Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down
Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81
‘Replay’ Spotlights Resilience, Loss and Intergenerational Connectedness
The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse
3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic
Rita Bullwinkel’s Novel About Teen Girl Boxers Packs a Punch
A Man Fights Expectations in ‘I’m So Glad We Had This Time Together’
‘Burn Book’ Torches Tech Titans in Tale of Love and Loathing in Silicon Valley
Tommy Orange’s ‘Wandering Stars’ Traces a Family's Scars Across Six Generations
Sponsored
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A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” reads today’s \u003ca href=\"https://spdbooks.org/\">announcement on the SPD website\u003c/a>. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities owned by Ingram Content Group and Publishers Storage and Shipping (PSSC). This was part of an effort, according to \u003ca href=\"https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/94447-spd-to-roll-out-new-services-with-warehouse-transfer-completed.html\">Publisher’s Weekly\u003c/a>, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services. \u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country. \u003c/p>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" class=\"size-full wp-image-13879807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='news_11883845']But it has also been rocked by instability and controversy. Kent Williams, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. Cunningham’s tenure was cut short after \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">accusations of discrimination and wage theft\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite efforts to raise new funds, find new sales channels and exit their expensive warehouse, the announcement says, SPD simply couldn’t afford to go on: “SPD lost hundreds of thousands in grants in the past few years as funders moved away from supporting the arts.”\u003c/p>\n\u003cp>Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” the announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story contains previous reporting by \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">Holly McDede\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13879790/with-bookstores-closed-a-50-year-old-independent-book-distributor-perseveres\">Sam Lefebvre\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","status":"publish","parent":0,"modified":1711662119,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":472},"headData":{"title":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down | KQED","description":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Small Press Distribution (SPD), the 55-year-old nonprofit literary distributor, has closed its doors effective immediately. A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” reads today’s \u003ca href=\"https://spdbooks.org/\">announcement on the SPD website\u003c/a>. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities owned by Ingram Content Group and Publishers Storage and Shipping (PSSC). This was part of an effort, according to \u003ca href=\"https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/94447-spd-to-roll-out-new-services-with-warehouse-transfer-completed.html\">Publisher’s Weekly\u003c/a>, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services. \u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country. \u003c/p>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" class=\"size-full wp-image-13879807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11883845","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But it has also been rocked by instability and controversy. Kent Williams, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. Cunningham’s tenure was cut short after \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">accusations of discrimination and wage theft\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite efforts to raise new funds, find new sales channels and exit their expensive warehouse, the announcement says, SPD simply couldn’t afford to go on: “SPD lost hundreds of thousands in grants in the past few years as funders moved away from supporting the arts.”\u003c/p>\n\u003cp>Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” the announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story contains previous reporting by \u003ca href=\"https://www.kqed.org/news/11883845/how-former-employees-at-a-berkeley-bastion-for-literary-presses-ignited-a-reckoning\">Holly McDede\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13879790/with-bookstores-closed-a-50-year-old-independent-book-distributor-perseveres\">Sam Lefebvre\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","authors":["61"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_928","arts_10278","arts_4566"],"featImg":"arts_13879796","label":"arts"},"arts_13954709":{"type":"posts","id":"arts_13954709","meta":{"index":"posts_1591205157","site":"arts","id":"13954709","score":null,"sort":[1711478721000]},"guestAuthors":[],"slug":"alta-shameless-hussy-press-dies-at-81","title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81","publishDate":1711478721,"format":"aside","headTitle":"Alta, ‘Shameless Hussy’ and Founder of Nation’s First Feminist Press, Dies at 81 | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n","blocks":[],"excerpt":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","status":"publish","parent":0,"modified":1711484914,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1328},"headData":{"title":"Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81 | KQED","description":"From her East Bay press, the poet published groundbreaking work by Ntozake Shange and others. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954709/alta-shameless-hussy-press-dies-at-81","authors":["86"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_10278","arts_1143","arts_1091","arts_1496","arts_22041"],"featImg":"arts_13954754","label":"arts"},"arts_13954661":{"type":"posts","id":"arts_13954661","meta":{"index":"posts_1591205157","site":"arts","id":"13954661","score":null,"sort":[1711386483000]},"guestAuthors":[],"slug":"replay-graphic-novel-review-ww2-history-jordan-mechner","title":"‘Replay’ Spotlights Resilience, Loss and Intergenerational Connectedness","publishDate":1711386483,"format":"aside","headTitle":"‘Replay’ Spotlights Resilience, Loss and Intergenerational Connectedness | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13954662\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg\" alt=\"The cover of a graphic memoir featuring a family traveling on an old steam train.\" width=\"1080\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-768x1065.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Replay: Memoir of an Uprooted Family,’ by Jordan Mechner. \u003ccite>(First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1988 and Jordan Mechner is 24-years-old — visiting New York from San Francisco to attend his grandfather’s funeral — when his father, Franz, recalls a distressing but formative moment from his war-torn childhood: “I decided when I was nine years old to consider myself as already dead.”\u003c/p>\n\u003cp>Jordan, his younger brother, and his father are sitting in a cozy domestic space, reminiscing over Papi’s life, which, like Franz’s early years, was beset with close calls. Father and son, both Jewish and therefore targets of the Nazi occupation, fled Austria together in 1938, leaving half of their family behind. The elder Mechner, Adolf, emigrated to Cuba while Franz, a young boy at the time, fled to stay with his aunt in various parts of France. There, he lived in precarious circumstances for three years, until his family of four eventually reunited in Cuba. Most of their relatives, including over a hundred cousins, did not survive.\u003c/p>\n\u003cp>[aside postid='arts_13953371']“If Papi had been less lucky, you wouldn’t have been born,” Franz tells his two sons.\u003c/p>\n\u003cp>Such snippets — short but powerful scenes of resilience, loss, and intergenerational connectedness — are at the heart of Jordan Mechner’s new nonfiction graphic book \u003cem>Replay: Memoir of an Uprooted Family. \u003c/em>The author-artist is best known as the creator of the \u003cem>Prince of Persia \u003c/em>video game franchise, as well as the earlier \u003cem>Karateka\u003c/em> (published while he was still an undergraduate at Yale) and the later adventure game, \u003cem>The Last Express. \u003c/em>As he notes in an opening chapter of the book — which could be considered part memoir, part dual biography — until age 13 he had planned to become a cartoonist. Then, when Apple II came along, his future plans almost immediately changed course.\u003c/p>\n\u003cfigure id=\"attachment_13954667\" class=\"wp-caption aligncenter\" style=\"max-width: 916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png\" alt=\"A page of illustrated panels depicting a young man developing a video game over several years in the 1980s.\" width=\"916\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png 916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-800x1142.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-768x1097.png 768w\" sizes=\"(max-width: 916px) 100vw, 916px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaming and comics have, of course, many overlapping qualities: Not only do they usually involve animation, creativity, and storyline, but they are also both modes in which audiences participate, to varying degrees, in the sights unfolding before them. This is more obvious in gaming, where players control their avatars’ moves. But in comics, too, readers have to make meaning within and across panels and pages; they construct associations, filling in the gaps between images with their own imaginations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In contrast with gaming, life, particularly as the elder two Mechners — Adolf and Franz — lived it, is awash in accident and luck. Jordan Mechner spends the memoir flitting between three points of view. The text is divided into eight rich chapters filled with often fast-paced, neatly drawn scenes sometimes tinted in gentle colors. When he was 14 years old, he remembers, his grandfather completed a memoir, which filled up four looseleaf binders. At the time young Jordan hadn’t bothered to read it, but as his life unfolded — and included an impressive, often all-consuming career, several romantic relationships and, eventually, two kids of his own — he started to recognize how much this history already meant to him.\u003c/p>\n\u003cfigure id=\"attachment_13954668\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png\" alt=\"A page of illustrated panels depicting family members discussing their history in Nazi Germany.\" width=\"918\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-800x1117.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-768x1073.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mechner relays stories of his family’s past via excerpts from his grandfather’s memoirs, adapted into his own illustrated scenes. He also opens each chapter with selections from an archive of family photographs — and fills in parts of the family story through recalled tidbits from conversations with his father. Many of the anecdotes repeat and overlap, as memories told over a long period of time, and from different sources, often do. Indeed, the book moves swiftly between a wide variety of moments in time and panoramas, incorporating, too, sections revealing Mechner’s own career struggles and triumphs as well as interactions with family and friends.\u003c/p>\n\u003cp>[aside postid='arts_13935619']At one point, sitting on a beach in France with his best friend and former colleague, Patrick, he is gently chided for wondering what would have happened if he had made a different decision in his past. “Life is not like a video game that you can replay,” this friend sagely reminds him. It’s an invitation to stick with the facts, with what has already happened, and move along from there.\u003c/p>\n\u003cp>In the end, in the composition of this vibrant, poignant book, Mechner seems to have taken his friend’s advice. Though \u003cem>Replay\u003c/em>‘s many twists and turns underscore the pervasive impact of the past, including painful traumas and unbearable losses, the emphasis is ultimately on the connectedness that remains in the present. The memoir joins several recently published non-fictional graphic books that effectively weave intergenerational stories together into a single narrative, like \u003ca href=\"https://www.npr.org/2023/10/19/1205898776/new-yorker-cartoonist-amy-kurzweils-graphic-memoir-artificial-a-love-story\">Amy Kurzweil’s \u003cem>Artificial: A Love Story \u003c/em>\u003c/a>or \u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">Tessa Hulls’ \u003c/a>\u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">\u003cem>Feeding Ghosts\u003c/em>\u003c/a>\u003cem>.\u003c/em> These works are all focused on the same question: How do you move on from the past?\u003c/p>\n\u003cp>Their answer: You try as honestly and directly as you can, to confront it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Replay%27+spotlights+resilience%2C+loss%2C+and+intergenerational+connectedness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Jordan Mechner’s graphic novel relays stories of his family's turbulent past via excerpts from his grandfather's memoirs.","status":"publish","parent":0,"modified":1711386483,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":887},"headData":{"title":"‘Replay’ by Jordan Mechner Is a Poignant, Vibrant Graphic Memoir | KQED","description":"Jordan Mechner’s graphic novel relays stories of his family's turbulent past via excerpts from his grandfather's memoirs.","ogTitle":"‘Replay’ Spotlights Resilience, Loss and Intergenerational Connectedness","ogDescription":"","ogImgId":"","twTitle":"‘Replay’ Spotlights Resilience, Loss and Intergenerational Connectedness","twDescription":"","twImgId":"","socialTitle":"‘Replay’ by Jordan Mechner Is a Poignant, Vibrant Graphic Memoir %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Tahneer Oksman","nprImageAgency":"First Second ","nprStoryId":"1239773300","nprApiLink":"http://api.npr.org/query?id=1239773300&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/21/1239773300/jordan-mechner-replay-graphic-memoir-book-review?ft=nprml&f=1239773300","nprRetrievedStory":"1","nprPubDate":"Thu, 21 Mar 2024 12:18:00 -0400","nprStoryDate":"Thu, 21 Mar 2024 12:15:00 -0400","nprLastModifiedDate":"Thu, 21 Mar 2024 12:18:57 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954661/replay-graphic-novel-review-ww2-history-jordan-mechner","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954662\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg\" alt=\"The cover of a graphic memoir featuring a family traveling on an old steam train.\" width=\"1080\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-768x1065.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Replay: Memoir of an Uprooted Family,’ by Jordan Mechner. \u003ccite>(First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1988 and Jordan Mechner is 24-years-old — visiting New York from San Francisco to attend his grandfather’s funeral — when his father, Franz, recalls a distressing but formative moment from his war-torn childhood: “I decided when I was nine years old to consider myself as already dead.”\u003c/p>\n\u003cp>Jordan, his younger brother, and his father are sitting in a cozy domestic space, reminiscing over Papi’s life, which, like Franz’s early years, was beset with close calls. Father and son, both Jewish and therefore targets of the Nazi occupation, fled Austria together in 1938, leaving half of their family behind. The elder Mechner, Adolf, emigrated to Cuba while Franz, a young boy at the time, fled to stay with his aunt in various parts of France. There, he lived in precarious circumstances for three years, until his family of four eventually reunited in Cuba. Most of their relatives, including over a hundred cousins, did not survive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953371","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“If Papi had been less lucky, you wouldn’t have been born,” Franz tells his two sons.\u003c/p>\n\u003cp>Such snippets — short but powerful scenes of resilience, loss, and intergenerational connectedness — are at the heart of Jordan Mechner’s new nonfiction graphic book \u003cem>Replay: Memoir of an Uprooted Family. \u003c/em>The author-artist is best known as the creator of the \u003cem>Prince of Persia \u003c/em>video game franchise, as well as the earlier \u003cem>Karateka\u003c/em> (published while he was still an undergraduate at Yale) and the later adventure game, \u003cem>The Last Express. \u003c/em>As he notes in an opening chapter of the book — which could be considered part memoir, part dual biography — until age 13 he had planned to become a cartoonist. Then, when Apple II came along, his future plans almost immediately changed course.\u003c/p>\n\u003cfigure id=\"attachment_13954667\" class=\"wp-caption aligncenter\" style=\"max-width: 916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png\" alt=\"A page of illustrated panels depicting a young man developing a video game over several years in the 1980s.\" width=\"916\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png 916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-800x1142.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-768x1097.png 768w\" sizes=\"(max-width: 916px) 100vw, 916px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaming and comics have, of course, many overlapping qualities: Not only do they usually involve animation, creativity, and storyline, but they are also both modes in which audiences participate, to varying degrees, in the sights unfolding before them. This is more obvious in gaming, where players control their avatars’ moves. But in comics, too, readers have to make meaning within and across panels and pages; they construct associations, filling in the gaps between images with their own imaginations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In contrast with gaming, life, particularly as the elder two Mechners — Adolf and Franz — lived it, is awash in accident and luck. Jordan Mechner spends the memoir flitting between three points of view. The text is divided into eight rich chapters filled with often fast-paced, neatly drawn scenes sometimes tinted in gentle colors. When he was 14 years old, he remembers, his grandfather completed a memoir, which filled up four looseleaf binders. At the time young Jordan hadn’t bothered to read it, but as his life unfolded — and included an impressive, often all-consuming career, several romantic relationships and, eventually, two kids of his own — he started to recognize how much this history already meant to him.\u003c/p>\n\u003cfigure id=\"attachment_13954668\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png\" alt=\"A page of illustrated panels depicting family members discussing their history in Nazi Germany.\" width=\"918\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-800x1117.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-768x1073.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mechner relays stories of his family’s past via excerpts from his grandfather’s memoirs, adapted into his own illustrated scenes. He also opens each chapter with selections from an archive of family photographs — and fills in parts of the family story through recalled tidbits from conversations with his father. Many of the anecdotes repeat and overlap, as memories told over a long period of time, and from different sources, often do. Indeed, the book moves swiftly between a wide variety of moments in time and panoramas, incorporating, too, sections revealing Mechner’s own career struggles and triumphs as well as interactions with family and friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935619","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At one point, sitting on a beach in France with his best friend and former colleague, Patrick, he is gently chided for wondering what would have happened if he had made a different decision in his past. “Life is not like a video game that you can replay,” this friend sagely reminds him. It’s an invitation to stick with the facts, with what has already happened, and move along from there.\u003c/p>\n\u003cp>In the end, in the composition of this vibrant, poignant book, Mechner seems to have taken his friend’s advice. Though \u003cem>Replay\u003c/em>‘s many twists and turns underscore the pervasive impact of the past, including painful traumas and unbearable losses, the emphasis is ultimately on the connectedness that remains in the present. The memoir joins several recently published non-fictional graphic books that effectively weave intergenerational stories together into a single narrative, like \u003ca href=\"https://www.npr.org/2023/10/19/1205898776/new-yorker-cartoonist-amy-kurzweils-graphic-memoir-artificial-a-love-story\">Amy Kurzweil’s \u003cem>Artificial: A Love Story \u003c/em>\u003c/a>or \u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">Tessa Hulls’ \u003c/a>\u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">\u003cem>Feeding Ghosts\u003c/em>\u003c/a>\u003cem>.\u003c/em> These works are all focused on the same question: How do you move on from the past?\u003c/p>\n\u003cp>Their answer: You try as honestly and directly as you can, to confront it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Replay%27+spotlights+resilience%2C+loss%2C+and+intergenerational+connectedness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954661/replay-graphic-novel-review-ww2-history-jordan-mechner","authors":["byline_arts_13954661"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_7584","arts_10629","arts_9054","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13954669","label":"arts_140"},"arts_13954168":{"type":"posts","id":"arts_13954168","meta":{"index":"posts_1591205157","site":"arts","id":"13954168","score":null,"sort":[1710514394000]},"guestAuthors":[],"slug":"the-stories-in-green-frog-are-wildly-entertaining-and-wonderfully-diverse","title":"The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse","publishDate":1710514394,"format":"aside","headTitle":"The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>[aside postid='arts_13953754']Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>[aside postid='arts_13953731']Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13952713']Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Gina Chung’s collection is a medley of short stories that dance between fiction, fable, Korean folklore, and science fiction.","status":"publish","parent":0,"modified":1710464200,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":913},"headData":{"title":"The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse | KQED","description":"Gina Chung’s collection is a medley of short stories that dance between fiction, fable, Korean folklore, and science fiction.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Gabino Iglesias","nprImageAgency":"Vintage","nprStoryId":"1237941835","nprApiLink":"http://api.npr.org/query?id=1237941835&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/14/1237941835/gina-chung-short-story-collection-green-frog-book-review?ft=nprml&f=1237941835","nprRetrievedStory":"1","nprPubDate":"Thu, 14 Mar 2024 06:00:00 -0400","nprStoryDate":"Thu, 14 Mar 2024 06:00:04 -0400","nprLastModifiedDate":"Thu, 14 Mar 2024 06:00:04 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954168/the-stories-in-green-frog-are-wildly-entertaining-and-wonderfully-diverse","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953754","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953731","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952713","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954168/the-stories-in-green-frog-are-wildly-entertaining-and-wonderfully-diverse","authors":["byline_arts_13954168"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_22016","arts_22017","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13954172","label":"arts_140"},"arts_13953754":{"type":"posts","id":"arts_13953754","meta":{"index":"posts_1591205157","site":"arts","id":"13953754","score":null,"sort":[1709932374000]},"guestAuthors":[],"slug":"new-poetry-collections-silver-modern-gone-thing-mcclure-seuss-phillips","title":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic","publishDate":1709932374,"format":"standard","headTitle":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Every time I write a book review lately, I seem to start by saying something like this: Here are three poets responding in different ways to this deeply terrifying time, when the personal and the political are utterly inextricable and life is everywhere at stake. This review is no different.\u003c/p>\n\u003cp>In their new collections, poets Monica McClure, Rowan Ricardo Phillips, and Diane Seuss are all taking the poetic measure of America in the aftermath of the pandemic, as the whole country suffers a tremendous crisis of faith in itself. Each of them offers poetry as, if not a solution, then a kind of truth-telling companion, a mirror with a real person on both sides of it.\u003c/p>\n\u003ch3>‘The Gone Thing’\u003c/h3>\n\u003cfigure id=\"attachment_13953760\" class=\"wp-caption aligncenter\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png\" alt=\"A book cover featuring a vintage photo of a woman's face turned on its side.\" width=\"806\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-800x1197.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-768x1149.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gone Thing’ by Monica McClure. \u003ccite>(Winter Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monica McClure is one of my favorite contemporary poets. \u003cem>The Gone Thing\u003c/em>, her follow-up to \u003cem>Tender Data\u003c/em>, her mind-bending 2015 debut, is powered by the tension between seemingly contrary forces: money and poverty; the too-cool-for-you world of couture fashion and utter vulnerability; art and office life; motherhood and daughterhood. It’s a book about borders — the U.S. southern border, the borders between high and low culture, between McClure’s Mexican heritage and her cosmopolitan New York life, and between humor and dire seriousness. It’s all rolled into one slippery sensibility, equal parts social critique and personal excavation.\u003c/p>\n\u003cp>[aside postid='arts_13937655']With arresting simplicity, McClure paraphrases the basic message the United States has for immigrants: “It’s a crime to be born poor/ It’s treason to stay that way.” This double bind is presented in countless ways throughout the poems. “Nothing shocks me,” writes McClure in “Serving Many Masters,” a poem that tallies the costs of success in a society bent on keeping the poor poor and powerless: “Don’t get up if you’re not/ Ready to crawl.”\u003c/p>\n\u003cp>The poems also hint that a baby is on the horizon, and McClure tries to envision how to safely bring a child into such a fallen world, where “at best, I can do an interpretation of justice/ And hope it doesn’t go up in smoke.” How can one explain post-Trump America to a child who “will live/ Where people who are better than me/ Had their babies wrenched from their arms/ Scattered to the winds”?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McClure’s means of facing this entrapment is to reclaim the language, to ice it with biting humor, and to use it against itself, to defy categories, to be more than one thing at once: “You’re an earner/ as well as a mother You’re a midwife to conversations.,” she writes in the long title poem, which closes the book. We are in desperate need of those conversations — perhaps they’ll start here.\u003c/p>\n\u003ch3>‘Modern Poetry: Poems’\u003c/h3>\n\u003cfigure id=\"attachment_13953759\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png\" alt=\"A book cover depicting a close up on a woman's face, shoulder and hand.\" width=\"844\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-768x1103.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Poetry: Poems’ by Diane Seuss. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The danger/ of memory is going/ to it for respite,” writes Diana Seuss in “Weeds,” the best poem in her first collection following the Pulitzer-winning \u003cem>Frank\u003c/em>. On page after page, she asks: How can we bear to live in the present, given what a mess it is, but also avoid living in memory, which, she says, is a trap? Seuss, too, comes to poetry as a means of survival, though, for her, even retreating into poetry risks painting things with a false glimmer: “What luxury to think of milkweed cars/ and cookie jars and turning lights on in the dark.”\u003c/p>\n\u003cp>These extemporaneous poems reckon with the past, have their say, almost lightheartedly romping through meditations on whatever she feels like thinking about, often poetry and The Great Poets of the past (Gerard Manley Hopkins, Wallace Stevens, Theodore Roethke), but also the pandemic, love, and all the suffering that comes with it.\u003c/p>\n\u003cp>[aside postid='arts_13952372']In what amounts to a book-length origin story, Seuss explains how she became a poet, finding, if not beauty, then at least a sense of mission in repurposing the ugliness she encounters: “I could find some things repulsive and still/ require them for my project. My project/ was my life.” She takes us on a tour of “the desolate town where I was raised,” and where she became familiar with “that icky-sweet smell of a dead mouse in the wall.”\u003c/p>\n\u003cp>Like an off-beat Virgil, she tosses off gems of odd aphoristic wisdom (“Every town has a two-headed something”) and makes poetry more accessible by mixing in a bit of pop culture: “Keats made such a compact corpse/ Only five feet tall, shorter than Prince.” Finally, she wonders whether poetry is mostly a home for misfits: “What did modern poetry really mean? Maybe/ just fucked up.”\u003c/p>\n\u003cp>I am a late convert to the cult of Seuss, but came around forcefully to \u003cem>Frank\u003c/em> and the many ways it finds to explode the sonnet form while also taking advantage of its tradition and its argumentative powers. \u003cem>Modern Poetry\u003c/em> lacks the rigor of that book, as if to say it’s simply foolish to try to tame all this pain. I do think the box of the sonnet did something useful for Seuss’s poetry, organizing her improvisations. I miss that rigor, but maybe disorder is part of the message: “A cobbled mind,” she notes, “is not fatal.”\u003c/p>\n\u003ch3>‘Silver’\u003c/h3>\n\u003cfigure id=\"attachment_13953758\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png\" alt=\"A book cover depicting a dark night with tiny stars.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Silver’ by Rowan Ricardo Phillips. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one is ever alone with their thoughts,” writes Rowan Ricardo Phillips in his fourth collection. To meet an increasingly isolating and terrifying era, Phillips retrenches in poetry, which, he claims, can be found everywhere. “The imagination hides in plain sight.” Poetry stands by us, ready, Phillips seems to say, to console us with the truth, whether or not we want to hear it.\u003c/p>\n\u003cp>Only poetry, Phillips suggests, can express the horrendous illogic of our moment, which may be “like real flowers in a field/ Of memes or a meme in a filed of real/ Flowers.” And when it fails as a stay against confusion, poetry holds our grief, stores the unresolved: “George Floyd’s face floats slightly out of focus/…/ Remember the heat,/ how it burns the back/ Of the throat as night screams his name through the flames.”\u003c/p>\n\u003cp>Of course, Phillips is not saying that everyone must become a poet in order to manage the hell of 2024. Poetry is, of course, a metaphor for a more creative, nuanced form of engagement — for the conversations all three of these poets are midwifing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including \u003c/em>The Trembling Answers\u003cem>, which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection \u003c/em>We Begin in Gladness: How Poets Progress\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+collections+take+the+poetic+measure+of+America+in+the+aftermath+of+the+pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"New collections ‘The Gone Thing,’ ‘Silver’ and ‘Modern Poetry’ each offer a mirror with a real person on both sides of it.","status":"publish","parent":0,"modified":1709932374,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1198},"headData":{"title":"Best New Poetry Collections for Early 2024 | KQED","description":"New collections ‘The Gone Thing,’ ‘Silver’ and ‘Modern Poetry’ each offer a mirror with a real person on both sides of it.","ogTitle":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic","ogDescription":"","ogImgId":"","twTitle":"3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic","twDescription":"","twImgId":"","socialTitle":"Best New Poetry Collections for Early 2024 %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Craig Morgan Teicher","nprImageAgency":"NPR","nprStoryId":"1234472527","nprApiLink":"http://api.npr.org/query?id=1234472527&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/07/1234472527/poetry-monica-mcclure-gone-thing-rowan-ricardo-phillips-silver-diane-seuss?ft=nprml&f=1234472527","nprRetrievedStory":"1","nprPubDate":"Thu, 07 Mar 2024 13:57:00 -0500","nprStoryDate":"Thu, 07 Mar 2024 13:21:00 -0500","nprLastModifiedDate":"Thu, 07 Mar 2024 13:57:26 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953754/new-poetry-collections-silver-modern-gone-thing-mcclure-seuss-phillips","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every time I write a book review lately, I seem to start by saying something like this: Here are three poets responding in different ways to this deeply terrifying time, when the personal and the political are utterly inextricable and life is everywhere at stake. This review is no different.\u003c/p>\n\u003cp>In their new collections, poets Monica McClure, Rowan Ricardo Phillips, and Diane Seuss are all taking the poetic measure of America in the aftermath of the pandemic, as the whole country suffers a tremendous crisis of faith in itself. Each of them offers poetry as, if not a solution, then a kind of truth-telling companion, a mirror with a real person on both sides of it.\u003c/p>\n\u003ch3>‘The Gone Thing’\u003c/h3>\n\u003cfigure id=\"attachment_13953760\" class=\"wp-caption aligncenter\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png\" alt=\"A book cover featuring a vintage photo of a woman's face turned on its side.\" width=\"806\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-800x1197.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-768x1149.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gone Thing’ by Monica McClure. \u003ccite>(Winter Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monica McClure is one of my favorite contemporary poets. \u003cem>The Gone Thing\u003c/em>, her follow-up to \u003cem>Tender Data\u003c/em>, her mind-bending 2015 debut, is powered by the tension between seemingly contrary forces: money and poverty; the too-cool-for-you world of couture fashion and utter vulnerability; art and office life; motherhood and daughterhood. It’s a book about borders — the U.S. southern border, the borders between high and low culture, between McClure’s Mexican heritage and her cosmopolitan New York life, and between humor and dire seriousness. It’s all rolled into one slippery sensibility, equal parts social critique and personal excavation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937655","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With arresting simplicity, McClure paraphrases the basic message the United States has for immigrants: “It’s a crime to be born poor/ It’s treason to stay that way.” This double bind is presented in countless ways throughout the poems. “Nothing shocks me,” writes McClure in “Serving Many Masters,” a poem that tallies the costs of success in a society bent on keeping the poor poor and powerless: “Don’t get up if you’re not/ Ready to crawl.”\u003c/p>\n\u003cp>The poems also hint that a baby is on the horizon, and McClure tries to envision how to safely bring a child into such a fallen world, where “at best, I can do an interpretation of justice/ And hope it doesn’t go up in smoke.” How can one explain post-Trump America to a child who “will live/ Where people who are better than me/ Had their babies wrenched from their arms/ Scattered to the winds”?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McClure’s means of facing this entrapment is to reclaim the language, to ice it with biting humor, and to use it against itself, to defy categories, to be more than one thing at once: “You’re an earner/ as well as a mother You’re a midwife to conversations.,” she writes in the long title poem, which closes the book. We are in desperate need of those conversations — perhaps they’ll start here.\u003c/p>\n\u003ch3>‘Modern Poetry: Poems’\u003c/h3>\n\u003cfigure id=\"attachment_13953759\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png\" alt=\"A book cover depicting a close up on a woman's face, shoulder and hand.\" width=\"844\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-768x1103.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Poetry: Poems’ by Diane Seuss. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The danger/ of memory is going/ to it for respite,” writes Diana Seuss in “Weeds,” the best poem in her first collection following the Pulitzer-winning \u003cem>Frank\u003c/em>. On page after page, she asks: How can we bear to live in the present, given what a mess it is, but also avoid living in memory, which, she says, is a trap? Seuss, too, comes to poetry as a means of survival, though, for her, even retreating into poetry risks painting things with a false glimmer: “What luxury to think of milkweed cars/ and cookie jars and turning lights on in the dark.”\u003c/p>\n\u003cp>These extemporaneous poems reckon with the past, have their say, almost lightheartedly romping through meditations on whatever she feels like thinking about, often poetry and The Great Poets of the past (Gerard Manley Hopkins, Wallace Stevens, Theodore Roethke), but also the pandemic, love, and all the suffering that comes with it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952372","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In what amounts to a book-length origin story, Seuss explains how she became a poet, finding, if not beauty, then at least a sense of mission in repurposing the ugliness she encounters: “I could find some things repulsive and still/ require them for my project. My project/ was my life.” She takes us on a tour of “the desolate town where I was raised,” and where she became familiar with “that icky-sweet smell of a dead mouse in the wall.”\u003c/p>\n\u003cp>Like an off-beat Virgil, she tosses off gems of odd aphoristic wisdom (“Every town has a two-headed something”) and makes poetry more accessible by mixing in a bit of pop culture: “Keats made such a compact corpse/ Only five feet tall, shorter than Prince.” Finally, she wonders whether poetry is mostly a home for misfits: “What did modern poetry really mean? Maybe/ just fucked up.”\u003c/p>\n\u003cp>I am a late convert to the cult of Seuss, but came around forcefully to \u003cem>Frank\u003c/em> and the many ways it finds to explode the sonnet form while also taking advantage of its tradition and its argumentative powers. \u003cem>Modern Poetry\u003c/em> lacks the rigor of that book, as if to say it’s simply foolish to try to tame all this pain. I do think the box of the sonnet did something useful for Seuss’s poetry, organizing her improvisations. I miss that rigor, but maybe disorder is part of the message: “A cobbled mind,” she notes, “is not fatal.”\u003c/p>\n\u003ch3>‘Silver’\u003c/h3>\n\u003cfigure id=\"attachment_13953758\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png\" alt=\"A book cover depicting a dark night with tiny stars.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Silver’ by Rowan Ricardo Phillips. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one is ever alone with their thoughts,” writes Rowan Ricardo Phillips in his fourth collection. To meet an increasingly isolating and terrifying era, Phillips retrenches in poetry, which, he claims, can be found everywhere. “The imagination hides in plain sight.” Poetry stands by us, ready, Phillips seems to say, to console us with the truth, whether or not we want to hear it.\u003c/p>\n\u003cp>Only poetry, Phillips suggests, can express the horrendous illogic of our moment, which may be “like real flowers in a field/ Of memes or a meme in a filed of real/ Flowers.” And when it fails as a stay against confusion, poetry holds our grief, stores the unresolved: “George Floyd’s face floats slightly out of focus/…/ Remember the heat,/ how it burns the back/ Of the throat as night screams his name through the flames.”\u003c/p>\n\u003cp>Of course, Phillips is not saying that everyone must become a poet in order to manage the hell of 2024. Poetry is, of course, a metaphor for a more creative, nuanced form of engagement — for the conversations all three of these poets are midwifing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including \u003c/em>The Trembling Answers\u003cem>, which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection \u003c/em>We Begin in Gladness: How Poets Progress\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+collections+take+the+poetic+measure+of+America+in+the+aftermath+of+the+pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953754/new-poetry-collections-silver-modern-gone-thing-mcclure-seuss-phillips","authors":["byline_arts_13953754"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_1496","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13953755","label":"arts_140"},"arts_13953731":{"type":"posts","id":"arts_13953731","meta":{"index":"posts_1591205157","site":"arts","id":"13953731","score":null,"sort":[1709924854000]},"guestAuthors":[],"slug":"headshot-rita-bullwinkel-review","title":"Rita Bullwinkel’s Novel About Teen Girl Boxers Packs a Punch","publishDate":1709924854,"format":"standard","headTitle":"Rita Bullwinkel’s Novel About Teen Girl Boxers Packs a Punch | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In \u003cem>Headshot\u003c/em>, \u003ca href=\"https://ritabullwinkel.com/\">Rita Bullwinkel\u003c/a> makes an electrifying claim: “Each girl born has the ability to be activated into a boxer.” Her debut novel is an absorbing study of eight teen girl boxers competing in the 12th Annual Daughters of America Cup in Reno, Nevada. It is about female potential — a small community of girls who harvest it in themselves and learn to communicate in a secret language of fists.\u003c/p>\n\u003cp>Though she doesn’t have a boxing background herself, Bullwinkel — an English professor at University of San Francisco— has always wanted to write a book about teen girl boxers because of how “inherently theatrical” she finds the sport. “The ring looks like a stage; the lighting looks like a stage; and it is one human in conversation with one another,” she explains. [aside postid='arts_13953653']\u003c/p>\n\u003cp>The narrative and emotional core of \u003cem>Headshot\u003c/em> lie in the ring, and each bout is weighty and intense. The book opens on a tournament bracket that teases each pending match up, with chapters named after the fighters. Instead of getting dialogue, we live inside each fighter’s mind, and each mind is a universe.\u003c/p>\n\u003cp>Bullwinkel plays with time by moving comfortably backwards and forwards, allowing us to exist in the present while simultaneously bobbing and weaving through the girls’ life experiences — childhood trauma, insecurities, girlhood milestones, careers. This sprawling bird’s-eye view should be dissatisfying; it tells us ahead of time that their efforts on this day will not translate to a lifetime of professional boxing or any fancy accolades. But it’s a winning narrative strategy that makes the book hum with urgency.\u003c/p>\n\u003cp>Bullwinkel’s first book, \u003cem>Belly Up\u003c/em>, was a surreal story collection that explored the material strangeness of having a body. In many ways this book is a sister to it. The girls we meet are all learning to live inside their bodies, to care for, wield and rely on them to communicate their needs and dreams. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted the book to be a book of portraiture,” Bullwinkel shares. Like all successful portraiture, the fighter snapshots in \u003cem>Headshot\u003c/em> offer detailed likenesses that swiftly but succinctly tell us who each girl is. One girl romanticizes the red indentations her gym shorts left on her stomach because “they seemed like evidence of work she’d done.” Another imagines her opponent punching her head so hard and “the center of her brain becoming a bloody flower.” Another uses a break to kiss her palms together in fake prayer so people can’t see she’s really assessing her surroundings like a seasoned war veteran. [aside postid='arts_13833865']\u003c/p>\n\u003cp>Bullwinkel’s sentences have well developed musculature; each builds onto the other, generating enough torque and power to land like a finely choreographed punch.\u003c/p>\n\u003cp>Like these girls, the author spent her teen years in competitive youth athletics. She sacrificed twenty hours a week to train as a water polo player, overcame a broken nose and fingers and eventually co-captained a Division I team. The experience — grueling, unheralded — served as fertile research for this book. \u003c/p>\n\u003cp>“I happened upon this trove of YouTube training videos that young women would take of themselves so they could watch the way their form changed over time,” Bullwinkel shares. “These were long, unedited videos that had two or three views. They were not meant for mass consumption. It was a way to document in a very small community the way your right hook was getting better or atrophying, for instance.”[aside postid='arts_13952713']\u003c/p>\n\u003cp>These virtual artifacts unlocked a memory and a connection to her own past: “I have these memories of watching hours and hours and hours of footage of myself. … I saw a lot of parallels in the insular, claustrophobic nature of that world and my own experience.”\u003c/p>\n\u003cp>This insularity — which Bullwinkel defines as a world where “the stakes of everything are only known by the other people you’re competing against” — is key to the novel’s success. At the boxing gym where the Daughters of America Cup is held, the audience is bare. The local reporter sent to cover the event usually covers obituaries. The novel squeezes everything into tight focus: eight specific girls, a centralized location, a single tournament. Even the realization of boxing’s eventual irrelevance to their adult lives lends heat to the spotlight illuminating the action in the ring and shapes \u003cem>Headshot\u003c/em> into a stunningly empathetic work of portraiture. [aside postid='arts_13953389']\u003c/p>\n\u003cp>Bullwinkel’s debut novel is a dynamic ode to girlhood and its insatiable stamina. She hopes the book “is about what it means to be human and have a memory regardless of your gender,” but notes that it is also, specifically, “about the experience of doing something as a young woman that society at large just is not interested in.” “I think my question is, why do these young women do it?,” she says. “And I think it’s because I asked that question of myself: Why did I do it? My confusion about that is part of what interests me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>Rita Bullwinkel will be in conversation with with Oscar Villalon at \u003ca href=\"https://citylights.com/events/rita-bullwinkel-and-friends/\">City Lights Bookstore in San Francisco on March 13\u003c/a>. Music by Theresa Wong, readings by Venita Blackburn, Jennifer Cheng and Ashley Nelson Levy.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Headshot' zeroes in on a small community of girls who communicate in a secret language of fists.","status":"publish","parent":0,"modified":1709924854,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":925},"headData":{"title":"Book Review: Rita Bullwinkel's 'Headshot' Packs a Punch | KQED","description":"'Headshot' zeroes in on a small community of girls who communicate in a secret language of fists.","ogTitle":"Rita Bullwinkel’s Novel About Teen Girl Boxers Packs a Punch","ogDescription":"","ogImgId":"","twTitle":"Rita Bullwinkel’s Novel About Teen Girl Boxers Packs a Punch","twDescription":"","twImgId":"","socialTitle":"Book Review: Rita Bullwinkel's 'Headshot' Packs a Punch %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Naomi Elias","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953731/headshot-rita-bullwinkel-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Headshot\u003c/em>, \u003ca href=\"https://ritabullwinkel.com/\">Rita Bullwinkel\u003c/a> makes an electrifying claim: “Each girl born has the ability to be activated into a boxer.” Her debut novel is an absorbing study of eight teen girl boxers competing in the 12th Annual Daughters of America Cup in Reno, Nevada. It is about female potential — a small community of girls who harvest it in themselves and learn to communicate in a secret language of fists.\u003c/p>\n\u003cp>Though she doesn’t have a boxing background herself, Bullwinkel — an English professor at University of San Francisco— has always wanted to write a book about teen girl boxers because of how “inherently theatrical” she finds the sport. “The ring looks like a stage; the lighting looks like a stage; and it is one human in conversation with one another,” she explains. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953653","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The narrative and emotional core of \u003cem>Headshot\u003c/em> lie in the ring, and each bout is weighty and intense. The book opens on a tournament bracket that teases each pending match up, with chapters named after the fighters. Instead of getting dialogue, we live inside each fighter’s mind, and each mind is a universe.\u003c/p>\n\u003cp>Bullwinkel plays with time by moving comfortably backwards and forwards, allowing us to exist in the present while simultaneously bobbing and weaving through the girls’ life experiences — childhood trauma, insecurities, girlhood milestones, careers. This sprawling bird’s-eye view should be dissatisfying; it tells us ahead of time that their efforts on this day will not translate to a lifetime of professional boxing or any fancy accolades. But it’s a winning narrative strategy that makes the book hum with urgency.\u003c/p>\n\u003cp>Bullwinkel’s first book, \u003cem>Belly Up\u003c/em>, was a surreal story collection that explored the material strangeness of having a body. In many ways this book is a sister to it. The girls we meet are all learning to live inside their bodies, to care for, wield and rely on them to communicate their needs and dreams. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted the book to be a book of portraiture,” Bullwinkel shares. Like all successful portraiture, the fighter snapshots in \u003cem>Headshot\u003c/em> offer detailed likenesses that swiftly but succinctly tell us who each girl is. One girl romanticizes the red indentations her gym shorts left on her stomach because “they seemed like evidence of work she’d done.” Another imagines her opponent punching her head so hard and “the center of her brain becoming a bloody flower.” Another uses a break to kiss her palms together in fake prayer so people can’t see she’s really assessing her surroundings like a seasoned war veteran. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13833865","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bullwinkel’s sentences have well developed musculature; each builds onto the other, generating enough torque and power to land like a finely choreographed punch.\u003c/p>\n\u003cp>Like these girls, the author spent her teen years in competitive youth athletics. She sacrificed twenty hours a week to train as a water polo player, overcame a broken nose and fingers and eventually co-captained a Division I team. The experience — grueling, unheralded — served as fertile research for this book. \u003c/p>\n\u003cp>“I happened upon this trove of YouTube training videos that young women would take of themselves so they could watch the way their form changed over time,” Bullwinkel shares. “These were long, unedited videos that had two or three views. They were not meant for mass consumption. It was a way to document in a very small community the way your right hook was getting better or atrophying, for instance.”\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952713","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These virtual artifacts unlocked a memory and a connection to her own past: “I have these memories of watching hours and hours and hours of footage of myself. … I saw a lot of parallels in the insular, claustrophobic nature of that world and my own experience.”\u003c/p>\n\u003cp>This insularity — which Bullwinkel defines as a world where “the stakes of everything are only known by the other people you’re competing against” — is key to the novel’s success. At the boxing gym where the Daughters of America Cup is held, the audience is bare. The local reporter sent to cover the event usually covers obituaries. The novel squeezes everything into tight focus: eight specific girls, a centralized location, a single tournament. Even the realization of boxing’s eventual irrelevance to their adult lives lends heat to the spotlight illuminating the action in the ring and shapes \u003cem>Headshot\u003c/em> into a stunningly empathetic work of portraiture. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953389","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bullwinkel’s debut novel is a dynamic ode to girlhood and its insatiable stamina. She hopes the book “is about what it means to be human and have a memory regardless of your gender,” but notes that it is also, specifically, “about the experience of doing something as a young woman that society at large just is not interested in.” “I think my question is, why do these young women do it?,” she says. “And I think it’s because I asked that question of myself: Why did I do it? My confusion about that is part of what interests me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>Rita Bullwinkel will be in conversation with with Oscar Villalon at \u003ca href=\"https://citylights.com/events/rita-bullwinkel-and-friends/\">City Lights Bookstore in San Francisco on March 13\u003c/a>. Music by Theresa Wong, readings by Venita Blackburn, Jennifer Cheng and Ashley Nelson Levy.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953731/headshot-rita-bullwinkel-review","authors":["byline_arts_13953731"],"categories":["arts_1","arts_73"],"tags":["arts_7446","arts_10278","arts_769"],"featImg":"arts_13953743","label":"arts"},"arts_13953371":{"type":"posts","id":"arts_13953371","meta":{"index":"posts_1591205157","site":"arts","id":"13953371","score":null,"sort":[1709652959000]},"guestAuthors":[],"slug":"im-so-glad-we-had-this-time-together-memoir-graphic-novel-review-maurice","title":"A Man Fights Expectations in ‘I’m So Glad We Had This Time Together’","publishDate":1709652959,"format":"aside","headTitle":"A Man Fights Expectations in ‘I’m So Glad We Had This Time Together’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13953378\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png\" alt=\"A book cover illustration shows a woman in a bikini and a small boy dancing next to her.\" width=\"852\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-800x1138.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-768x1093.png 768w\" sizes=\"(max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m So Glad We Had This Time Together’ by Maurice Vellekoop. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point far into Maurice Vellekoop’s operatic, nearly 500-page graphic memoir \u003cem>I’m So Glad We Had This Time Together\u003c/em>, he depicts himself at an art event in Toronto. He has donated his work to the silent auction and is now scoping out the scene, chatting up yet another handsome stranger in search of that elusive spark. “I thought you said you were an artist,” the man bitterly remarks, having just matched the artist to his art — presumably a comics illustration.\u003c/p>\n\u003cp>This moment is somewhat peripheral to the main storyline, included as a demonstration of the then 30-something-year-old’s long-delayed willingness to put himself out there on the dating scene. But in a way, it captures a concern even more essential to the book. This long, gorgeous, often rambunctious memoir is the story of a man’s search for a way out of the expectations that have kept him constrained for most of his life. Vellekoop will not remain unscathed by other people’s judgment and censure. In the end, though, this impressive book is the proclamation of an artist, in this case a cartoonist, finally staking out his claim.\u003c/p>\n\u003cfigure id=\"attachment_13953376\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png\" alt=\"An illustration of a woman reading a book on a train, with a small boy curled up next to her.\" width=\"1292\" height=\"1288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-768x766.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Divided into four sections tracking various throughlines from his life so far, Vellekoop opens his lavishly colored book of comics with scenes from early childhood. Born in 1964, young Maurice was the fourth and final sibling raised in the suburbs of Toronto by Dutch immigrant parents who were also avid members of the Christian Reformed Church. From his loving but complicated Mum and Dad, he developed an immediate, and passionate, connection with music and art. This working-class immigrant family displayed a Rembrandt in their living room. His mother made clothes for the entire family, also running a hair salon out of their basement. His father, an art and music lover, took him to see \u003cem>Fantasia \u003c/em>when he was a little boy. It was initially through the two of them, and his adored older sister, Ingrid, that many of his great loves — and, eventually, prodigious talents — were launched.\u003c/p>\n\u003cp>[aside postid='arts_13935619']But family life was also full of contradictions. Vellekoop’s father was subject to sudden, inexplicable rages. His mother could never reconcile the aesthetic tastes she shared with her youngest with her sense, particularly as he grew older, that his desires were not quite aligned with her adopted religious beliefs and cultural standards. “My Mum and I should have bonded over beauty,” the narrator mournfully reports, tracking one missed opportunity after another. First subtly — say, by substituting a marionette as a gift in lieu of a much-desired Barbie — later much more overtly, by handing her son religious pamphlets condemning homosexuality, Vellekoop’s mother, whom he adored, time and again makes her disapprovals known. As the boy ages into puberty, he battles his budding sexual desires alongside a longing to please his parents as well as a growing anxiety around peers who tease and also verbally abuse him.\u003c/p>\n\u003cfigure id=\"attachment_13953377\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png\" alt=\"An illustration of a small boy crouched between book cases reading Cinderella.\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-768x766.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armed from a young age with an ability to find beauty and connection in all manner of storytelling forms, from the so-called lowbrow to the most classical of works, Vellekoop packs his passages — from public high school and arts college into the post-collegiate Toronto scene and, later, travels to New York City — with all manner of references, from which he draws inspiration. As a child he falls in love, first with Disney films, then television. The shows he loves to watch include \u003cem>The Addams Family\u003c/em>, \u003cem>Tarzan\u003c/em> and \u003cem>The Carol Burnett Show — \u003c/em>the memoir’s title is drawn from the popular variety show’s closing song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He derives pleasure, too, from other forms, like popular and avant garde cinema and theater, punk rock, comics, opera, painting, science fiction, literature, and more. These cultural and aesthetic touchstones become the foundations not only for the expertly rendered images and prose on display but also the important friendships that dominate his life, and sustain him. His successful art and illustration career, which takes off quickly after his graduation from the Ontario College of Art and Design, sees him globetrotting, publishing works in places like \u003cem>The New Yorker\u003c/em>, \u003cem>Vogue\u003c/em> and\u003cem> Rolling Stone.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13926136']Throughout, Vellekoop candidly depicts several violent and unprovoked attacks from strangers, his internalized shame, his struggles with depression, coming to terms with his sexual proclivities and finding a mate. He finds consolation and support, not only in the art he continually seeks out, and all that he creates, but also in the Toronto arts community, his straight female friendships and, eventually, a professional therapist. Alongside other evocative gay and queer cartoonists, from Howard Cruse and Alison Bechdel to Robert Kirby and Maia Kobabe, Vellekoop is invested in presenting the highs and lows of a life lived willfully resisting other people’s inconsistent, harmful attitudes.\u003c/p>\n\u003cp>There is, too, for Vellekoop, an eventual reconciliation of sorts with his mother. Though it is far from seamless, at long last she echoes a designation he has already gifted himself, many times over. On the phone, nearing the end of her life, in response to his own declarations of affection she tells him: “I love you too. My Maurice, my artist son.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+man+fights+expectations+in+%27I%27m+So+Glad+We+Had+This+Time+Together%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Maurice Vellekoop’s graphic memoir is an impressive presentation of a life lived resisting other people's harmful attitudes.","status":"publish","parent":0,"modified":1709599197,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":983},"headData":{"title":"Graphic Novel Review: ‘I’m So Glad We Had This Time Together’ | KQED","description":"Maurice Vellekoop’s graphic memoir is an impressive presentation of a life lived resisting other people's harmful attitudes.","ogTitle":"A Man Fights Expectations in ‘I’m So Glad We Had This Time Together’","ogDescription":"","ogImgId":"","twTitle":"A Man Fights Expectations in ‘I’m So Glad We Had This Time Together’","twDescription":"","twImgId":"","socialTitle":"Graphic Novel Review: ‘I’m So Glad We Had This Time Together’ %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Tahneer Oksman","nprImageAgency":"Pantheon","nprStoryId":"1234481007","nprApiLink":"http://api.npr.org/query?id=1234481007&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/02/1234481007/maurice-vellekoop-im-so-glad-we-had-this-time-together-graphic-novel?ft=nprml&f=1234481007","nprRetrievedStory":"1","nprPubDate":"Sat, 02 Mar 2024 07:00:00 -0500","nprStoryDate":"Sat, 02 Mar 2024 07:00:12 -0500","nprLastModifiedDate":"Sat, 02 Mar 2024 07:00:12 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953371/im-so-glad-we-had-this-time-together-memoir-graphic-novel-review-maurice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953378\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png\" alt=\"A book cover illustration shows a woman in a bikini and a small boy dancing next to her.\" width=\"852\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-800x1138.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-768x1093.png 768w\" sizes=\"(max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m So Glad We Had This Time Together’ by Maurice Vellekoop. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point far into Maurice Vellekoop’s operatic, nearly 500-page graphic memoir \u003cem>I’m So Glad We Had This Time Together\u003c/em>, he depicts himself at an art event in Toronto. He has donated his work to the silent auction and is now scoping out the scene, chatting up yet another handsome stranger in search of that elusive spark. “I thought you said you were an artist,” the man bitterly remarks, having just matched the artist to his art — presumably a comics illustration.\u003c/p>\n\u003cp>This moment is somewhat peripheral to the main storyline, included as a demonstration of the then 30-something-year-old’s long-delayed willingness to put himself out there on the dating scene. But in a way, it captures a concern even more essential to the book. This long, gorgeous, often rambunctious memoir is the story of a man’s search for a way out of the expectations that have kept him constrained for most of his life. Vellekoop will not remain unscathed by other people’s judgment and censure. In the end, though, this impressive book is the proclamation of an artist, in this case a cartoonist, finally staking out his claim.\u003c/p>\n\u003cfigure id=\"attachment_13953376\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png\" alt=\"An illustration of a woman reading a book on a train, with a small boy curled up next to her.\" width=\"1292\" height=\"1288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-768x766.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Divided into four sections tracking various throughlines from his life so far, Vellekoop opens his lavishly colored book of comics with scenes from early childhood. Born in 1964, young Maurice was the fourth and final sibling raised in the suburbs of Toronto by Dutch immigrant parents who were also avid members of the Christian Reformed Church. From his loving but complicated Mum and Dad, he developed an immediate, and passionate, connection with music and art. This working-class immigrant family displayed a Rembrandt in their living room. His mother made clothes for the entire family, also running a hair salon out of their basement. His father, an art and music lover, took him to see \u003cem>Fantasia \u003c/em>when he was a little boy. It was initially through the two of them, and his adored older sister, Ingrid, that many of his great loves — and, eventually, prodigious talents — were launched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935619","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But family life was also full of contradictions. Vellekoop’s father was subject to sudden, inexplicable rages. His mother could never reconcile the aesthetic tastes she shared with her youngest with her sense, particularly as he grew older, that his desires were not quite aligned with her adopted religious beliefs and cultural standards. “My Mum and I should have bonded over beauty,” the narrator mournfully reports, tracking one missed opportunity after another. First subtly — say, by substituting a marionette as a gift in lieu of a much-desired Barbie — later much more overtly, by handing her son religious pamphlets condemning homosexuality, Vellekoop’s mother, whom he adored, time and again makes her disapprovals known. As the boy ages into puberty, he battles his budding sexual desires alongside a longing to please his parents as well as a growing anxiety around peers who tease and also verbally abuse him.\u003c/p>\n\u003cfigure id=\"attachment_13953377\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png\" alt=\"An illustration of a small boy crouched between book cases reading Cinderella.\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-768x766.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armed from a young age with an ability to find beauty and connection in all manner of storytelling forms, from the so-called lowbrow to the most classical of works, Vellekoop packs his passages — from public high school and arts college into the post-collegiate Toronto scene and, later, travels to New York City — with all manner of references, from which he draws inspiration. As a child he falls in love, first with Disney films, then television. The shows he loves to watch include \u003cem>The Addams Family\u003c/em>, \u003cem>Tarzan\u003c/em> and \u003cem>The Carol Burnett Show — \u003c/em>the memoir’s title is drawn from the popular variety show’s closing song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He derives pleasure, too, from other forms, like popular and avant garde cinema and theater, punk rock, comics, opera, painting, science fiction, literature, and more. These cultural and aesthetic touchstones become the foundations not only for the expertly rendered images and prose on display but also the important friendships that dominate his life, and sustain him. His successful art and illustration career, which takes off quickly after his graduation from the Ontario College of Art and Design, sees him globetrotting, publishing works in places like \u003cem>The New Yorker\u003c/em>, \u003cem>Vogue\u003c/em> and\u003cem> Rolling Stone.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926136","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Throughout, Vellekoop candidly depicts several violent and unprovoked attacks from strangers, his internalized shame, his struggles with depression, coming to terms with his sexual proclivities and finding a mate. He finds consolation and support, not only in the art he continually seeks out, and all that he creates, but also in the Toronto arts community, his straight female friendships and, eventually, a professional therapist. Alongside other evocative gay and queer cartoonists, from Howard Cruse and Alison Bechdel to Robert Kirby and Maia Kobabe, Vellekoop is invested in presenting the highs and lows of a life lived willfully resisting other people’s inconsistent, harmful attitudes.\u003c/p>\n\u003cp>There is, too, for Vellekoop, an eventual reconciliation of sorts with his mother. Though it is far from seamless, at long last she echoes a designation he has already gifted himself, many times over. On the phone, nearing the end of her life, in response to his own declarations of affection she tells him: “I love you too. My Maurice, my artist son.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+man+fights+expectations+in+%27I%27m+So+Glad+We+Had+This+Time+Together%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953371/im-so-glad-we-had-this-time-together-memoir-graphic-novel-review-maurice","authors":["byline_arts_13953371"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_6977","arts_9054","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13953372","label":"arts_140"},"arts_13952984":{"type":"posts","id":"arts_13952984","meta":{"index":"posts_1591205157","site":"arts","id":"13952984","score":null,"sort":[1708970330000]},"guestAuthors":[],"slug":"burn-book-kara-swisher-memoir-silicon-valley-expose","title":"‘Burn Book’ Torches Tech Titans in Tale of Love and Loathing in Silicon Valley","publishDate":1708970330,"format":"aside","headTitle":"‘Burn Book’ Torches Tech Titans in Tale of Love and Loathing in Silicon Valley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13952988\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952988\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png\" alt=\"A book cover featuring a close-up headshot of a white woman with short brown hair. She is wearing aviator sunglasses that show a reflection of fire.\" width=\"838\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-768x1114.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Burn Book: A Tech Love Story’ by Kara Swisher. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Technology is so pervasive and invasive that it’s polarizing people, producing feelings of love and loathing for its devices, online services and the would-be visionaries behind them, according to a longtime Silicon Valley reporter.\u003c/p>\n\u003cp>Kara Swisher unwraps how we got to this point in her incendiary memoir, \u003cem>Burn Book\u003c/em>, an exposé that also seeks to avert technological calamity on the perilous road still ahead.\u003c/p>\n\u003cp>[aside postid='arts_13951772']Swisher skewers many of the once-idealistic tech moguls who, when she met them as entrepreneurs decades ago, promised to change the world for the better but often chose a path of destructive disruption instead. And along the way, they amassed staggering fortunes that have disconnected them from reality.\u003c/p>\n\u003cp>Facebook founder Mark Zuckerberg, who broke into a sweat during an on-stage interview with Swisher in 2010, and Tesla CEO Elon Musk, who once talked to her regularly before cutting off communications after he bought Twitter in 2022, are painted in the harshest light.\u003c/p>\n\u003cp>“If Mark Zuckerberg is the most damaging man in tech to me, Musk was the most disappointing,” Swisher writes in her 300-page book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s one of the milder critiques in what’s a mostly scathing takedown by one of the most respected and feared reporters covering technology. Her reputation is such that Swisher has become as synonymous with Silicon Valley as the famous entrepreneurs who shaped it since she began covering the industry in the 1990s.\u003c/p>\n\u003cp>CEOs, including Zuckerberg and Musk, regularly granted her exclusive interviews, fed her scoops and sometimes even secretly called her for advice, according to her book. When the HBO series, \u003cem>Silicon Valley\u003c/em>, needed someone to play an influential reporter in an episode, Swisher was cast as herself — a role she still regularly fills as a technology commentator on major TV networks.\u003c/p>\n\u003cp>Swisher no longer resides in Silicon Valley. She moved to Washington, D.C., a few years ago, mostly because that’s where her wife works, but also because she was feeling a need to escape what had become an increasingly toxic and insular scene.\u003c/p>\n\u003cp>[aside postid='arts_13950698']But she has remained plugged into — and worried — about what is happening with technology, particularly with the accelerating rise of artificial intelligence and its potential for causing even more damage than she thinks has already been done by social media, smartphones and other products that haven’t been tightly regulated.\u003c/p>\n\u003cp>Swisher told The Associated Press that she hopes \u003cem>Burn Book\u003c/em> serves as a shot across the bow of both the technology industry and governments around the world, a warning that the same missteps that happened during the past 20 years must not be repeated as artificial intelligence seeps into all corners of society.\u003c/p>\n\u003cp>“Don’t get fooled a second time,” Swisher said of what she hopes the book’s main takeaway will be. “We need our government to make these (technology-industry) people accountable and that has not happened. We need them to understand consequences because they certainly haven’t done us right on the damaging parts of technology. We need to stop letting them off the hook.”\u003c/p>\n\u003cp>Swisher initially didn’t even want to write another book, partly because she has become more interested in focusing on her \u003cem>Pivot\u003c/em> podcast. But she but finally got on a roll after she hired Nell Scovell, who co-wrote a best-selling book with former Facebook executive Sheryl Sandberg, to help her remember all the stories she accumulated.\u003c/p>\n\u003cp>Those recollections led her to disassemble some of the world’s richest people in her book, but Swisher isn’t worried about the blowback.\u003c/p>\n\u003cp>“I don’t care what they think,” Swisher said. “The worst thing I do is tell people what I think of them, but I am being truthful.”\u003c/p>\n\u003cp>Musk, who also runs rocket ship maker SpaceX and social media company X, used a pejorative term for anus to describe Swisher in his last email sent to her in October 2022, according to her book.\u003c/p>\n\u003cp>[aside postid='arts_13952713']“You can see it every day on Twitter (renamed X by Musk). There is something wrong with him,” Swisher said of Musk during the AP interview. “He is in desperate need of attention, he is a classic narcissist who has turned into a malevolent narcissist.”\u003c/p>\n\u003cp>Swisher doesn’t spend her entire book bashing tech leaders. She devotes an entire chapter to the industry’s “mensches,” a list that includes Salesforce CEO Marc Benioff, investor Mark Cuban and the late Dave Goldberg, who was CEO of SurveyMonkey and Sandberg’s husband when he died in 2015 while on vacation in Mexico. She also has mostly kind words for the likes of former Netflix CEO Reed Hastings, former Yahoo CEO Jerry Yang, Apple CEO Tim Cook and his late predecessor, Steve Jobs.\u003c/p>\n\u003cp>Eventually, Swisher said she hopes she will look back kindly on the tech leaders at the vanguard of AI, especially Sam Altman, the CEO of OpenAI, the San Francisco startup behind the popular chatbot ChatGPT.\u003c/p>\n\u003cp>“One thing I do like about Sam is he is able to hold two conflicting ideas in his head at the same time,” Swisher said. “Of course, he is going to be a techno-optimist, but he is not a techno-idiot. Now what will be a problem is he just takes whatever he wants, even though he has warned of unsafe things, and then does nothing about them. That’s what too many of these tech moguls have done.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\">\u003cem>‘Burn Book: A Tech Love Story’ is out on Feb. 27, 2024, via Simon & Schuster. \u003ca href=\"https://www.cityarts.net/event/kara-swisher-sam-altman/\">Kara Swisher will be interviewed by Sam Altman for City Arts & Lectures\u003c/a>, at San Francisco’s Sydney Goldstein Theater on March 7, 2024. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The veteran reporter has written a memoir that's also an exposé seeking to avert technological calamity. ","status":"publish","parent":0,"modified":1708972759,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1009},"headData":{"title":"‘Burn Book’ by Kara Swisher Review: An Incendiary Exposé | KQED","description":"The veteran reporter has written a memoir that's also an exposé seeking to avert technological calamity. ","ogTitle":"‘Burn Book’ Torches Tech Titans in Tale of Love and Loathing in Silicon Valley","ogDescription":"","ogImgId":"","twTitle":"‘Burn Book’ Torches Tech Titans in Tale of Love and Loathing in Silicon Valley","twDescription":"","twImgId":"","socialTitle":"‘Burn Book’ by Kara Swisher Review: An Incendiary Exposé %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Michael Liedtke, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13952984/burn-book-kara-swisher-memoir-silicon-valley-expose","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13952988\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952988\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png\" alt=\"A book cover featuring a close-up headshot of a white woman with short brown hair. She is wearing aviator sunglasses that show a reflection of fire.\" width=\"838\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-800x1161.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-26-at-9.37.25-AM-768x1114.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Burn Book: A Tech Love Story’ by Kara Swisher. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Technology is so pervasive and invasive that it’s polarizing people, producing feelings of love and loathing for its devices, online services and the would-be visionaries behind them, according to a longtime Silicon Valley reporter.\u003c/p>\n\u003cp>Kara Swisher unwraps how we got to this point in her incendiary memoir, \u003cem>Burn Book\u003c/em>, an exposé that also seeks to avert technological calamity on the perilous road still ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951772","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Swisher skewers many of the once-idealistic tech moguls who, when she met them as entrepreneurs decades ago, promised to change the world for the better but often chose a path of destructive disruption instead. And along the way, they amassed staggering fortunes that have disconnected them from reality.\u003c/p>\n\u003cp>Facebook founder Mark Zuckerberg, who broke into a sweat during an on-stage interview with Swisher in 2010, and Tesla CEO Elon Musk, who once talked to her regularly before cutting off communications after he bought Twitter in 2022, are painted in the harshest light.\u003c/p>\n\u003cp>“If Mark Zuckerberg is the most damaging man in tech to me, Musk was the most disappointing,” Swisher writes in her 300-page book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s one of the milder critiques in what’s a mostly scathing takedown by one of the most respected and feared reporters covering technology. Her reputation is such that Swisher has become as synonymous with Silicon Valley as the famous entrepreneurs who shaped it since she began covering the industry in the 1990s.\u003c/p>\n\u003cp>CEOs, including Zuckerberg and Musk, regularly granted her exclusive interviews, fed her scoops and sometimes even secretly called her for advice, according to her book. When the HBO series, \u003cem>Silicon Valley\u003c/em>, needed someone to play an influential reporter in an episode, Swisher was cast as herself — a role she still regularly fills as a technology commentator on major TV networks.\u003c/p>\n\u003cp>Swisher no longer resides in Silicon Valley. She moved to Washington, D.C., a few years ago, mostly because that’s where her wife works, but also because she was feeling a need to escape what had become an increasingly toxic and insular scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950698","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But she has remained plugged into — and worried — about what is happening with technology, particularly with the accelerating rise of artificial intelligence and its potential for causing even more damage than she thinks has already been done by social media, smartphones and other products that haven’t been tightly regulated.\u003c/p>\n\u003cp>Swisher told The Associated Press that she hopes \u003cem>Burn Book\u003c/em> serves as a shot across the bow of both the technology industry and governments around the world, a warning that the same missteps that happened during the past 20 years must not be repeated as artificial intelligence seeps into all corners of society.\u003c/p>\n\u003cp>“Don’t get fooled a second time,” Swisher said of what she hopes the book’s main takeaway will be. “We need our government to make these (technology-industry) people accountable and that has not happened. We need them to understand consequences because they certainly haven’t done us right on the damaging parts of technology. We need to stop letting them off the hook.”\u003c/p>\n\u003cp>Swisher initially didn’t even want to write another book, partly because she has become more interested in focusing on her \u003cem>Pivot\u003c/em> podcast. But she but finally got on a roll after she hired Nell Scovell, who co-wrote a best-selling book with former Facebook executive Sheryl Sandberg, to help her remember all the stories she accumulated.\u003c/p>\n\u003cp>Those recollections led her to disassemble some of the world’s richest people in her book, but Swisher isn’t worried about the blowback.\u003c/p>\n\u003cp>“I don’t care what they think,” Swisher said. “The worst thing I do is tell people what I think of them, but I am being truthful.”\u003c/p>\n\u003cp>Musk, who also runs rocket ship maker SpaceX and social media company X, used a pejorative term for anus to describe Swisher in his last email sent to her in October 2022, according to her book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952713","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“You can see it every day on Twitter (renamed X by Musk). There is something wrong with him,” Swisher said of Musk during the AP interview. “He is in desperate need of attention, he is a classic narcissist who has turned into a malevolent narcissist.”\u003c/p>\n\u003cp>Swisher doesn’t spend her entire book bashing tech leaders. She devotes an entire chapter to the industry’s “mensches,” a list that includes Salesforce CEO Marc Benioff, investor Mark Cuban and the late Dave Goldberg, who was CEO of SurveyMonkey and Sandberg’s husband when he died in 2015 while on vacation in Mexico. She also has mostly kind words for the likes of former Netflix CEO Reed Hastings, former Yahoo CEO Jerry Yang, Apple CEO Tim Cook and his late predecessor, Steve Jobs.\u003c/p>\n\u003cp>Eventually, Swisher said she hopes she will look back kindly on the tech leaders at the vanguard of AI, especially Sam Altman, the CEO of OpenAI, the San Francisco startup behind the popular chatbot ChatGPT.\u003c/p>\n\u003cp>“One thing I do like about Sam is he is able to hold two conflicting ideas in his head at the same time,” Swisher said. “Of course, he is going to be a techno-optimist, but he is not a techno-idiot. Now what will be a problem is he just takes whatever he wants, even though he has warned of unsafe things, and then does nothing about them. That’s what too many of these tech moguls have done.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\">\u003cem>‘Burn Book: A Tech Love Story’ is out on Feb. 27, 2024, via Simon & Schuster. \u003ca href=\"https://www.cityarts.net/event/kara-swisher-sam-altman/\">Kara Swisher will be interviewed by Sam Altman for City Arts & Lectures\u003c/a>, at San Francisco’s Sydney Goldstein Theater on March 7, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952984/burn-book-kara-swisher-memoir-silicon-valley-expose","authors":["byline_arts_13952984"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_9054","arts_21679","arts_769","arts_3001","arts_1935","arts_585"],"featImg":"arts_13952990","label":"arts_140"},"arts_13952713":{"type":"posts","id":"arts_13952713","meta":{"index":"posts_1591205157","site":"arts","id":"13952713","score":null,"sort":[1708627792000]},"guestAuthors":[],"slug":"tommy-orange-wandering-stars-review","title":"Tommy Orange’s ‘Wandering Stars’ Traces a Family's Scars Across Six Generations","publishDate":1708627792,"format":"audio","headTitle":"Tommy Orange’s ‘Wandering Stars’ Traces a Family’s Scars Across Six Generations | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Anyone who’s lived with someone experiencing addiction — or dealt with it themselves — knows how it can plunge entire families into chaos. The damage feels personal. While experts agree that addiction often stems from other types of suffering, we have yet to contend with how collective trauma might factor into today’s overdose epidemic.\u003c/p>\n\u003cp>In Oakland author Tommy Orange’s capable hands, addiction that stems from the United States’ violent past and present comes into sharp focus. Orange’s new novel, \u003ca href=\"https://www.penguinrandomhouse.com/books/656310/wandering-stars-by-tommy-orange/\">\u003ci>Wandering Stars\u003c/i>\u003c/a> (out Feb. 27 via Knopf), tells a story, a century-and-a-half long, of a family descended from Jude Star, a survivor of the \u003ca href=\"https://www.nps.gov/sand/index.htm\">Sand Creek Massacre\u003c/a> of 1864. After most of Star’s community is brutally murdered, white colonizers imprison him and subject him to violent, forced assimilation. He ends up drinking to cope with a psychic wound so deep that it ripples through six generations.\u003c/p>\n\u003cp>Orange himself is an enrolled member of the Cheyenne and Arapaho Tribes; his ancestors also survived the Sand Creek Massacre. He chose addiction as the throughline of \u003ci>Wandering Stars\u003c/i> because of its impact on his own family. [aside postid='arts_13952372']\u003c/p>\n\u003cp>“The things that affect your life are what you end up writing about or obsessing over,” he says. “I also wanted to write it in a way … that would make the reader understand and have compassion for the characters, and where addiction comes from. Sometimes it’s treated as this moral failing. … But the way that I approach it is much more medicinal — a way to cope that sort of gets out of control.”\u003c/p>\n\u003cp>Part One of \u003cem>Wandering Stars\u003c/em> arrives in short, dreamlike dispatches from the past, where Orange switches perspective, from first to second to third person, as he gives us glimpses into characters such as Star’s son Charles, an aspiring writer. Hope glimmers throughout \u003ci>Wandering Stars\u003c/i> when characters use art and storytelling to process tragedy — in Charles’ case, the unspeakable abuses at Carlisle Indian Industrial School. He eventually winds up in Oakland, where his descendants stay rooted for generations to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Orange’s world-building is somewhat sparse as he covers three generations across the first 100 pages. With experimental writing both poetic and poignant, it doesn’t read as straight-ahead historical fiction. The reader often ends up piecing facts together hazily, as if through clouds of smoke. [aside postid='arts_13950449']\u003c/p>\n\u003cp>Orange’s universe becomes more vivid when we arrive in 2018 for Part Two, called “Aftermath.” There, we meet the youngest of Star’s descendants, Orvil, Lony and Loother Red Feather. (The three boys first appeared in Orange’s 2018 Pulitzer-nominated debut, \u003ci>There There\u003c/i>, in which 14-year-old Orvil survives a senseless act of violence.)\u003c/p>\n\u003cp>In \u003ci>Wandering Stars\u003c/i>, Orvil gets hooked on opioids while in treatment. It turns out the opioids also soothe the buried pain of surviving his mother’s heroin addiction and suicide, and Orvil keeps chasing the high. [aside postid='arts_13952460']\u003c/p>\n\u003cp>About two-thirds of \u003ci>Wandering Stars\u003c/i> is spent with these adolescent boys, their newly sober grandmother Jacquie — who’s just re-entered the picture after multiple disappearances — and Opal, the great-aunt who raised them. Orange gives their household so much texture that it’s easy for the reader to feel like they’re a part of this dysfunctional, lovable family. The brothers’ adolescent foolishness lends occasional comic relief, and the grandmothers’ fragile hope as they rebuild their relationship brings an anxious tenderness.\u003c/p>\n\u003cp>Poignantly, each character harbors inner struggles that — given Orange’s long view of history — feel as if they’ve cascaded down from the events of 1864, whether the characters consciously realize it or not.\u003c/p>\n\u003cp>It’s impossible to read \u003ci>Wandering Stars\u003c/i> and not think about our relationship to this stolen land, and that the United States is built upon despicable violence that most of us have been conditioned to at best ignore, and at worst to glorify. Even though the subject is deeply personal for Orange, writing about it, he says, was cathartic.\u003c/p>\n\u003cp>“Working the language to more clearly express certain kinds of pain and weight,” he says, “frees energy, or it transforms things, in a way that feels liberating.” [aside postid='arts_13951752']\u003c/p>\n\u003cp>\u003ci>Wandering Stars\u003c/i> brings clarity to how atrocities — historical and present-day — can scar an entire lineage. That theme has the power to resonate with readers of all backgrounds, and invites us to reexamine the bigger context of our own lives. This is a book that will change you: I sobbed, unable to put it down, for the final 100 pages.\u003c/p>\n\u003cp>Some of Orange’s characters, like the author himself, eventually move from surviving towards healing.\u003c/p>\n\u003cp>“I think I’m still figuring it out,” Orange admits. “I think the way to heal is thinking about harm. How much harm are you bringing to yourself? How much harm are you bringing to others? And trying to reduce that until it’s not there anymore. And transforming that into helping yourself, helping other people. I think that’s the path of healing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n","blocks":[],"excerpt":"The Pulitzer-nominated author's new novel follows descendants of a survivor of the Sand Creek Massacre.","status":"publish","parent":0,"modified":1709057327,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":892},"headData":{"title":"Review: Tommy Orange's 'Wandering Stars' | KQED","description":"The Pulitzer-nominated author's new novel follows descendants of a survivor of the Sand Creek Massacre.","ogTitle":"In 'Wandering Stars,' Tommy Orange Traces a Family's Scars Across Six Generations","ogDescription":"","ogImgId":"","twTitle":"In 'Wandering Stars,' Tommy Orange Traces a Family's Scars Across Six Generations","twDescription":"","twImgId":"","socialTitle":"Review: Tommy Orange's 'Wandering Stars'%%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/d6e4277d-2dad-4256-bc06-b12301136277/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952713/tommy-orange-wandering-stars-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who’s lived with someone experiencing addiction — or dealt with it themselves — knows how it can plunge entire families into chaos. The damage feels personal. While experts agree that addiction often stems from other types of suffering, we have yet to contend with how collective trauma might factor into today’s overdose epidemic.\u003c/p>\n\u003cp>In Oakland author Tommy Orange’s capable hands, addiction that stems from the United States’ violent past and present comes into sharp focus. Orange’s new novel, \u003ca href=\"https://www.penguinrandomhouse.com/books/656310/wandering-stars-by-tommy-orange/\">\u003ci>Wandering Stars\u003c/i>\u003c/a> (out Feb. 27 via Knopf), tells a story, a century-and-a-half long, of a family descended from Jude Star, a survivor of the \u003ca href=\"https://www.nps.gov/sand/index.htm\">Sand Creek Massacre\u003c/a> of 1864. After most of Star’s community is brutally murdered, white colonizers imprison him and subject him to violent, forced assimilation. He ends up drinking to cope with a psychic wound so deep that it ripples through six generations.\u003c/p>\n\u003cp>Orange himself is an enrolled member of the Cheyenne and Arapaho Tribes; his ancestors also survived the Sand Creek Massacre. He chose addiction as the throughline of \u003ci>Wandering Stars\u003c/i> because of its impact on his own family. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952372","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The things that affect your life are what you end up writing about or obsessing over,” he says. “I also wanted to write it in a way … that would make the reader understand and have compassion for the characters, and where addiction comes from. Sometimes it’s treated as this moral failing. … But the way that I approach it is much more medicinal — a way to cope that sort of gets out of control.”\u003c/p>\n\u003cp>Part One of \u003cem>Wandering Stars\u003c/em> arrives in short, dreamlike dispatches from the past, where Orange switches perspective, from first to second to third person, as he gives us glimpses into characters such as Star’s son Charles, an aspiring writer. Hope glimmers throughout \u003ci>Wandering Stars\u003c/i> when characters use art and storytelling to process tragedy — in Charles’ case, the unspeakable abuses at Carlisle Indian Industrial School. He eventually winds up in Oakland, where his descendants stay rooted for generations to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Orange’s world-building is somewhat sparse as he covers three generations across the first 100 pages. With experimental writing both poetic and poignant, it doesn’t read as straight-ahead historical fiction. The reader often ends up piecing facts together hazily, as if through clouds of smoke. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950449","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Orange’s universe becomes more vivid when we arrive in 2018 for Part Two, called “Aftermath.” There, we meet the youngest of Star’s descendants, Orvil, Lony and Loother Red Feather. (The three boys first appeared in Orange’s 2018 Pulitzer-nominated debut, \u003ci>There There\u003c/i>, in which 14-year-old Orvil survives a senseless act of violence.)\u003c/p>\n\u003cp>In \u003ci>Wandering Stars\u003c/i>, Orvil gets hooked on opioids while in treatment. It turns out the opioids also soothe the buried pain of surviving his mother’s heroin addiction and suicide, and Orvil keeps chasing the high. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952460","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>About two-thirds of \u003ci>Wandering Stars\u003c/i> is spent with these adolescent boys, their newly sober grandmother Jacquie — who’s just re-entered the picture after multiple disappearances — and Opal, the great-aunt who raised them. Orange gives their household so much texture that it’s easy for the reader to feel like they’re a part of this dysfunctional, lovable family. The brothers’ adolescent foolishness lends occasional comic relief, and the grandmothers’ fragile hope as they rebuild their relationship brings an anxious tenderness.\u003c/p>\n\u003cp>Poignantly, each character harbors inner struggles that — given Orange’s long view of history — feel as if they’ve cascaded down from the events of 1864, whether the characters consciously realize it or not.\u003c/p>\n\u003cp>It’s impossible to read \u003ci>Wandering Stars\u003c/i> and not think about our relationship to this stolen land, and that the United States is built upon despicable violence that most of us have been conditioned to at best ignore, and at worst to glorify. Even though the subject is deeply personal for Orange, writing about it, he says, was cathartic.\u003c/p>\n\u003cp>“Working the language to more clearly express certain kinds of pain and weight,” he says, “frees energy, or it transforms things, in a way that feels liberating.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951752","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Wandering Stars\u003c/i> brings clarity to how atrocities — historical and present-day — can scar an entire lineage. That theme has the power to resonate with readers of all backgrounds, and invites us to reexamine the bigger context of our own lives. This is a book that will change you: I sobbed, unable to put it down, for the final 100 pages.\u003c/p>\n\u003cp>Some of Orange’s characters, like the author himself, eventually move from surviving towards healing.\u003c/p>\n\u003cp>“I think I’m still figuring it out,” Orange admits. “I think the way to heal is thinking about harm. How much harm are you bringing to yourself? How much harm are you bringing to others? And trying to reduce that until it’s not there anymore. And transforming that into helping yourself, helping other people. I think that’s the path of healing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952713/tommy-orange-wandering-stars-review","authors":["11387"],"categories":["arts_1","arts_73"],"tags":["arts_7446","arts_10278","arts_769"],"featImg":"arts_13952722","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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