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"title": "'The White Hot' asks: If men can go find themselves, why can't women?",
"excerpt": "Quiara Alegría Hudes' novel was inspired by \u003cem>Siddhartha\u003c/em> and other classic tales of men seeking enlightenment. It's about a mother in Philadelphia who buys a bus ticket, leaving her daughter behind.",
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"content": "\u003cp>Pulitzer Prize-winning playwright Quiara Alegría Hudes asks a provocative question in her debut novel: What if a woman undertook a spiritual quest in the same way that some literary men do?\u003c/p>\u003cp>\u003cem>The White Hot\u003c/em> follows April, a young mother from Philadelphia who buys a one-way bus ticket and leaves her 10-year-old daughter in an effort to find herself. Hudes says the novel was inspired by \u003cem>Siddhartha\u003c/em> and other classic tales of men finding enlightenment — and by her own mother, who was never afforded the same freedom. \u003c/p>\u003cp>\"She had to, like, find God while she was doing the dishes,\" Hudes says of her mother. \"I remember feeling kind of ... bitter about that, even in high school, feeling like a lady wouldn't get to do that. Just dudes get to go on the road, hit the road. Be the pilgrim, make their progress.\"\u003c/p>\u003cp>Hudes' 2011 play \u003ca href=\"https://www.npr.org/2013/01/08/168814442/a-vets-haunted-homecoming-in-water-by-the-spoonful\" target=\"_blank\">\u003cem>Water by the Spoonful\u003c/em> \u003c/a>explored addiction and trauma in a Puerto Rican American family. She also wrote the book for\u003cem> In the Heights\u003c/em> and adapted it \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\">for the screen\u003c/a>. Her memoir, \u003cem>My Broken Language\u003c/em>, traced her multigenerational upbringing in Philadelphia. She says that as the daughter of a Puerto Rican mother and a white father, she identifies with the city's many different facets.\u003c/p>\u003cp>\"There's so many identities, and oftentimes they're directly at odds with each other,\" she says. \"It was those friction points that made me feel kind of alive. And now I know as a writer, that's what I'm always digging into, you know? Where are the moments where the dichotomy is the reality and is the truth?\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On\u003c/strong> \u003cstrong>April, the antihero of \u003cem>The White Hot\u003c/em>\u003c/strong>\u003c/p>\u003cp>She's done the unthinkable. She's left her child. And we know that from the beginning. It's not a spoiler. But what the book doesn't detail as much, because it's just a given, is that she didn't leave her child. She stayed with her child. When she was pregnant as a high schooler, as a teenager, the dad saw that and wanted no part of it and he took off. So she's the one that made the decision to stay. I wonder if even me writing the story of her leaving and not the story of her staying did her a slight disservice, but I don't think so. I think that she has this message to give to her estranged daughter, who she left when she was 10 years old, and she wants this daughter to know, look, I stayed for 10 years, but here's what it's like to be a woman who takes her life into her own hands and who has agency. And maybe I waited too long to learn these lessons. Maybe you can learn these lessons a little bit sooner.\u003c/p>\u003cp>\u003cstrong>On why she wanted to explore rage \u003c/strong>\u003c/p>\u003cp>It's not an emotion I have such healthy and direct access to. And so I wanted to explore that through a fictional character. What is anger? What purpose does it serve in our lives? It's mostly been the province of men in popular culture and in cultural narratives. What is an angry woman? And is there a way that anger can be productive, actually, in addition to its destructive components? \u003c/p>\u003cp>One of the things we discover in April's story is that, as a child, she witnessed a pretty traumatic act of violence. Now, those of us who are familiar with PTSD know that when faced with something that triggers that memory, it's fight or flight, it's freeze or fawn. And so I wanted to write this character who fought. She didn't fight when she witnessed this violent act; instead she got into schoolyard fights on the playground. And she became a really good fighter and that got her into a lot of trouble. And really the book is about her transforming this kind of raw elemental energy that she's been overly easily tapped into, which is her rage, transforming its power into a different source and release in her life.\u003c/p>\u003cp>\u003cstrong>On her mom becoming a high priestess in the Afro-Cuban Lukumi tradition\u003c/strong>\u003c/p>\u003cp>She was born into spiritual gifts and she sees the world through very different eyes than I have. She could see spirits when she was a child and it scared her. She didn't understand it a lot of the time. It marked her as different in her community. And it came with senses of responsibility too. She used to see, \"Oh, so-and-so came to me. And said, 'I'm dying, I am dying.'\" And then they would rush to that elder's house and this elder had died in their sleep. So she saw a few deaths before they occurred. And then, they started coming to her, asking for her insight, and it's more than a child could shoulder. So for many years, she kind of tamped down her spiritual proclivities because they scared her.\u003c/p>\u003cp>\u003cstrong>On her creative partnership with \u003c/strong>\u003ca href=\"https://www.npr.org/2017/01/03/507470975/lin-manuel-miranda-on-disney-mixtapes-and-why-he-wont-try-to-top-hamilton\" target=\"_blank\">\u003cstrong>Lin-Manuel Miranda\u003c/strong>\u003c/a>\u003c/p>\u003cp>I can see now that one of the things that weaves through the pieces I've done with Lin is we're very playful. They're joyous works, they're effervescent works. \u003cem>In the Heights\u003c/em> is probably the happiest thing I've ever written, followed closely by \u003cem>Vivo\u003c/em>. And we just get that kind of playful side out of each other. It's a little bit more natural to him. He's a very upbeat and optimistic person. I definitely have a dark broody side that comes out in pieces like \u003cem>The White Hot\u003c/em>. … You remember when you were a kid and you'd have a friend and you just be like, \"Hey, you wanna come over and play?\" That's it, like that's the basic relationship that we have when working.\u003c/p>\u003cp>\u003cem>Therese Madden and Nico Gonzalez Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pulitzer Prize-winning playwright Quiara Alegría Hudes asks a provocative question in her debut novel: What if a woman undertook a spiritual quest in the same way that some literary men do?\u003c/p>\u003cp>\u003cem>The White Hot\u003c/em> follows April, a young mother from Philadelphia who buys a one-way bus ticket and leaves her 10-year-old daughter in an effort to find herself. Hudes says the novel was inspired by \u003cem>Siddhartha\u003c/em> and other classic tales of men finding enlightenment — and by her own mother, who was never afforded the same freedom. \u003c/p>\u003cp>\"She had to, like, find God while she was doing the dishes,\" Hudes says of her mother. \"I remember feeling kind of ... bitter about that, even in high school, feeling like a lady wouldn't get to do that. Just dudes get to go on the road, hit the road. Be the pilgrim, make their progress.\"\u003c/p>\u003cp>Hudes' 2011 play \u003ca href=\"https://www.npr.org/2013/01/08/168814442/a-vets-haunted-homecoming-in-water-by-the-spoonful\" target=\"_blank\">\u003cem>Water by the Spoonful\u003c/em> \u003c/a>explored addiction and trauma in a Puerto Rican American family. She also wrote the book for\u003cem> In the Heights\u003c/em> and adapted it \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\">for the screen\u003c/a>. Her memoir, \u003cem>My Broken Language\u003c/em>, traced her multigenerational upbringing in Philadelphia. She says that as the daughter of a Puerto Rican mother and a white father, she identifies with the city's many different facets.\u003c/p>\u003cp>\"There's so many identities, and oftentimes they're directly at odds with each other,\" she says. \"It was those friction points that made me feel kind of alive. And now I know as a writer, that's what I'm always digging into, you know? Where are the moments where the dichotomy is the reality and is the truth?\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On\u003c/strong> \u003cstrong>April, the antihero of \u003cem>The White Hot\u003c/em>\u003c/strong>\u003c/p>\u003cp>She's done the unthinkable. She's left her child. And we know that from the beginning. It's not a spoiler. But what the book doesn't detail as much, because it's just a given, is that she didn't leave her child. She stayed with her child. When she was pregnant as a high schooler, as a teenager, the dad saw that and wanted no part of it and he took off. So she's the one that made the decision to stay. I wonder if even me writing the story of her leaving and not the story of her staying did her a slight disservice, but I don't think so. I think that she has this message to give to her estranged daughter, who she left when she was 10 years old, and she wants this daughter to know, look, I stayed for 10 years, but here's what it's like to be a woman who takes her life into her own hands and who has agency. And maybe I waited too long to learn these lessons. Maybe you can learn these lessons a little bit sooner.\u003c/p>\u003cp>\u003cstrong>On why she wanted to explore rage \u003c/strong>\u003c/p>\u003cp>It's not an emotion I have such healthy and direct access to. And so I wanted to explore that through a fictional character. What is anger? What purpose does it serve in our lives? It's mostly been the province of men in popular culture and in cultural narratives. What is an angry woman? And is there a way that anger can be productive, actually, in addition to its destructive components? \u003c/p>\u003cp>One of the things we discover in April's story is that, as a child, she witnessed a pretty traumatic act of violence. Now, those of us who are familiar with PTSD know that when faced with something that triggers that memory, it's fight or flight, it's freeze or fawn. And so I wanted to write this character who fought. She didn't fight when she witnessed this violent act; instead she got into schoolyard fights on the playground. And she became a really good fighter and that got her into a lot of trouble. And really the book is about her transforming this kind of raw elemental energy that she's been overly easily tapped into, which is her rage, transforming its power into a different source and release in her life.\u003c/p>\u003cp>\u003cstrong>On her mom becoming a high priestess in the Afro-Cuban Lukumi tradition\u003c/strong>\u003c/p>\u003cp>She was born into spiritual gifts and she sees the world through very different eyes than I have. She could see spirits when she was a child and it scared her. She didn't understand it a lot of the time. It marked her as different in her community. And it came with senses of responsibility too. She used to see, \"Oh, so-and-so came to me. And said, 'I'm dying, I am dying.'\" And then they would rush to that elder's house and this elder had died in their sleep. So she saw a few deaths before they occurred. And then, they started coming to her, asking for her insight, and it's more than a child could shoulder. So for many years, she kind of tamped down her spiritual proclivities because they scared her.\u003c/p>\u003cp>\u003cstrong>On her creative partnership with \u003c/strong>\u003ca href=\"https://www.npr.org/2017/01/03/507470975/lin-manuel-miranda-on-disney-mixtapes-and-why-he-wont-try-to-top-hamilton\" target=\"_blank\">\u003cstrong>Lin-Manuel Miranda\u003c/strong>\u003c/a>\u003c/p>\u003cp>I can see now that one of the things that weaves through the pieces I've done with Lin is we're very playful. They're joyous works, they're effervescent works. \u003cem>In the Heights\u003c/em> is probably the happiest thing I've ever written, followed closely by \u003cem>Vivo\u003c/em>. And we just get that kind of playful side out of each other. It's a little bit more natural to him. He's a very upbeat and optimistic person. I definitely have a dark broody side that comes out in pieces like \u003cem>The White Hot\u003c/em>. … You remember when you were a kid and you'd have a friend and you just be like, \"Hey, you wanna come over and play?\" That's it, like that's the basic relationship that we have when working.\u003c/p>\u003cp>\u003cem>Therese Madden and Nico Gonzalez Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"title": "'Even the Dead' wraps up John Banville's smart, moody mystery series",
"excerpt": "Originally published under a pseudonym, Banville's Quirke mystery series follows a troubled Dublin coroner who dwells in the basement morgue of a hospital. ",
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"content": "\u003cp>It's a particularly bleak January — reason enough for literary escape. But, while some readers opt for sunshine (maybe a romance or historical novel) others are drawn to a genre that transports us deeper into darkness, while also affirming the power of reason to arrive at some clarity. I'm talking of course about noir fiction. And turning up just in time to accompany us through the gloom, here comes Quirke, again.\u003c/p>\u003cp>Quirke is the anti-hero of a series of mysteries set in 1950s Dublin written by Irish novelist John Banville. A coroner and pathologist, Quirke — who goes by one name only — dwells, as he's put it, \"Down among the dead men\" in the basement morgue of a hospital. \u003c/p>\u003cp>Banville, who won the Booker Prize for his 2005 literary novel, \u003ca href=\"https://www.npr.org/2005/10/11/4953637/booker-prize-goes-to-banvilles-the-sea\" target=\"_blank\">\u003cem>The Sea\u003c/em>\u003c/a>\u003cem>, \u003c/em>published his first Quirke mystery in 2006, under the pseudonym Benjamin Black. Holt paperbacks has been reissuing the novels under Banville's name; the seventh and last reprint has just come out. \u003c/p>\u003cp>\u003cem>Even\u003c/em> \u003cem>the Dead\u003c/em>, affirms what we Quirke admirers already know: namely, that there never was much distinction between Banville's so-called \"literary novels\" and his mysteries. Both are graced with Banville's signature pensive atmosphere and a subdued beauty of language.\u003c/p>\u003cp>\u003cem>Even the Dead \u003c/em>finds Quirke recovering from traumatic brain injuries he sustained in a previous investigation. He's suffering from \"absence seizures,\" which Quirke describes as: \"the odd moment of separation from myself.\" We're told early on that:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>He had pills to make him sleep, and other pills to keep him calm when he was awake. And so the days trickled past, each one much the same as all the others. He felt like Robinson Crusoe, grown old on his island.\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>Back at the morgue, Quirke's assistant, David Sinclair, is unsympathetically hoping his nasty boss never returns. But, when examining the charred corpse of a young man, an apparent suicide who crashed his car into a tree, Sinclair finds a suspicious indentation of the skull. Reluctantly, Sinclair calls on Quirke for a consult. \u003c/p>\u003cp>Meanwhile, Quirke's semi-estranged daughter, Phoebe, is approached by a terrified young woman she recognizes from the secretarial course they both took. Turns out that this woman, who's pregnant, witnessed the murder of her boyfriend. You guessed it: The boyfriend and the body in the morgue are one and the same.\u003c/p>\u003cp>This barest of plot summaries makes \u003cem>Even the Dead\u003c/em> sound like a contrivance, when, in actuality, the intersecting relationships here are in accord with the claustrophobia of Banville's 1950s Dublin. This is a city infused with \"the heavy, cloying fragrance of malt roasting in Guinness's brewery,\" and \"blue cigarette smoke\" and \"a smell of cabbage and boiled bacon.\" Like Quirke, the city itself seems to be suffering from a series of \"absence seizures,\" — a lingering post-World War II malaise and dampening of appetite that could also be ascribed to the stifling power of the Catholic Church.\u003c/p>\u003cp>The past, as it does in all noirs, returns here in the form of a storyline from previous Quirke novels about the Magdalene laundries run by the Church where \"fallen\" women were sent to work, often against their will. And, Quirke, long tormented by the mystery of his own origins, finally achieves a limited epiphany. \u003c/p>\u003cp>In most mystery series, it would be a deal-breaker to begin with the final novel. But, if you've never read a Quirke book before, it won't matter where you start. The primary draw of this moody and intelligent series has never been its plots. Instead, listen to the dark lyricism of this passage where Quirke reflects on growing up as an orphan:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>Sometimes it seemed to him that all his life he had been standing with his back to a high wall, on the other side of which an endless circus show was going on. Now and then there would come to him on the breeze the sound of a drumroll, ... or a surge of raucous laughter from the crowd. Why could he not scale the wall, ... and jump down and run to the flap of the big top and peer in? Just to see what the performance looked like, even if he didn’t go inside, even if he were only to have that one, hindered glimpse of the dingy, sequined magic — that would be something.\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>I'd say the only reason not to read the Quirke series, wherever you begin, is if you've never in your life felt like that.\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a particularly bleak January — reason enough for literary escape. But, while some readers opt for sunshine (maybe a romance or historical novel) others are drawn to a genre that transports us deeper into darkness, while also affirming the power of reason to arrive at some clarity. I'm talking of course about noir fiction. And turning up just in time to accompany us through the gloom, here comes Quirke, again.\u003c/p>\u003cp>Quirke is the anti-hero of a series of mysteries set in 1950s Dublin written by Irish novelist John Banville. A coroner and pathologist, Quirke — who goes by one name only — dwells, as he's put it, \"Down among the dead men\" in the basement morgue of a hospital. \u003c/p>\u003cp>Banville, who won the Booker Prize for his 2005 literary novel, \u003ca href=\"https://www.npr.org/2005/10/11/4953637/booker-prize-goes-to-banvilles-the-sea\" target=\"_blank\">\u003cem>The Sea\u003c/em>\u003c/a>\u003cem>, \u003c/em>published his first Quirke mystery in 2006, under the pseudonym Benjamin Black. Holt paperbacks has been reissuing the novels under Banville's name; the seventh and last reprint has just come out. \u003c/p>\u003cp>\u003cem>Even\u003c/em> \u003cem>the Dead\u003c/em>, affirms what we Quirke admirers already know: namely, that there never was much distinction between Banville's so-called \"literary novels\" and his mysteries. Both are graced with Banville's signature pensive atmosphere and a subdued beauty of language.\u003c/p>\u003cp>\u003cem>Even the Dead \u003c/em>finds Quirke recovering from traumatic brain injuries he sustained in a previous investigation. He's suffering from \"absence seizures,\" which Quirke describes as: \"the odd moment of separation from myself.\" We're told early on that:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>He had pills to make him sleep, and other pills to keep him calm when he was awake. And so the days trickled past, each one much the same as all the others. He felt like Robinson Crusoe, grown old on his island.\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>Back at the morgue, Quirke's assistant, David Sinclair, is unsympathetically hoping his nasty boss never returns. But, when examining the charred corpse of a young man, an apparent suicide who crashed his car into a tree, Sinclair finds a suspicious indentation of the skull. Reluctantly, Sinclair calls on Quirke for a consult. \u003c/p>\u003cp>Meanwhile, Quirke's semi-estranged daughter, Phoebe, is approached by a terrified young woman she recognizes from the secretarial course they both took. Turns out that this woman, who's pregnant, witnessed the murder of her boyfriend. You guessed it: The boyfriend and the body in the morgue are one and the same.\u003c/p>\u003cp>This barest of plot summaries makes \u003cem>Even the Dead\u003c/em> sound like a contrivance, when, in actuality, the intersecting relationships here are in accord with the claustrophobia of Banville's 1950s Dublin. This is a city infused with \"the heavy, cloying fragrance of malt roasting in Guinness's brewery,\" and \"blue cigarette smoke\" and \"a smell of cabbage and boiled bacon.\" Like Quirke, the city itself seems to be suffering from a series of \"absence seizures,\" — a lingering post-World War II malaise and dampening of appetite that could also be ascribed to the stifling power of the Catholic Church.\u003c/p>\u003cp>The past, as it does in all noirs, returns here in the form of a storyline from previous Quirke novels about the Magdalene laundries run by the Church where \"fallen\" women were sent to work, often against their will. And, Quirke, long tormented by the mystery of his own origins, finally achieves a limited epiphany. \u003c/p>\u003cp>In most mystery series, it would be a deal-breaker to begin with the final novel. But, if you've never read a Quirke book before, it won't matter where you start. The primary draw of this moody and intelligent series has never been its plots. Instead, listen to the dark lyricism of this passage where Quirke reflects on growing up as an orphan:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>Sometimes it seemed to him that all his life he had been standing with his back to a high wall, on the other side of which an endless circus show was going on. Now and then there would come to him on the breeze the sound of a drumroll, ... or a surge of raucous laughter from the crowd. Why could he not scale the wall, ... and jump down and run to the flap of the big top and peer in? Just to see what the performance looked like, even if he didn’t go inside, even if he were only to have that one, hindered glimpse of the dingy, sequined magic — that would be something.\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>I'd say the only reason not to read the Quirke series, wherever you begin, is if you've never in your life felt like that.\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "are-ice-agents-in-minneapolis-breaking-the-law",
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"title": "Are ICE agents in Minneapolis breaking the law?",
"excerpt": "As protestors clash with some 3,000 federal immigration agents in the Twin Cities, we look at the legal issues with law professor Emmanuel Mauleón and Brennan Center for Justice's Elizabeth Goitein.",
"publishDate": 1769016796,
"modified": 1769026140,
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"content": "\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"slug": "poet-rachel-eliza-griffiths-says-she-wont-let-pain-be-the-engine-that-drives-the-ship",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/specials/2026/01/20260120_specials_poet_rachel_eliza_griffiths_says_she_won_t_let_pain_be_the_engine_that_drives_the_ship.mp3?t=fullprog&e=g-s1-106539&p=13&seg=0&d=2593&size=41498376",
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"title": "Poet Rachel Eliza Griffiths says she won't let pain be 'the engine that drives the ship'",
"excerpt": "On the day Griffiths married author Salman Rushdie, her longtime best friend died unexpectedly. Eleven months later, Rushdie was stabbed multiple times while being interviewed on stage. ",
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"content": "\u003cp>When poet Rachel Eliza Griffiths married writer \u003ca href=\"https://www.npr.org/2024/04/16/1244847366/salman-rushdie-knife\" target=\"_blank\">Salman Rushdie\u003c/a> in 2021, she expected the day to be joyful. Their friends and family had gathered and Griffiths' best friend, poet Kamilah Aisha Moon, was set to speak. \u003c/p>\u003cp>But Moon never showed up. Griffiths was still in her wedding dress when she learned that her friend had died. She says Moon's death put her in a dissociative state; it was as though she were standing outside her own body. \u003c/p>\u003cp>\"There was a moment literally where I felt I was looking down at this woman who was this gorgeous bride and the agony and anguish in her body,\" Griffiths says. \"She was screaming, people were holding her down so she wouldn't hurt herself. And then I just left.\"\u003c/p>\u003cp>Even now, Griffiths says, \"Many parts of my wedding day are blacked out in my memory and are not available to me. ... It's very hard for me even to look at photographs or anything from my wedding day and feel connected to it.\"\u003c/p>\u003cp>Eleven months after their wedding, Griffiths was home in New York City when she learned that Rushdie had been \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\" target=\"_blank\">stabbed onstage\u003c/a> at the Chautauqua Institution while being interviewed at a literary event. As she was rushing to be with him, Griffiths fell down a flight of stairs. It was a clarifying moment.\u003c/p>\u003cp>\"When I got up and realized I hadn't broken my neck or broken a bone, I just really was like, 'That's the last time you fall down. You cannot risk your safety. You cannot be running around with your head off your shoulders. You need to focus now,'\" she says.\u003c/p>\u003cp>In the new memoir \u003cem>The Flower Bearers,\u003c/em> Griffiths looks back on her wedding day and her marriage, and writes about her experience with dissociative identity disorder. She also reflects on her friendship with Moon, and how they initially connected over their shared identity as Black female poets.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On caring for Rushdie in the immediate aftermath of the attack\u003c/strong>\u003c/p>\u003cp>I didn't cry in the hospital room because I just didn't think that would be helpful. And really, I didn't have the energy. I had to conserve energy for all of these different balls that were all in the air. And when you've just married someone and now you're responsible for their survival ... you don't really have time to tally up how strong you are, how brave you are, how courageous you are you have to keep going. And I was in survivor mode. ...\u003c/p>\u003cp>There were moments where I cried in a lot of corners and stairwells. And yeah, I threw up a lot. I was really sick. My whole body was in shock. … I don't know how to explain it, I don't know if it's innate or learned, but when there is a lot pressure and things are kind of going to hell, I will focus and bear down. \u003c/p>\u003cp>\u003cstrong>On the strength of her marriage\u003c/strong>\u003c/p>\u003cp>It's hard to watch the love of your life struggle with blindness, with impaired mobility, to feel exhausted, but I'm also trying to really look at what is there. The knife didn't take away the mind inside of my husband. It has not taken away his curiosity. It hasn't taken away how romantic he is and how he loves to plan date nights for us and watching movies and traveling and trying to spend as much quality time together as we can. \u003c/p>\u003cp>I think this experience makes you think about time. And I think because I am married to someone who is much older than me, there is a sense of time, time passing, being present, and really filling the time up with love. ... There's a kind of indescribable bridge and bond we have having survived such an experience that has reinforced the most wondrous and beautiful and incandescent spaces of this marriage and this friendship. This friendship is beautiful. And I'm grateful for it. And that gives me a lot of strength and courage to just keep going.\u003c/p>\u003cp>\u003cstrong>On experiencing dissociation \u003c/strong>\u003c/p>\u003cp>It's a part of my mind and my body that attempts to protect and cope in moments where I feel flight or fight and I'm trying to get away from something, often externally. Or it can be a memory that might cause me a pain or a kind of mental assault that I will not be able to withstand. ... I've learned to see my dissociative identity disorder as a protector. I've befriended it. I've learned so much about it so that I don't feel like I'm out of control or I don't know what's happening\u003cstrong>.\u003c/strong>\u003c/p>\u003cp>\u003cstrong>On her alter egos\u003c/strong>\u003c/p>\u003cp>One of the things I write about is how, if you picture maybe the same version of yourself in a car, there are different people driving it at different times, but you're all in the same car. ... My alter as an artist is connected to my alter who was a young child and my alter who in my 20s as a young woman struggling to be an artist and becoming the person I'm still becoming. That's a different set of memories and a different kind of character. But they all kind of visit me. I have a future alter, who is a really lovely, kind of bold, dazzling older woman. And her name is June. And so she helps me not sweat the small stuff. And she has a lot of humor and style and is chic. And she takes care of me. \u003c/p>\u003cp>\u003cstrong>On pushing back against the cliché of the \"tortured\" artist\u003c/strong>\u003c/p>\u003cp>When you glamorize tortured poets or tortured artists, there's an injustice that they become silhouettes and cutouts, their humanity is removed from them. They're not seen as three-dimensional. ... You know, Virginia Woolf, Sylvia Plath, or even Amy Winehouse ... [and] Whitney Houston. There's so many names of people ... [whose] pain becomes the engine that drives the ship. ... \u003c/p>\u003cp>What has now happened by writing this book is I don't have shame. I don't feel shame. I am using my voice to say this is my journey and I hope it can help someone else. When I was younger, having no money, being broke, being defeated, being depressed, that didn't lead me to write my best work. I was in survivor mode. Once I was able to get stabilized and start to do the inner work and start to heal, I'll always be healing, you know? I'll be healing. But this feels like one of the first steps for me in a new life. And I'm really grateful for that. \u003c/p>\u003cp>\u003cem>Anna Bauman and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When poet Rachel Eliza Griffiths married writer \u003ca href=\"https://www.npr.org/2024/04/16/1244847366/salman-rushdie-knife\" target=\"_blank\">Salman Rushdie\u003c/a> in 2021, she expected the day to be joyful. Their friends and family had gathered and Griffiths' best friend, poet Kamilah Aisha Moon, was set to speak. \u003c/p>\u003cp>But Moon never showed up. Griffiths was still in her wedding dress when she learned that her friend had died. She says Moon's death put her in a dissociative state; it was as though she were standing outside her own body. \u003c/p>\u003cp>\"There was a moment literally where I felt I was looking down at this woman who was this gorgeous bride and the agony and anguish in her body,\" Griffiths says. \"She was screaming, people were holding her down so she wouldn't hurt herself. And then I just left.\"\u003c/p>\u003cp>Even now, Griffiths says, \"Many parts of my wedding day are blacked out in my memory and are not available to me. ... It's very hard for me even to look at photographs or anything from my wedding day and feel connected to it.\"\u003c/p>\u003cp>Eleven months after their wedding, Griffiths was home in New York City when she learned that Rushdie had been \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\" target=\"_blank\">stabbed onstage\u003c/a> at the Chautauqua Institution while being interviewed at a literary event. As she was rushing to be with him, Griffiths fell down a flight of stairs. It was a clarifying moment.\u003c/p>\u003cp>\"When I got up and realized I hadn't broken my neck or broken a bone, I just really was like, 'That's the last time you fall down. You cannot risk your safety. You cannot be running around with your head off your shoulders. You need to focus now,'\" she says.\u003c/p>\u003cp>In the new memoir \u003cem>The Flower Bearers,\u003c/em> Griffiths looks back on her wedding day and her marriage, and writes about her experience with dissociative identity disorder. She also reflects on her friendship with Moon, and how they initially connected over their shared identity as Black female poets.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On caring for Rushdie in the immediate aftermath of the attack\u003c/strong>\u003c/p>\u003cp>I didn't cry in the hospital room because I just didn't think that would be helpful. And really, I didn't have the energy. I had to conserve energy for all of these different balls that were all in the air. And when you've just married someone and now you're responsible for their survival ... you don't really have time to tally up how strong you are, how brave you are, how courageous you are you have to keep going. And I was in survivor mode. ...\u003c/p>\u003cp>There were moments where I cried in a lot of corners and stairwells. And yeah, I threw up a lot. I was really sick. My whole body was in shock. … I don't know how to explain it, I don't know if it's innate or learned, but when there is a lot pressure and things are kind of going to hell, I will focus and bear down. \u003c/p>\u003cp>\u003cstrong>On the strength of her marriage\u003c/strong>\u003c/p>\u003cp>It's hard to watch the love of your life struggle with blindness, with impaired mobility, to feel exhausted, but I'm also trying to really look at what is there. The knife didn't take away the mind inside of my husband. It has not taken away his curiosity. It hasn't taken away how romantic he is and how he loves to plan date nights for us and watching movies and traveling and trying to spend as much quality time together as we can. \u003c/p>\u003cp>I think this experience makes you think about time. And I think because I am married to someone who is much older than me, there is a sense of time, time passing, being present, and really filling the time up with love. ... There's a kind of indescribable bridge and bond we have having survived such an experience that has reinforced the most wondrous and beautiful and incandescent spaces of this marriage and this friendship. This friendship is beautiful. And I'm grateful for it. And that gives me a lot of strength and courage to just keep going.\u003c/p>\u003cp>\u003cstrong>On experiencing dissociation \u003c/strong>\u003c/p>\u003cp>It's a part of my mind and my body that attempts to protect and cope in moments where I feel flight or fight and I'm trying to get away from something, often externally. Or it can be a memory that might cause me a pain or a kind of mental assault that I will not be able to withstand. ... I've learned to see my dissociative identity disorder as a protector. I've befriended it. I've learned so much about it so that I don't feel like I'm out of control or I don't know what's happening\u003cstrong>.\u003c/strong>\u003c/p>\u003cp>\u003cstrong>On her alter egos\u003c/strong>\u003c/p>\u003cp>One of the things I write about is how, if you picture maybe the same version of yourself in a car, there are different people driving it at different times, but you're all in the same car. ... My alter as an artist is connected to my alter who was a young child and my alter who in my 20s as a young woman struggling to be an artist and becoming the person I'm still becoming. That's a different set of memories and a different kind of character. But they all kind of visit me. I have a future alter, who is a really lovely, kind of bold, dazzling older woman. And her name is June. And so she helps me not sweat the small stuff. And she has a lot of humor and style and is chic. And she takes care of me. \u003c/p>\u003cp>\u003cstrong>On pushing back against the cliché of the \"tortured\" artist\u003c/strong>\u003c/p>\u003cp>When you glamorize tortured poets or tortured artists, there's an injustice that they become silhouettes and cutouts, their humanity is removed from them. They're not seen as three-dimensional. ... You know, Virginia Woolf, Sylvia Plath, or even Amy Winehouse ... [and] Whitney Houston. There's so many names of people ... [whose] pain becomes the engine that drives the ship. ... \u003c/p>\u003cp>What has now happened by writing this book is I don't have shame. I don't feel shame. I am using my voice to say this is my journey and I hope it can help someone else. When I was younger, having no money, being broke, being defeated, being depressed, that didn't lead me to write my best work. I was in survivor mode. Once I was able to get stabilized and start to do the inner work and start to heal, I'll always be healing, you know? I'll be healing. But this feels like one of the first steps for me in a new life. And I'm really grateful for that. \u003c/p>\u003cp>\u003cem>Anna Bauman and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"excerpt": "Foster was 12 years old when she starred in \u003cem>Taxi Driver\u003c/em>. Fifty years later, she looks back on the role. \u003cem>Hedda\u003c/em> star Thompson explains why she has the words \"yes\" and \"no\" tattooed on opposite arms.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh Air Weekend \u003cem>highlights some of the best interviews and reviews from past weeks, as well as new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and it often includes excerpts from live in-studio concerts. This week:\u003c/em>\u003c/p>\u003cp>\u003cstrong>\"My role was making movies that mattered,\" says Jodie Foster, as \u003cem>Taxi Driver\u003c/em> turns 50: \u003c/strong>Foster was just 12 years old when she starred in the 1976 film. \"What luck to have been part of that, our golden age of cinema in the '70s,\" she says. Her latest film is \u003cem>Vie Privée (A Private Life).\u003c/em>\u003c/p>\u003cp>\u003cstrong>\u003cem>Hedda\u003c/em> star Tessa Thompson wrestles with cynicism but chooses optimism: \u003c/strong>Thompson has the words \"yes\" and \"no\" tattooed on opposite arms. \"I'm constantly wrestling with ... my cynicism and my optimism,\" she says. In addition to \u003cem>Hedda\u003c/em>, she stars in the series \u003cem>His & Hers.\u003c/em>\u003c/p>\u003cp>\u003cem>You can listen to the original interviews here:\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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},
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"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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