-like character called the Night Witch on Baltimore television. The first time the grandfather sees her, she’s “posed beside a potted palm, in a fox stole and sunglasses, under a banner that read, TRY YOUR LUCK!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-1020x1530.jpg\" alt=\"moonglow-cover\" width=\"640\" height=\"960\" class=\"aligncenter size-large wp-image-12358583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Some of the best passages in \u003cem>Moonglow\u003c/em> are about the grandmother’s mental illness, which involves terrifying hallucinations of a skinless horse. The illness is related to the grandmother’s trauma as a Jew during World War II. “She was a vessel built to hold the pain of history, but it had cracked her, and radiant darkness leaked out through the crack.” The grandparents’ relationship is a model in fidelity. Despite the turmoil driving them apart, they keep coming back together. Deep love exists alongside personal pain, which seems to necessitate careful negotiation. While Michael learns the full story of his grandmother’s experiences in the war, the grandfather remains willfully ignorant. “What if she were to tell you something or you learned something about her… that caused you to question everything she had told you before?” a psychiatrist asks the grandfather. He replies: “Sounds like I ought to tell her not to tell me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to beautiful language and complex structure, Chabon’s prose is dense with research, covering topics like the history of trick-or-treating, Florida’s invasive pet problem, and advanced robotic navigation research. You can almost picture Chabon looking up the underside of the Francis Scott Key Bridge or what type of sweater a GI might have worn during World War II: “Shawl collar, toggle buttons, and a sash that Aughenbaugh left untied because he felt self-conscious about having womanly hips.” \u003c/p>\n\u003cp>While the research can bog down the narrative, when done well it enhances \u003cem>Moonglow\u003c/em>’s interplay between fact and fiction. In one chapter, for example, Chabon drops storytelling for a digression on the history of German rocket engineering during the war. On the surface, it’s easy to lose patience with what feels like a sudden dive into a term paper, but the chapter gives depth to the grandfather’s war experience, which included witnessing a German labor camp. It’s a relief that we can both experience the gravity of what he saw without having to see it with him. Some things are too serious — too real, if you will — to be subjected to imaginative rendering. Perhaps the only respectful move is to let the facts stand as they are. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Moonglow\u003c/em> is a subtle, poignant novel. A plot that first seems to be about mundane people soon circles and tightens and becomes more reflective of its themes. Revelations come out, sometimes only in footnotes, and connections are made. In the end, this complicated book is a rewarding read — with much to say about our perception of loved ones, the unreliable nature of memory, and the burdens of inheriting a family story damaged by history. \u003c/p>\n\n",
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"excerpt": "How well do we know our loved ones? In the Berkeley author's poignant 'Moonglow,' the answer is a complex combination of fact, memory, and projection.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Moonglow\u003c/em>, the newest book by Michael Chabon, is a novel wrapped in a memoir. Or maybe it’s memoir wrapped in a novel. Either way, it’s an elegantly structured narrative that examines what can be known about a family history colored by personal and historical suffering.\u003c/p>\n\u003cp>The book is based on the deathbed confessions of Chabon’s grandfather. While high on painkillers, he began telling Chabon stories about his stint in jail, serving in World War II, retirement in Florida, and marriage to Chabon’s grandmother. \u003cem>Moonglow\u003c/em> is the grandfather’s life story, but with embellishments to fill in the gaps. As Chabon puts it, “I have stuck to facts, except when facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it.”\u003c/p>\n\u003cp>The grandfather is a familiar 20th-century type, emotionally repressed and controlled. He’s the kind of man who drinks one glass of scotch every Friday night and makes models of lunar bases in his spare time. Chabon’s grandmother, on the other hand, is a dramatic figure who tells stories to her grandson using Tarot cards and who plays an Elvira-like character called the Night Witch on Baltimore television. The first time the grandfather sees her, she’s “posed beside a potted palm, in a fox stole and sunglasses, under a banner that read, TRY YOUR LUCK!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-1020x1530.jpg\" alt=\"moonglow-cover\" width=\"640\" height=\"960\" class=\"aligncenter size-large wp-image-12358583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Moonglow.cover_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Some of the best passages in \u003cem>Moonglow\u003c/em> are about the grandmother’s mental illness, which involves terrifying hallucinations of a skinless horse. The illness is related to the grandmother’s trauma as a Jew during World War II. “She was a vessel built to hold the pain of history, but it had cracked her, and radiant darkness leaked out through the crack.” The grandparents’ relationship is a model in fidelity. Despite the turmoil driving them apart, they keep coming back together. Deep love exists alongside personal pain, which seems to necessitate careful negotiation. While Michael learns the full story of his grandmother’s experiences in the war, the grandfather remains willfully ignorant. “What if she were to tell you something or you learned something about her… that caused you to question everything she had told you before?” a psychiatrist asks the grandfather. He replies: “Sounds like I ought to tell her not to tell me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to beautiful language and complex structure, Chabon’s prose is dense with research, covering topics like the history of trick-or-treating, Florida’s invasive pet problem, and advanced robotic navigation research. You can almost picture Chabon looking up the underside of the Francis Scott Key Bridge or what type of sweater a GI might have worn during World War II: “Shawl collar, toggle buttons, and a sash that Aughenbaugh left untied because he felt self-conscious about having womanly hips.” \u003c/p>\n\u003cp>While the research can bog down the narrative, when done well it enhances \u003cem>Moonglow\u003c/em>’s interplay between fact and fiction. In one chapter, for example, Chabon drops storytelling for a digression on the history of German rocket engineering during the war. On the surface, it’s easy to lose patience with what feels like a sudden dive into a term paper, but the chapter gives depth to the grandfather’s war experience, which included witnessing a German labor camp. It’s a relief that we can both experience the gravity of what he saw without having to see it with him. Some things are too serious — too real, if you will — to be subjected to imaginative rendering. Perhaps the only respectful move is to let the facts stand as they are. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Moonglow\u003c/em> is a subtle, poignant novel. A plot that first seems to be about mundane people soon circles and tightens and becomes more reflective of its themes. Revelations come out, sometimes only in footnotes, and connections are made. In the end, this complicated book is a rewarding read — with much to say about our perception of loved ones, the unreliable nature of memory, and the burdens of inheriting a family story damaged by history. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How critical should a reviewer be of a first novel? This is the question I asked myself as I read \u003cem>The Mothers\u003c/em>, the debut novel by Brit Bennett, a National Book Foundation 5 Under 35 honoree who’s written for the \u003cem>New Yorker\u003c/em>, Jezebel, and the \u003cem>New York Times\u003c/em>. There are, of course, brilliant first novels, but most of the time they’re the flawed result of a writer learning how to tell a story. Often they’re more indicative of talent than craftsmanship.\u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> (Riverhead Books; $26, out Oct. 11) falls into this category. It’s a novel full of authentic observations and complex moments, yet its parts never quite weave together in the way its author seems to intend.\u003c/p>\n\u003cp>The story revolves around Upper Room Chapel, a church in a black community in San Diego. Nadia Turner is a teenager whose mother has just committed suicide. To escape her grief, she begins secretly dating the pastor’s son, Luke Sheppard. When Nadia discovers she’s pregnant, she gets an abortion, a big no-no in the religious community in which she lives. This event continues to affect the characters, and those they love, well into adulthood. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mothers.jpg\" alt=\"'The Mothers' book cover\" width=\"298\" height=\"450\" class=\"aligncenter size-full wp-image-12164410\">\u003c/p>\n\u003cp>Bennett has an eye for emotional details, especially related to grief and emptiness. Before her mother’s death, Nadia felt like she was “being handed from person to person like a baton… Then one day, her mother’s hand was gone and she’d fallen, clattering to the floor.” As the title suggests, this novel is concerned with motherhood and mothering. The moms in this book are either stern, disapproving, or absent. Nadia becomes friends with Aubrey, a teenager whose mom has abandoned her. The girls bond over their loss, wondering “if they were the only ones who felt they didn’t know their mothers. Maybe mothers were inherently vast and unknowable.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this novel, love is a rare and costly commodity. The characters are both desperately seeking love and withholding it from others. It’s “that littlebit of honey left in an empty jar that traps the sweetness in your mouth long enough to mask your hunger… and in all our living, nothing has starved us more.” \u003cem>The Mothers\u003c/em> seems to suggest that happiness, or at least peace, lies in avoiding the trouble of attaching others and in loving yourself instead. \u003c/p>\n\u003cp>Less successful are the many minor characters who appear and disappear like guest stars on a TV show, as well as the frequent changes in points of view. In the span of four pages, the novel dips into Nadia mom’s mind, Nadia age 4, Nadia in the present, Nadia at her mom’s funeral, and Nadia’s first kiss behind the church. That’s a lot of shifting even for a modernist master — Virginia Woolf, say. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> takes its name from the church women of Upper Room, who speak in the first-person-plural “we” at the beginning of each chapter. These women, who are in their 80s and 90s, gossip about Nadia and her family. While individually named, the mothers are interchangeable and never come together as real entities or a convincing chorus. Instead they seem like a distraction from the real action of the novel, which is the love triangle between Luke, Nadia, and Aubrey.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Brit.jpg\" alt=\"Brit\" width=\"300\" height=\"450\" class=\"aligncenter size-full wp-image-12164411\">\u003c/p>\n\u003cp>It would be hard to write a book about a church community without either condemning that community or allowing religious symbolism to overtake the narrative. Bennett handles this by downplaying the religious beliefs of her characters. The mothers rarely mention Jesus, for example. Prayer to them isn’t communion with God but an act of empathy, where you “slip inside” the person you’re praying for. That’s an interesting idea, but unlikely to be the thoughts of women so religious they practically live at church.\u003c/p>\n\u003cp>Since a great deal of the plot deals with teenage pregnancy, including a pastor paying for an abortion in a church conservative enough to protest health clinics, the lack of insight into belief feels unconvincing. It has the effect of hollowing out a narrative that doesn’t seem to want to talk about religion in the first place, despite the writer’s choice of a church as its setting. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> is strongest when dealing with the emotional entanglement of the young adults at its center, so much so that it might have missed its calling as a young adult novel. It is, however, a vivid story, with lots of juicy bits, and a satisfying, lyrical ending. Bennett’s gift for characters, and her ability to unpack emotions and make them feel real, means that I’m sure we’ll be seeing more from her in the future. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Brit Bennett appears at Green Apple Books on the Park on Wednesday, Oct. 26. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-brit-bennett\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How critical should a reviewer be of a first novel? This is the question I asked myself as I read \u003cem>The Mothers\u003c/em>, the debut novel by Brit Bennett, a National Book Foundation 5 Under 35 honoree who’s written for the \u003cem>New Yorker\u003c/em>, Jezebel, and the \u003cem>New York Times\u003c/em>. There are, of course, brilliant first novels, but most of the time they’re the flawed result of a writer learning how to tell a story. Often they’re more indicative of talent than craftsmanship.\u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> (Riverhead Books; $26, out Oct. 11) falls into this category. It’s a novel full of authentic observations and complex moments, yet its parts never quite weave together in the way its author seems to intend.\u003c/p>\n\u003cp>The story revolves around Upper Room Chapel, a church in a black community in San Diego. Nadia Turner is a teenager whose mother has just committed suicide. To escape her grief, she begins secretly dating the pastor’s son, Luke Sheppard. When Nadia discovers she’s pregnant, she gets an abortion, a big no-no in the religious community in which she lives. This event continues to affect the characters, and those they love, well into adulthood. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mothers.jpg\" alt=\"'The Mothers' book cover\" width=\"298\" height=\"450\" class=\"aligncenter size-full wp-image-12164410\">\u003c/p>\n\u003cp>Bennett has an eye for emotional details, especially related to grief and emptiness. Before her mother’s death, Nadia felt like she was “being handed from person to person like a baton… Then one day, her mother’s hand was gone and she’d fallen, clattering to the floor.” As the title suggests, this novel is concerned with motherhood and mothering. The moms in this book are either stern, disapproving, or absent. Nadia becomes friends with Aubrey, a teenager whose mom has abandoned her. The girls bond over their loss, wondering “if they were the only ones who felt they didn’t know their mothers. Maybe mothers were inherently vast and unknowable.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this novel, love is a rare and costly commodity. The characters are both desperately seeking love and withholding it from others. It’s “that littlebit of honey left in an empty jar that traps the sweetness in your mouth long enough to mask your hunger… and in all our living, nothing has starved us more.” \u003cem>The Mothers\u003c/em> seems to suggest that happiness, or at least peace, lies in avoiding the trouble of attaching others and in loving yourself instead. \u003c/p>\n\u003cp>Less successful are the many minor characters who appear and disappear like guest stars on a TV show, as well as the frequent changes in points of view. In the span of four pages, the novel dips into Nadia mom’s mind, Nadia age 4, Nadia in the present, Nadia at her mom’s funeral, and Nadia’s first kiss behind the church. That’s a lot of shifting even for a modernist master — Virginia Woolf, say. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> takes its name from the church women of Upper Room, who speak in the first-person-plural “we” at the beginning of each chapter. These women, who are in their 80s and 90s, gossip about Nadia and her family. While individually named, the mothers are interchangeable and never come together as real entities or a convincing chorus. Instead they seem like a distraction from the real action of the novel, which is the love triangle between Luke, Nadia, and Aubrey.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Brit.jpg\" alt=\"Brit\" width=\"300\" height=\"450\" class=\"aligncenter size-full wp-image-12164411\">\u003c/p>\n\u003cp>It would be hard to write a book about a church community without either condemning that community or allowing religious symbolism to overtake the narrative. Bennett handles this by downplaying the religious beliefs of her characters. The mothers rarely mention Jesus, for example. Prayer to them isn’t communion with God but an act of empathy, where you “slip inside” the person you’re praying for. That’s an interesting idea, but unlikely to be the thoughts of women so religious they practically live at church.\u003c/p>\n\u003cp>Since a great deal of the plot deals with teenage pregnancy, including a pastor paying for an abortion in a church conservative enough to protest health clinics, the lack of insight into belief feels unconvincing. It has the effect of hollowing out a narrative that doesn’t seem to want to talk about religion in the first place, despite the writer’s choice of a church as its setting. \u003c/p>\n\u003cp>\u003cem>The Mothers\u003c/em> is strongest when dealing with the emotional entanglement of the young adults at its center, so much so that it might have missed its calling as a young adult novel. It is, however, a vivid story, with lots of juicy bits, and a satisfying, lyrical ending. Bennett’s gift for characters, and her ability to unpack emotions and make them feel real, means that I’m sure we’ll be seeing more from her in the future. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Brit Bennett appears at Green Apple Books on the Park on Wednesday, Oct. 26. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-brit-bennett\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Violins, Valedictorians, and Video Games: Felicia Day's New Memoir",
"headTitle": "Violins, Valedictorians, and Video Games: Felicia Day’s New Memoir | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Felicia Day\u003c/h2>\n\u003cdiv class=\"event-desc\">Internet-famous actress discusses new book.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 20\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Jewish Community Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/felicia-day\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 21\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Book Passage Ferry Building\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.bookpassage.com/event/felicia-day-youre-never-weird-internet-almost\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’re living in the era of the female celebrity memoir. Everyone from Amy Poehler to Lena Dunham to Amanda Palmer has written one, usually with a message about saying yes to opportunities. Now, it’s Felicia Day’s turn, with \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> (Touchstone; $25.99).\u003c/p>\n\u003cp>Day, who appears at multiple book events in the Bay Area this month, is internet famous. While many might not know her work, she’s popular online for her roles in Joss Whedon projects like \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> and for creating the web series \u003cem>The Guild\u003c/em>.\u003c/p>\n\u003cp>In her memoir, Day uses the same nervous, funny voice used in her online videos. One second she’s on the verge of a freakout, the next she’s doing cartwheels on the page with all-caps and exclamation points. The book is peppered with Photoshopped images and humorous insights into her childhood: “Growing up without being judged by other kids allowed me to be okay with liking things no one else liked,” she writes. “How else could a twelve-year-old girl be so well versed in dragon lore and film noir?”\u003c/p>\n\u003cp>But Day isn’t weird so much as interesting. A home-schooled Southerner who moved around a lot, she describes a laissez-faire childhood that included computer games, fantasy books, and visiting Civil War memorial sites. (“It’s super fun to roll down a grassy hill where thousands of Confederate bodies are buried,” she writes.) She’s also smart, almost preciously so; upon learning she had to pass her SATs to get into college, she completed 100 practice tests over five days and got an almost perfect score. She enrolled in college at age 16 with a double major in math and violin, and graduated as valedictorian.\u003c/p>\n\u003cfigure id=\"attachment_10896303\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10896303\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/final-cover.jpg\" alt=\"Felicia Day's new memoir.\" width=\"425\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-398x600.jpg 398w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Day’s new memoir.\u003c/figcaption>\u003c/figure>\n\u003cp>Not that Day wants you to know these things. Her accomplishments are buried underneath self-deprecating humor that seems almost pathological. Here’s how she tells you about her musical skills: “Surprisingly, people didn’t invite the sixteen-year-old violin prodigy to keggers.” Hang on, she was a \u003cem>violin prodigy\u003c/em>? Talk about burying the lede.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To hear Day tell it, she spent her entire acting career doing commercials and playing bit parts as a secretary. There’s little mention of her work in \u003cem>Buffy the Vampire Slayer\u003c/em> or \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em>. If you want insider Joss Whedon information, you’re out of luck here (though Whedon does write a flattering forward for the book).\u003c/p>\n\u003cp>What Day \u003cem>does\u003c/em> go into detail about is her addiction to the video game \u003cem>World of Warcraft\u003c/em>. At the height of her addiction, Day played the game to the determent of everything else. “I stopped going to acting classes. I stopped performing improv. Or doing plays. Or socializing with real-life human beings.” As is often the case with this book, Day glosses over the effect this addiction had on her life and career, or what it meant to her on a deeper level. But she does open up about how it led to her making \u003cem>The Guild\u003c/em>. She takes the reader through the initial idea for the series, her struggles writing it, making and promoting the first video, and how all that DIY grit led to her carving out a more satisfying career for herself.\u003c/p>\n\u003cp>The book ends with a chapter on GamerGate, the ongoing controversy about video-game reviewing that’s led to several women being attacked online. Day was one of them, and the situation sounds terrifying. It started when one of her musical videos elicited a “tidal wave of bile.” There were “hundreds and hundreds of comments, the depravity of which even jaded little me had never seen.” When she posted an essay about the situation, trolls reacted by putting her address online. Soon people were sitting in cars outside her house. There were weird phone calls. She received certified letters that said, “I know where you live.” She worried someone would hurt her dog. “I will never feel 100-percent safe in my own home again,” she writes, pinpointing the real-life cost of misogynistic internet bullying.\u003c/p>\n\u003cp>GamerGate made Day worry about the state of the internet. Instead of a place where people can be themselves and connect with others, she’s concerned the internet “was really a place where people could steep themselves in their own worldview until they became willfully blind to everything else.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a chilling point. Too often people seem to forget that when they’re arguing online, there’s another human on the other end of the computer connection. \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> reminds us that even internet celebrities have feelings too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Felicia Day\u003c/h2>\n\u003cdiv class=\"event-desc\">Internet-famous actress discusses new book.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 20\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Jewish Community Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/felicia-day\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 21\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Book Passage Ferry Building\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.bookpassage.com/event/felicia-day-youre-never-weird-internet-almost\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’re living in the era of the female celebrity memoir. Everyone from Amy Poehler to Lena Dunham to Amanda Palmer has written one, usually with a message about saying yes to opportunities. Now, it’s Felicia Day’s turn, with \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> (Touchstone; $25.99).\u003c/p>\n\u003cp>Day, who appears at multiple book events in the Bay Area this month, is internet famous. While many might not know her work, she’s popular online for her roles in Joss Whedon projects like \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> and for creating the web series \u003cem>The Guild\u003c/em>.\u003c/p>\n\u003cp>In her memoir, Day uses the same nervous, funny voice used in her online videos. One second she’s on the verge of a freakout, the next she’s doing cartwheels on the page with all-caps and exclamation points. The book is peppered with Photoshopped images and humorous insights into her childhood: “Growing up without being judged by other kids allowed me to be okay with liking things no one else liked,” she writes. “How else could a twelve-year-old girl be so well versed in dragon lore and film noir?”\u003c/p>\n\u003cp>But Day isn’t weird so much as interesting. A home-schooled Southerner who moved around a lot, she describes a laissez-faire childhood that included computer games, fantasy books, and visiting Civil War memorial sites. (“It’s super fun to roll down a grassy hill where thousands of Confederate bodies are buried,” she writes.) She’s also smart, almost preciously so; upon learning she had to pass her SATs to get into college, she completed 100 practice tests over five days and got an almost perfect score. She enrolled in college at age 16 with a double major in math and violin, and graduated as valedictorian.\u003c/p>\n\u003cfigure id=\"attachment_10896303\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10896303\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/final-cover.jpg\" alt=\"Felicia Day's new memoir.\" width=\"425\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/final-cover-398x600.jpg 398w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Day’s new memoir.\u003c/figcaption>\u003c/figure>\n\u003cp>Not that Day wants you to know these things. Her accomplishments are buried underneath self-deprecating humor that seems almost pathological. Here’s how she tells you about her musical skills: “Surprisingly, people didn’t invite the sixteen-year-old violin prodigy to keggers.” Hang on, she was a \u003cem>violin prodigy\u003c/em>? Talk about burying the lede.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To hear Day tell it, she spent her entire acting career doing commercials and playing bit parts as a secretary. There’s little mention of her work in \u003cem>Buffy the Vampire Slayer\u003c/em> or \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em>. If you want insider Joss Whedon information, you’re out of luck here (though Whedon does write a flattering forward for the book).\u003c/p>\n\u003cp>What Day \u003cem>does\u003c/em> go into detail about is her addiction to the video game \u003cem>World of Warcraft\u003c/em>. At the height of her addiction, Day played the game to the determent of everything else. “I stopped going to acting classes. I stopped performing improv. Or doing plays. Or socializing with real-life human beings.” As is often the case with this book, Day glosses over the effect this addiction had on her life and career, or what it meant to her on a deeper level. But she does open up about how it led to her making \u003cem>The Guild\u003c/em>. She takes the reader through the initial idea for the series, her struggles writing it, making and promoting the first video, and how all that DIY grit led to her carving out a more satisfying career for herself.\u003c/p>\n\u003cp>The book ends with a chapter on GamerGate, the ongoing controversy about video-game reviewing that’s led to several women being attacked online. Day was one of them, and the situation sounds terrifying. It started when one of her musical videos elicited a “tidal wave of bile.” There were “hundreds and hundreds of comments, the depravity of which even jaded little me had never seen.” When she posted an essay about the situation, trolls reacted by putting her address online. Soon people were sitting in cars outside her house. There were weird phone calls. She received certified letters that said, “I know where you live.” She worried someone would hurt her dog. “I will never feel 100-percent safe in my own home again,” she writes, pinpointing the real-life cost of misogynistic internet bullying.\u003c/p>\n\u003cp>GamerGate made Day worry about the state of the internet. Instead of a place where people can be themselves and connect with others, she’s concerned the internet “was really a place where people could steep themselves in their own worldview until they became willfully blind to everything else.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a chilling point. Too often people seem to forget that when they’re arguing online, there’s another human on the other end of the computer connection. \u003cem>You’re Never Weird On The Internet (Almost)\u003c/em> reminds us that even internet celebrities have feelings too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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