Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down
A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair
This Year’s Antiquarian Book Fair Is a Little More Rock ‘N’ Roll Than Usual
New Biography ‘The Showman’ Follows Zelensky Inside the War Room
‘Chain-Gang All-Stars’ Author Talks Abolition and Sci-Fi at Oakland Arts & Lectures
In ‘Dead in Long Beach, California,’ Grief Gives Way to Disastrous Decisions
Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal
A New Book Tells the Stud’s History Through Hundreds of Bartender-Made Pins
Sly Stone’s Memoir Teems With Tales of Music, Drugs, Survival — and a Pet Baboon?
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FM","link":"/"}},"arts_13954963":{"type":"posts","id":"arts_13954963","meta":{"index":"posts_1591205157","site":"arts","id":"13954963","score":null,"sort":[1711661787000]},"guestAuthors":[],"slug":"berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","title":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down","publishDate":1711661787,"format":"standard","headTitle":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\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,” read the March 28 announcement on the SPD website. “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 run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\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\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" 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\" 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>“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\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, 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 accusations of discrimination and wage theft.\u003c/p>\n\u003cp>Despite efforts to raise new funds, 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>SPD had lost $125,000 in annual grants in the past year from half a dozen institutions, the nonprofit said, and the warehouse shift also took longer and cost more than expected, straining its financial resources even more.[aside postID=\"news_11883845\" hero='https://ww2.kqed.org/app/uploads/sites/10/2021/08/RS50285_002_Berkeley_SmallPressStory_07192021-qut-1020x680.jpg']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>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\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,” SPD’s closing announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Founded in 1969, the nonprofit distributor got experimental, avant-garde works onto bookstores’ shelves.","status":"publish","parent":0,"modified":1711991286,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1051},"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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Berkeley’s Small Press Distribution, Champion of Indie Books, Shuts Down","datePublished":"2024-03-28T21:36:27.000Z","dateModified":"2024-04-01T17:08:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\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,” read the March 28 announcement on the SPD website. “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 run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\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\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" 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\" 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>“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\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, 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 accusations of discrimination and wage theft.\u003c/p>\n\u003cp>Despite efforts to raise new funds, 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>SPD had lost $125,000 in annual grants in the past year from half a dozen institutions, the nonprofit said, and the warehouse shift also took longer and cost more than expected, straining its financial resources even more.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11883845","hero":"https://ww2.kqed.org/app/uploads/sites/10/2021/08/RS50285_002_Berkeley_SmallPressStory_07192021-qut-1020x680.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\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>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\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,” SPD’s closing announcement concludes. “We thank you for your years of support.”\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>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954963/berkeleys-small-press-distribution-champion-of-indie-books-shuts-down","authors":["61","11635"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_1270","arts_928","arts_10278","arts_10422","arts_4566"],"featImg":"arts_13879796","label":"arts"},"arts_13951772":{"type":"posts","id":"arts_13951772","meta":{"index":"posts_1591205157","site":"arts","id":"13951772","score":null,"sort":[1707400821000]},"guestAuthors":[],"slug":"ursula-k-le-guin-leo-diane-dillon-left-hand-of-darkness","title":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","publishDate":1707400821,"format":"standard","headTitle":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Mark Funke has a passion for science fiction history. So when he acquires a rare artifact, like the original cover art for \u003cem>The Left Hand of Darkness\u003c/em>, it’s akin to viewing a gleaming treasure, long sealed away.\u003c/p>\n\u003cp>“It’s wonderful,” says Funke, \u003ca href=\"https://funkebooks.com/\">a bookseller\u003c/a> based in Mill Valley. “This is the kind of material that we live for.”\u003c/p>\n\u003cp>His business is focused on selling documents and other archival materials; his main audience is university researchers and rare collectors. A painting is not his usual fare.\u003c/p>\n\u003cp>The cover’s literary significance is evident. Le Guin, who grew up in Berkeley, won the Hugo and Nebula awards for \u003cem>The Left Hand of Darkness\u003c/em>, a 1969 novel that places an interplanetary envoy on a frozen, androgynous world. Cultural misunderstandings — and feminist explorations of gender, relationships and societal roles — ensue.\u003c/p>\n\u003cfigure id=\"attachment_13951821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg\" alt=\"Person in suit with glasses smiles and sits in front of full bookshelves\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bookseller Mark Funke in his Mill Valley office. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I talk to other LGBTQIA+ science fiction writers and people who are immersed in science fiction, they always point to \u003cem>The Left Hand of Darkness\u003c/em> as a book that kind of showed them how expansive, how rich and how multilayered speculative fiction could be in its approach to gender and sexuality,” says \u003ca href=\"https://www.charliejaneanders.com/\">Charlie Jane Anders\u003c/a>, a San Francisco-based transgender science fiction writer, who wrote the afterword for the 50th anniversary edition of the novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13950605']But the cover art for the 1969 first edition of the novel has its own merit. Leo and Diane Dillon, the only artists to win two consecutive Caldecott Medals for the picture books \u003cem>Why Mosquitoes Buzz in People’s Ears\u003c/em> and \u003cem>Ashanti to Zulu\u003c/em>, are known for illustrating dozens of science fiction covers for celebrated authors like Le Guin.\u003c/p>\n\u003cp>The Dillons’ original painting, which will be on display at the \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> in San Francisco, Feb. 9–11, has been relatively unseen until now. Its story picks up in the Oakland Hills, where Funke got a firsthand look into the inner lives of the writers, editors and artists trying to break new ground in sci-fi publishing.\u003c/p>\n\u003cfigure id=\"attachment_13951823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg\" alt=\"Open spread of photographs pasted into book with typed descriptions\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds holds a book filled with photos of science fiction authors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A sci-fi stash\u003c/h2>\n\u003cp>Last November, a tip led Funke to the former home of three well-known people in the world of science fiction. \u003ca href=\"https://en.wikipedia.org/wiki/Terry_Carr\">Terry Carr\u003c/a>, the editor who published Le Guin, Alexei Panshin, John Brunner and many others, had lived there with his wife Carol Carr, a science fiction author in her own right. After Terry’s death, the house further accumulated the belongings of Carol’s second husband Robert Lichtman, another science fiction writer and an avid fanzine collector. (Carol died in 2021, Lichtman in 2022.)\u003c/p>\n\u003cp>Funke worked with a trustee in the Carr-Lichtman estate to acquire all the papers of the house — which make up 127 boxes currently housed in Funke’s office. Some of these materials will also be on view at the Antiquarian Book Fair.\u003c/p>\n\u003cp>But acquiring the painting, which belonged to the Carr-Lichtman estate, took time, Funke says.\u003c/p>\n\u003cp>“It’s only months later, after communication with various auction houses and other parties, that we worked out a deal,” he says.\u003c/p>\n\u003cp>“If you separate the painting completely from the archives — I don’t want to say it loses value,” Funke adds, “but the idea that I have these memos which talk about the painting is amazing, and so they fit together.”\u003c/p>\n\u003cfigure id=\"attachment_13951822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg\" alt=\"Person in suit holds a framed painting of two people in an abstracted landscape\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds the original painting by Leo and Diane Dillon. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Commissioning an iconic cover\u003c/h2>\n\u003cp>In the late ’60s, Ace Books was working on the launch of a new series, the Ace Science Fiction Specials. This collection of 40 titles was meant to highlight a “new wave” of science fiction authors — including Le Guin — who wrote stories that dealt with not just rocket ships, but with class, gender and race.\u003c/p>\n\u003cp>[aside postID='arts_13951425']“It was science fiction that moved away from the pulpy space adventures, aliens and laser guns-type stories and conflict-based stories, specifically, of earlier in the century,” says Phoenix Alexander, the science fiction librarian at UC Riverside, which has one of the country’s largest \u003ca href=\"https://library.ucr.edu/collections/eaton-collection-of-science-fiction-fantasy\">collections\u003c/a> of the genre.\u003c/p>\n\u003cp>According to a 1967 memo to Aaron. A. Wyn, the founder of Ace Books, editor Terry Carr advocated for the Dillons for their “imagination and a readily recognizable style — plus a good knowledge of the science fiction field.” (The Dillons had previously done illustrations for the sci-fi magazine \u003cem>Galaxy\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13951825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg\" alt=\"Hands hold graphic cover against board with black and white version of cover graphics\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the mockup for Terry Carr’s ‘Best Science Fiction and Fantasy of the Year #16’ alongside a copy of the 1987 book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same memo, Carr also argued that science fiction readers would buy the books regardless, but the Dillons’ involvement in the “packaging” would entice a larger audience, “who seldom read science fiction because it looks too childish.”\u003c/p>\n\u003cp>The first edition of \u003cem>The Left Hand of Darkness\u003c/em>, a paperback featuring the Dillons’ cover art, was released in 1969, and Carr was so protective of the design, he refused to let it be reproduced on the book’s hardcover edition.\u003c/p>\n\u003cp>“I balked at letting them use the cover art by the Dillons because Dillon covers are now associated in the science field with the specials and I want it kept that way,” said Carr in a 1968 memo to Virginia Kidd, Le Guin’s agent.\u003c/p>\n\u003cp>The Dillons went on to design several more covers in the first series of the Ace Science Fiction Specials, and over the years, they continued that kind of work for authors like Ray Bradbury and Isaac Asimov.\u003c/p>\n\u003cfigure id=\"attachment_13951827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg\" alt=\"Two figures dressed in armor hold or protect children\" width=\"2000\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1920x1230.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting ‘Knights of Endurance,’ for the cover of Wade and Cheryl Hudson’s ‘In Praise of Our Fathers and Mothers.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Dillons’ ‘third artist’\u003c/h2>\n\u003cp>Diane Dillon says science fiction writers inspired some of their best work. Leo introduced her to the genre when they met as students at Parsons in the ’50s. They were drawn to sci-fi’s imaginative worlds and the promise of what could be possible.\u003c/p>\n\u003cp>“Science fiction, fantasy and myth gave us the freedom to invent and challenge our imagination,” Diane wrote via email.\u003c/p>\n\u003cp>[aside postID='arts_13950886']In a \u003ca href=\"https://www.locusmag.com/2000/Issues/04/Dillons.html\">2000 interview\u003c/a>, Leo said he and Diane wanted their illustrations to “take science fiction out of that spaceship-and-craters-on-the-planet look.” (Leo died in 2012.)\u003c/p>\n\u003cp>In the case of \u003cem>The Left Hand of Darkness\u003c/em>, the Dillons drew inspiration from Gustav Klimt. The original 24-by-19-inch acrylic painting evokes an uncanny world. Two figures with blurry features melt into a muted luster — an allusion to the icy planet of Gethen that provides the setting for the novel.\u003c/p>\n\u003cp>“That’s a sprawling piece, and it says volumes in just that one image,” says Paul Gulla, manager of R. Michelson Galleries, which represents the Dillons, in Northampton, Massachusetts.\u003c/p>\n\u003cfigure id=\"attachment_13951829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg\" alt=\"Figure presses against glass and reflection is another version of them, with another figure behind\" width=\"2000\" height=\"1697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-800x679.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1020x865.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1536x1303.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1920x1629.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting for the cover of Harlan Ellison’s ‘No Doors No Windows.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dillons’ work was recognizable, but the duo enjoyed experimentation. They used various techniques and materials — including stained glass, woodcarving and clay — throughout their decades-long career, which spanned book covers, album covers, kids’ picture books and advertisements.\u003c/p>\n\u003cp>The Dillons even forged a new artistic identity. They described their collaboration as a “third artist,” drawing on the combined powers of their own individual styles.\u003c/p>\n\u003cp>For Pat Cummings, a writer, illustrator and Parsons professor, the Dillons stand out not just for their talent but also for an “intuitiveness” for narrative.\u003c/p>\n\u003cp>The Dillons, she says, wanted “the reader or the viewer to feel the story, to feel what’s going on there, to smell the smells and feel the sensations.”\u003c/p>\n\u003cfigure id=\"attachment_13951828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg\" alt=\"Hand holds a paperback book in front of a framed painting with the larger image of the book cover: two blurry faces against an abstract field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the Dillons’ original artwork for ‘The Left Hand of Darkness’ alongside the first edition of Ursula K. Le Guin’s book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cover art is art’\u003c/h2>\n\u003cp>Jessica Jordan, a doctoral student in English at Stanford, says she’s always been drawn to the Dillons’ art. So much so that she embarked on a personal project to catalog a \u003ca href=\"https://www.abaa.org/images/blog_parts/11662/NCBCC_Jordan_Jessica_1.pdf\">bibliography\u003c/a> of their works. It’s no small feat given how prolific they were.\u003c/p>\n\u003cp>[aside postID='arts_13950449']“There’s a whole lot of work that they did that is not very well documented. They did covers for Shakespeare, \u003cem>Canterbury Tales\u003c/em>, all kinds of things, over many decades. And that’s not registered anywhere,” says Jordan, whose effort won her the 2021 National Collegiate Book Collecting Contest.\u003c/p>\n\u003cp>As a researcher in book history and a former bookseller, Jordan thinks a lot about book production. She appreciates the Dillons in part because they represent a different era in publishing — one in which commissioning fine artists to design book covers was more common.\u003c/p>\n\u003cp>“Cover art is art,” she says. “It used to be just part of how books got made.”\u003c/p>\n\u003cp>Jordan has her own copy of the 1969 paperback of \u003cem>The Left Hand of Darkness\u003c/em> and plans to attend the Antiquarian Book Fair to see the piece for herself.\u003c/p>\n\u003cp>“As much as I love the Dillons, I have only very occasionally gotten to see the originals of their work,” she says.\u003c/p>\n\u003cp>The fair likely won’t be the last chance to see the piece in person. Funke has sold the work to UC Riverside for $20,000 (among the highest amounts paid for a work by the Dillons). He also says the university has agreed to buy some of the related papers from the Carr-Lichtman estate, keeping the history of this fortuitous intersection intact.\u003c/p>\n\u003cp>“The image is not what you might specifically associate with science fiction,” says librarian Phoenix Alexander. “It might change people’s perspective of what science fiction is and who it’s for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>\u003ca href=\"https://www.abaa.org/cabookfair\">The Antiquarian Book Fair\u003c/a> takes place Feb. 9–11 at Pier 27, San Francisco.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independent of sponsorship opportunities.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Leo and Diane Dillon’s cover for Ursula K. Le Guin’s ‘Left Hand of Darkness’ is a merger of sci-fi greats. ","status":"publish","parent":0,"modified":1707423590,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":41,"wordCount":1775},"headData":{"title":"The Painting That Became an Ursula K. Le Guin Book Cover | KQED","description":"Leo and Diane Dillon’s cover for Ursula K. Le Guin’s ‘Left Hand of Darkness’ is a merger of sci-fi greats. ","ogTitle":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","ogDescription":"","ogImgId":"","twTitle":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","twDescription":"","twImgId":"","socialTitle":"The Painting That Became an Ursula K. Le Guin Book Cover %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","datePublished":"2024-02-08T14:00:21.000Z","dateModified":"2024-02-08T20:19:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/3218aadb-6c29-4f44-a5b3-b110011fb947/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951772/ursula-k-le-guin-leo-diane-dillon-left-hand-of-darkness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mark Funke has a passion for science fiction history. So when he acquires a rare artifact, like the original cover art for \u003cem>The Left Hand of Darkness\u003c/em>, it’s akin to viewing a gleaming treasure, long sealed away.\u003c/p>\n\u003cp>“It’s wonderful,” says Funke, \u003ca href=\"https://funkebooks.com/\">a bookseller\u003c/a> based in Mill Valley. “This is the kind of material that we live for.”\u003c/p>\n\u003cp>His business is focused on selling documents and other archival materials; his main audience is university researchers and rare collectors. A painting is not his usual fare.\u003c/p>\n\u003cp>The cover’s literary significance is evident. Le Guin, who grew up in Berkeley, won the Hugo and Nebula awards for \u003cem>The Left Hand of Darkness\u003c/em>, a 1969 novel that places an interplanetary envoy on a frozen, androgynous world. Cultural misunderstandings — and feminist explorations of gender, relationships and societal roles — ensue.\u003c/p>\n\u003cfigure id=\"attachment_13951821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg\" alt=\"Person in suit with glasses smiles and sits in front of full bookshelves\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bookseller Mark Funke in his Mill Valley office. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I talk to other LGBTQIA+ science fiction writers and people who are immersed in science fiction, they always point to \u003cem>The Left Hand of Darkness\u003c/em> as a book that kind of showed them how expansive, how rich and how multilayered speculative fiction could be in its approach to gender and sexuality,” says \u003ca href=\"https://www.charliejaneanders.com/\">Charlie Jane Anders\u003c/a>, a San Francisco-based transgender science fiction writer, who wrote the afterword for the 50th anniversary edition of the novel.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950605","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the cover art for the 1969 first edition of the novel has its own merit. Leo and Diane Dillon, the only artists to win two consecutive Caldecott Medals for the picture books \u003cem>Why Mosquitoes Buzz in People’s Ears\u003c/em> and \u003cem>Ashanti to Zulu\u003c/em>, are known for illustrating dozens of science fiction covers for celebrated authors like Le Guin.\u003c/p>\n\u003cp>The Dillons’ original painting, which will be on display at the \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> in San Francisco, Feb. 9–11, has been relatively unseen until now. Its story picks up in the Oakland Hills, where Funke got a firsthand look into the inner lives of the writers, editors and artists trying to break new ground in sci-fi publishing.\u003c/p>\n\u003cfigure id=\"attachment_13951823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg\" alt=\"Open spread of photographs pasted into book with typed descriptions\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds holds a book filled with photos of science fiction authors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A sci-fi stash\u003c/h2>\n\u003cp>Last November, a tip led Funke to the former home of three well-known people in the world of science fiction. \u003ca href=\"https://en.wikipedia.org/wiki/Terry_Carr\">Terry Carr\u003c/a>, the editor who published Le Guin, Alexei Panshin, John Brunner and many others, had lived there with his wife Carol Carr, a science fiction author in her own right. After Terry’s death, the house further accumulated the belongings of Carol’s second husband Robert Lichtman, another science fiction writer and an avid fanzine collector. (Carol died in 2021, Lichtman in 2022.)\u003c/p>\n\u003cp>Funke worked with a trustee in the Carr-Lichtman estate to acquire all the papers of the house — which make up 127 boxes currently housed in Funke’s office. Some of these materials will also be on view at the Antiquarian Book Fair.\u003c/p>\n\u003cp>But acquiring the painting, which belonged to the Carr-Lichtman estate, took time, Funke says.\u003c/p>\n\u003cp>“It’s only months later, after communication with various auction houses and other parties, that we worked out a deal,” he says.\u003c/p>\n\u003cp>“If you separate the painting completely from the archives — I don’t want to say it loses value,” Funke adds, “but the idea that I have these memos which talk about the painting is amazing, and so they fit together.”\u003c/p>\n\u003cfigure id=\"attachment_13951822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg\" alt=\"Person in suit holds a framed painting of two people in an abstracted landscape\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds the original painting by Leo and Diane Dillon. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Commissioning an iconic cover\u003c/h2>\n\u003cp>In the late ’60s, Ace Books was working on the launch of a new series, the Ace Science Fiction Specials. This collection of 40 titles was meant to highlight a “new wave” of science fiction authors — including Le Guin — who wrote stories that dealt with not just rocket ships, but with class, gender and race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951425","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It was science fiction that moved away from the pulpy space adventures, aliens and laser guns-type stories and conflict-based stories, specifically, of earlier in the century,” says Phoenix Alexander, the science fiction librarian at UC Riverside, which has one of the country’s largest \u003ca href=\"https://library.ucr.edu/collections/eaton-collection-of-science-fiction-fantasy\">collections\u003c/a> of the genre.\u003c/p>\n\u003cp>According to a 1967 memo to Aaron. A. Wyn, the founder of Ace Books, editor Terry Carr advocated for the Dillons for their “imagination and a readily recognizable style — plus a good knowledge of the science fiction field.” (The Dillons had previously done illustrations for the sci-fi magazine \u003cem>Galaxy\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13951825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg\" alt=\"Hands hold graphic cover against board with black and white version of cover graphics\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the mockup for Terry Carr’s ‘Best Science Fiction and Fantasy of the Year #16’ alongside a copy of the 1987 book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same memo, Carr also argued that science fiction readers would buy the books regardless, but the Dillons’ involvement in the “packaging” would entice a larger audience, “who seldom read science fiction because it looks too childish.”\u003c/p>\n\u003cp>The first edition of \u003cem>The Left Hand of Darkness\u003c/em>, a paperback featuring the Dillons’ cover art, was released in 1969, and Carr was so protective of the design, he refused to let it be reproduced on the book’s hardcover edition.\u003c/p>\n\u003cp>“I balked at letting them use the cover art by the Dillons because Dillon covers are now associated in the science field with the specials and I want it kept that way,” said Carr in a 1968 memo to Virginia Kidd, Le Guin’s agent.\u003c/p>\n\u003cp>The Dillons went on to design several more covers in the first series of the Ace Science Fiction Specials, and over the years, they continued that kind of work for authors like Ray Bradbury and Isaac Asimov.\u003c/p>\n\u003cfigure id=\"attachment_13951827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg\" alt=\"Two figures dressed in armor hold or protect children\" width=\"2000\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1920x1230.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting ‘Knights of Endurance,’ for the cover of Wade and Cheryl Hudson’s ‘In Praise of Our Fathers and Mothers.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Dillons’ ‘third artist’\u003c/h2>\n\u003cp>Diane Dillon says science fiction writers inspired some of their best work. Leo introduced her to the genre when they met as students at Parsons in the ’50s. They were drawn to sci-fi’s imaginative worlds and the promise of what could be possible.\u003c/p>\n\u003cp>“Science fiction, fantasy and myth gave us the freedom to invent and challenge our imagination,” Diane wrote via email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://www.locusmag.com/2000/Issues/04/Dillons.html\">2000 interview\u003c/a>, Leo said he and Diane wanted their illustrations to “take science fiction out of that spaceship-and-craters-on-the-planet look.” (Leo died in 2012.)\u003c/p>\n\u003cp>In the case of \u003cem>The Left Hand of Darkness\u003c/em>, the Dillons drew inspiration from Gustav Klimt. The original 24-by-19-inch acrylic painting evokes an uncanny world. Two figures with blurry features melt into a muted luster — an allusion to the icy planet of Gethen that provides the setting for the novel.\u003c/p>\n\u003cp>“That’s a sprawling piece, and it says volumes in just that one image,” says Paul Gulla, manager of R. Michelson Galleries, which represents the Dillons, in Northampton, Massachusetts.\u003c/p>\n\u003cfigure id=\"attachment_13951829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg\" alt=\"Figure presses against glass and reflection is another version of them, with another figure behind\" width=\"2000\" height=\"1697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-800x679.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1020x865.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1536x1303.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1920x1629.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting for the cover of Harlan Ellison’s ‘No Doors No Windows.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dillons’ work was recognizable, but the duo enjoyed experimentation. They used various techniques and materials — including stained glass, woodcarving and clay — throughout their decades-long career, which spanned book covers, album covers, kids’ picture books and advertisements.\u003c/p>\n\u003cp>The Dillons even forged a new artistic identity. They described their collaboration as a “third artist,” drawing on the combined powers of their own individual styles.\u003c/p>\n\u003cp>For Pat Cummings, a writer, illustrator and Parsons professor, the Dillons stand out not just for their talent but also for an “intuitiveness” for narrative.\u003c/p>\n\u003cp>The Dillons, she says, wanted “the reader or the viewer to feel the story, to feel what’s going on there, to smell the smells and feel the sensations.”\u003c/p>\n\u003cfigure id=\"attachment_13951828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg\" alt=\"Hand holds a paperback book in front of a framed painting with the larger image of the book cover: two blurry faces against an abstract field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the Dillons’ original artwork for ‘The Left Hand of Darkness’ alongside the first edition of Ursula K. Le Guin’s book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cover art is art’\u003c/h2>\n\u003cp>Jessica Jordan, a doctoral student in English at Stanford, says she’s always been drawn to the Dillons’ art. So much so that she embarked on a personal project to catalog a \u003ca href=\"https://www.abaa.org/images/blog_parts/11662/NCBCC_Jordan_Jessica_1.pdf\">bibliography\u003c/a> of their works. It’s no small feat given how prolific they were.\u003c/p>\n\u003cp>\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>“There’s a whole lot of work that they did that is not very well documented. They did covers for Shakespeare, \u003cem>Canterbury Tales\u003c/em>, all kinds of things, over many decades. And that’s not registered anywhere,” says Jordan, whose effort won her the 2021 National Collegiate Book Collecting Contest.\u003c/p>\n\u003cp>As a researcher in book history and a former bookseller, Jordan thinks a lot about book production. She appreciates the Dillons in part because they represent a different era in publishing — one in which commissioning fine artists to design book covers was more common.\u003c/p>\n\u003cp>“Cover art is art,” she says. “It used to be just part of how books got made.”\u003c/p>\n\u003cp>Jordan has her own copy of the 1969 paperback of \u003cem>The Left Hand of Darkness\u003c/em> and plans to attend the Antiquarian Book Fair to see the piece for herself.\u003c/p>\n\u003cp>“As much as I love the Dillons, I have only very occasionally gotten to see the originals of their work,” she says.\u003c/p>\n\u003cp>The fair likely won’t be the last chance to see the piece in person. Funke has sold the work to UC Riverside for $20,000 (among the highest amounts paid for a work by the Dillons). He also says the university has agreed to buy some of the related papers from the Carr-Lichtman estate, keeping the history of this fortuitous intersection intact.\u003c/p>\n\u003cp>“The image is not what you might specifically associate with science fiction,” says librarian Phoenix Alexander. “It might change people’s perspective of what science fiction is and who it’s for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>\u003ca href=\"https://www.abaa.org/cabookfair\">The Antiquarian Book Fair\u003c/a> takes place Feb. 9–11 at Pier 27, San Francisco.\u003c/i>\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>\u003ci>A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independent of sponsorship opportunities.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951772/ursula-k-le-guin-leo-diane-dillon-left-hand-of-darkness","authors":["11724"],"categories":["arts_1","arts_73","arts_70"],"tags":["arts_928","arts_10278","arts_3797","arts_901"],"featImg":"arts_13951820","label":"arts"},"arts_13950605":{"type":"posts","id":"arts_13950605","meta":{"index":"posts_1591205157","site":"arts","id":"13950605","score":null,"sort":[1707260502000]},"guestAuthors":[],"slug":"beatles-memorabilia-antiquarian-book-fair-san-francisco","title":"This Year’s Antiquarian Book Fair Is a Little More Rock ‘N’ Roll Than Usual","publishDate":1707260502,"format":"standard","headTitle":"This Year’s Antiquarian Book Fair Is a Little More Rock ‘N’ Roll Than Usual | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s already a favorite annual event of Bay Area bibliophiles, but this year’s \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> promises to be a little more rock ‘n’ roll than usual. Among this year’s collection of rare books, maps and historical documents is a wealth of music memorabilia, including two major pieces by the Beatles.\u003c/p>\n\u003cp>The first: original Beatles lyrics that were handwritten by Paul McCartney. The framed scrap of paper can be purchased from \u003ca href=\"https://www.biblioctopus.com/\">Biblioctopus\u003c/a> for a whopping $650,000. Not a bad little price tag considering the song in question isn’t even for a big hit. Rather, it’s for “\u003ca href=\"https://www.youtube.com/watch?v=ysDwR5SIR1Q\">Lovely Rita\u003c/a>,” a jaunty ode to a “lovely meter maid” that appeared on 1967’s \u003cem>Sgt. Pepper’s Lonely Hearts Club Band.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13950616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Photo-12a_-Beatles-lyrics-framed-e1705626643203.jpg\" alt=\"A frame containing a Beatles album cover and a piece of paper with handwriting on it.\" width=\"1920\" height=\"1413\">\u003cfigcaption class=\"wp-caption-text\">Handwritten lyrics by Paul McCartney for 1967 Beatles track, ‘Lovely Rita.’ The memorabilia will be available to buy at this year’s California International Antiquarian Book Fair. \u003ccite>(Courtesy of Biblioctopus/ The California International Antiquarian Book Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another rare book dealer hailing all the way from Austria has \u003ca href=\"https://inlibris.com/item/bn63198/\">a copy of the Fab Four’s debut album\u003c/a>, \u003cem>Please Please Me \u003c/em>on offer, signed by the whole band. The Vienna-based dealer, \u003ca href=\"https://inlibris.com/\">Antiquariat Inlibris\u003c/a>, also has signed Polaroids of David Bowie, Freddy Mercury and Mick Jagger on offer as well as \u003ca href=\"https://inlibris.com/item/bn61538/\">a copy of \u003cem>Dick Clark’s American Bandstand\u003c/em>\u003c/a> (by Dick Clark and Fred Bronson) that’s signed by over 100 musicians. Artists including Aretha Franklin, Little Richard, Diana Ross, Billy Joel, Cher, Donna Summer, Elton John, Cyndi Lauper, Sting and Jerry Lee Lewis all had their mitts on this book at some point, making it a truly rare treasure.\u003c/p>\n\u003cp>[aside postid='arts_13951425']Elsewhere, New York’s \u003ca href=\"https://www.appledorebookshop.com/\">Appledore Books\u003c/a> has a wealth of vintage Fillmore posters and a collection of 1968 issues of \u003cem>Rolling Stone.\u003c/em> \u003ca href=\"https://www.janetteray.co.uk/browse/\">Janette Ray Rare and Out of Print Books\u003c/a> has Stanley Mouse artwork and some UK books about ’70s subcultures. \u003ca href=\"https://www.capitolhillbooks-dc.com/\">Capitol Hill Books\u003c/a> has singer-songwriter \u003ca href=\"https://en.wikipedia.org/wiki/Tom_Verlaine\">Tom Verlaine\u003c/a>‘s music book collection on display — including a personally inscribed copy of\u003ca href=\"https://www.ndbooks.com/book/woolgathering/\"> Patti Smith’s \u003cem>Woolgathering\u003c/em>\u003c/a>. And \u003ca href=\"https://www.jhbooks.com/\">Jeff Hirsch Books\u003c/a> has signed copies of Bob Dylan’s \u003cem>Lyrics 1962-1985\u003c/em> and \u003cem>Organic Trains\u003c/em> by Jim Carroll.\u003c/p>\n\u003cp>Autograph lovers might also wish to seek out Germany’s \u003ca href=\"https://www.kotte-autographs.com/en/service/contact/\">Kotte Autographs\u003c/a> amongst the fair’s 120 sellers, as well as Berkeley’s own \u003ca href=\"https://padaweb.myshopify.com/blogs/members/141041159-j-b-muns-fine-arts-books-musical-autographs\">J.B. Muns Fine Arts Books & Musical Autographs\u003c/a> — both of whom will have much more music memorabilia on hand. J.B. Muns, though primarily focused on classical music swag, has promised to bring an album of pop, country and jazz autographs. \u003ca href=\"https://www.kensandersbooks.com/\">Ken Sanders Rare Books\u003c/a> also has a giant collection of signed photographs by British Invasion bands that were lovingly gathered by a teen fan in the 1960s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Exhibitors are flocking to the Bay for the prestigious event from countries as far flung as Australia, Argentina and Denmark. Over 5,000 people are expected to attend — if you look at that in musical terms, that’s more than two sold-out Warfields.\u003c/p>\n\u003cp>What a way to celebrate the fair’s 75th anniversary.\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\">\u003c/p>\n\u003cp>\u003cem>The 56th California International Antiquarian Book Fair takes place at Pier 27 (the Embarcadero) in San Francisco, Feb. 9-11. \u003ca href=\"https://www.abaa.org/cabookfair\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independently of sponsorships.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"If you've got $650,000 lying around, you can get your hands on Beatles lyrics handwritten by Paul McCartney.","status":"publish","parent":0,"modified":1707559765,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":586},"headData":{"title":"Beatles Memorabilia on Sale at SF’s Antiquarian Book Fair 2024 | KQED","description":"If you've got $650,000 lying around, you can get your hands on Beatles lyrics handwritten by Paul McCartney.","ogTitle":"This Year’s Antiquarian Book Fair Is a Little More Rock ’N’ Roll Than Usual","ogDescription":"","ogImgId":"","twTitle":"This Year’s Antiquarian Book Fair Is a Little More Rock ’N’ Roll Than Usual","twDescription":"","twImgId":"","socialTitle":"Beatles Memorabilia on Sale at SF’s Antiquarian Book Fair 2024%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Year’s Antiquarian Book Fair Is a Little More Rock ‘N’ Roll Than Usual","datePublished":"2024-02-06T23:01:42.000Z","dateModified":"2024-02-10T10:09:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950605/beatles-memorabilia-antiquarian-book-fair-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s already a favorite annual event of Bay Area bibliophiles, but this year’s \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> promises to be a little more rock ‘n’ roll than usual. Among this year’s collection of rare books, maps and historical documents is a wealth of music memorabilia, including two major pieces by the Beatles.\u003c/p>\n\u003cp>The first: original Beatles lyrics that were handwritten by Paul McCartney. The framed scrap of paper can be purchased from \u003ca href=\"https://www.biblioctopus.com/\">Biblioctopus\u003c/a> for a whopping $650,000. Not a bad little price tag considering the song in question isn’t even for a big hit. Rather, it’s for “\u003ca href=\"https://www.youtube.com/watch?v=ysDwR5SIR1Q\">Lovely Rita\u003c/a>,” a jaunty ode to a “lovely meter maid” that appeared on 1967’s \u003cem>Sgt. Pepper’s Lonely Hearts Club Band.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13950616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Photo-12a_-Beatles-lyrics-framed-e1705626643203.jpg\" alt=\"A frame containing a Beatles album cover and a piece of paper with handwriting on it.\" width=\"1920\" height=\"1413\">\u003cfigcaption class=\"wp-caption-text\">Handwritten lyrics by Paul McCartney for 1967 Beatles track, ‘Lovely Rita.’ The memorabilia will be available to buy at this year’s California International Antiquarian Book Fair. \u003ccite>(Courtesy of Biblioctopus/ The California International Antiquarian Book Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another rare book dealer hailing all the way from Austria has \u003ca href=\"https://inlibris.com/item/bn63198/\">a copy of the Fab Four’s debut album\u003c/a>, \u003cem>Please Please Me \u003c/em>on offer, signed by the whole band. The Vienna-based dealer, \u003ca href=\"https://inlibris.com/\">Antiquariat Inlibris\u003c/a>, also has signed Polaroids of David Bowie, Freddy Mercury and Mick Jagger on offer as well as \u003ca href=\"https://inlibris.com/item/bn61538/\">a copy of \u003cem>Dick Clark’s American Bandstand\u003c/em>\u003c/a> (by Dick Clark and Fred Bronson) that’s signed by over 100 musicians. Artists including Aretha Franklin, Little Richard, Diana Ross, Billy Joel, Cher, Donna Summer, Elton John, Cyndi Lauper, Sting and Jerry Lee Lewis all had their mitts on this book at some point, making it a truly rare treasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951425","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Elsewhere, New York’s \u003ca href=\"https://www.appledorebookshop.com/\">Appledore Books\u003c/a> has a wealth of vintage Fillmore posters and a collection of 1968 issues of \u003cem>Rolling Stone.\u003c/em> \u003ca href=\"https://www.janetteray.co.uk/browse/\">Janette Ray Rare and Out of Print Books\u003c/a> has Stanley Mouse artwork and some UK books about ’70s subcultures. \u003ca href=\"https://www.capitolhillbooks-dc.com/\">Capitol Hill Books\u003c/a> has singer-songwriter \u003ca href=\"https://en.wikipedia.org/wiki/Tom_Verlaine\">Tom Verlaine\u003c/a>‘s music book collection on display — including a personally inscribed copy of\u003ca href=\"https://www.ndbooks.com/book/woolgathering/\"> Patti Smith’s \u003cem>Woolgathering\u003c/em>\u003c/a>. And \u003ca href=\"https://www.jhbooks.com/\">Jeff Hirsch Books\u003c/a> has signed copies of Bob Dylan’s \u003cem>Lyrics 1962-1985\u003c/em> and \u003cem>Organic Trains\u003c/em> by Jim Carroll.\u003c/p>\n\u003cp>Autograph lovers might also wish to seek out Germany’s \u003ca href=\"https://www.kotte-autographs.com/en/service/contact/\">Kotte Autographs\u003c/a> amongst the fair’s 120 sellers, as well as Berkeley’s own \u003ca href=\"https://padaweb.myshopify.com/blogs/members/141041159-j-b-muns-fine-arts-books-musical-autographs\">J.B. Muns Fine Arts Books & Musical Autographs\u003c/a> — both of whom will have much more music memorabilia on hand. J.B. Muns, though primarily focused on classical music swag, has promised to bring an album of pop, country and jazz autographs. \u003ca href=\"https://www.kensandersbooks.com/\">Ken Sanders Rare Books\u003c/a> also has a giant collection of signed photographs by British Invasion bands that were lovingly gathered by a teen fan in the 1960s.\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>Exhibitors are flocking to the Bay for the prestigious event from countries as far flung as Australia, Argentina and Denmark. Over 5,000 people are expected to attend — if you look at that in musical terms, that’s more than two sold-out Warfields.\u003c/p>\n\u003cp>What a way to celebrate the fair’s 75th anniversary.\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\">\u003c/p>\n\u003cp>\u003cem>The 56th California International Antiquarian Book Fair takes place at Pier 27 (the Embarcadero) in San Francisco, Feb. 9-11. \u003ca href=\"https://www.abaa.org/cabookfair\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independently of sponsorships.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950605/beatles-memorabilia-antiquarian-book-fair-san-francisco","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_7862","arts_11615"],"tags":["arts_928","arts_21800","arts_10278","arts_585"],"featImg":"arts_13951674","label":"arts_140"},"arts_13950809":{"type":"posts","id":"arts_13950809","meta":{"index":"posts_1591205157","site":"arts","id":"13950809","score":null,"sort":[1706039381000]},"guestAuthors":[],"slug":"the-showman-simon-shuster-zelensky-biography-ukraine","title":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room","publishDate":1706039381,"format":"aside","headTitle":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13950825\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg\" alt=\"The black-and-white cover of 'The Showman' features a portrait of Ukrainian President Volodymyr Zelensky looking at the camera. \" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘The Showman’ by Simon Shuster. \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Moscow-born journalist Simon Shuster was growing up in San Francisco in the 1990s, he couldn’t have imagined that there would be a war between Russia and Ukraine, or that he would be the one accompanying the Ukrainian president on top-secret trips to the front.\u003c/p>\n\u003cp>Shuster, now a \u003ca href=\"https://time.com/author/simon-shuster/\">senior correspondent for \u003cem>Time\u003c/em>\u003c/a>, is the only foreign reporter to receive unprecedented access to Ukraine’s President Zelensky, his wife and his cabinet during the first year of Russia’s invasion, which he chronicles in his new book \u003ca href=\"https://www.harpercollins.com/products/the-showman-simon-shuster?variant=41083800682530\">\u003cem>The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky\u003c/em>\u003c/a>. Shuster shows us the invasion from inside the war room to demonstrate both the effect the comedian-turned-politician has had on the war — and the effect the war has had on him. At the heart of this book is a question: What path best prepares us for the unimaginable?\u003c/p>\n\u003cfigure id=\"attachment_13950822\" class=\"wp-caption alignright\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg\" alt=\"\" width=\"1925\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1020x1356.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1155x1536.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1540x2048.jpg 1540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1920x2553.jpg 1920w\" sizes=\"(max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">‘Time’ senior correspondent and author Simon Shuster. \u003ccite>(Debora Mittelstaedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The author’s own path toward that war room wasn’t straightforward. Few immigrants from the former Soviet Union return to visit their homeland. Fewer still move there to build a career. Shuster said it was while he was dabbling in journalism at Stanford that he realized his ability to speak Russian and write in English was “a pretty cool competitive advantage that I should not squander.” He moved to Moscow to work as a reporter in 2006 and has remained a key figure in the coverage of the region ever since.\u003c/p>\n\u003cp>Still, when asked what it was about him that made Zelensky grant him unique access, he said he doesn’t fully know. “I think he saw my long-term commitment to covering the story. But also, the way he makes decisions is usually shooting from the hip. It’s quite intuitive.”\u003c/p>\n\u003cp>Zelensky’s decision-making style is evident from the start of the book. \u003cem>The Showman\u003c/em> opens with a striking scene at the president’s villa at 4:30 a.m. on the morning of Russia’s invasion, when Zelensky, already dressed in a suit, tells his wife, “It’s started.” We follow him as his driver takes him toward Kyiv’s center, while “in the other direction the traffic had started to thicken.” People are fleeing. Soon, Zelensky will get offers from foreign heads of state to help him flee as well. He will find them offensive. The opening scene sets the tone for the rest of the narrative, where the president’s confidence in his decisions (some brave, some irrational) forges a path for Ukraine that no one could have predicted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We follow him down into the Soviet-era nuclear bunker where he will spend the first dramatic weeks of the invasion and deliver some of his most stirring speeches. His life there is far from glamorous: He and his team subsist on tinned meat and packaged sweets while sleeping on twin-size cots with no sunlight, fresh air or a way to see their families. The description is a riveting reminder of just how precarious and mind boggling those initial weeks of Europe’s first 21st-century war really were.\u003c/p>\n\u003cp>\u003cem>The Showman\u003c/em> isn’t a play by play of the first year of the full-scale war. Once the scene of the invasion is set, Shuster takes us back to Zelensky’s upbringing in a rough industrial town, through his growing popularity as a comedian and TV producer, and to his pivotal warzone tours at the start of the conflict in 2014 that sent him on his path toward politics. We also see a portrait of the president’s marriage as he and Olena Zelenska try to get comfortable with politics.\u003c/p>\n\u003cp>Zelensky emerges as a candid guy who isn’t politically savvy, but who is able to harness his skills as a showman to convince, inspire, fundraise and ultimately stage an unlikely resistance to annihilation.\u003c/p>\n\u003cp>But Shuster isn’t blind to his protagonist’s more problematic sides. [aside postid='arts_13950449']\u003c/p>\n\u003cp>One of the most revealing threads of \u003cem>The Showman\u003c/em> is Zelensky’s mistaken belief in his power of persuasion when it came to negotiating peace with Russia. While visiting the massacre site in Bucha in April 2022, Zelensky said of Putin, “I’m not sure he knows what is happening.” Shuster, just as the reader, finds this naivete astonishing. He writes, “He seemed to believe that if he could only take Putin on a tour of Bucha […], the war might stop.”\u003c/p>\n\u003cp>Shuster also worries whether Zelensky, who has stamped out competition and \u003ca href=\"https://thehill.com/homenews/3795160-zelensky-signs-controversial-law-expanding-government-power-to-regulate-media/\">instituted control of the media\u003c/a>, “will have the wisdom and restraint to part with the extraordinary powers granted to him under martial law, or whether he will, like so many leaders through history, find that power too addictive.”\u003c/p>\n\u003cp>While it is tricky to write a work of longform journalism against the backdrop of a relentless news cycle, \u003cem>The Showman\u003c/em> stands as a clear-eyed insider look into this conflict. As the war enters its third year, \u003cem>The Showman\u003c/em> serves as a reminder of what could happen if we turn away.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>Simon Shuster discusses ‘The Showman’ at the \u003ca href=\"https://commonwealthclub.my.salesforce-sites.com/ticket#/events/a0S8Z00000HNsxLUAT\">Commonwealth Club in San Francisco on Jan. 29\u003c/a> and at \u003ca href=\"https://www.keplers.org/upcoming-events-internal/simon-shuster\">Kepler’s Books in Menlo Park on Jan. 30\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"SF-raised journalist Simon Shuster traveled to the front and emerged with a complex portrait of the leader.","status":"publish","parent":0,"modified":1706039381,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":931},"headData":{"title":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room | KQED","description":"SF-raised journalist Simon Shuster traveled to the front and emerged with a complex portrait of the leader.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room","datePublished":"2024-01-23T19:49:41.000Z","dateModified":"2024-01-23T19:49:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/arts/tag/commentary","sticky":false,"nprByline":"Sasha Vasilyuk","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13950809/the-showman-simon-shuster-zelensky-biography-ukraine","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13950825\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg\" alt=\"The black-and-white cover of 'The Showman' features a portrait of Ukrainian President Volodymyr Zelensky looking at the camera. \" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘The Showman’ by Simon Shuster. \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Moscow-born journalist Simon Shuster was growing up in San Francisco in the 1990s, he couldn’t have imagined that there would be a war between Russia and Ukraine, or that he would be the one accompanying the Ukrainian president on top-secret trips to the front.\u003c/p>\n\u003cp>Shuster, now a \u003ca href=\"https://time.com/author/simon-shuster/\">senior correspondent for \u003cem>Time\u003c/em>\u003c/a>, is the only foreign reporter to receive unprecedented access to Ukraine’s President Zelensky, his wife and his cabinet during the first year of Russia’s invasion, which he chronicles in his new book \u003ca href=\"https://www.harpercollins.com/products/the-showman-simon-shuster?variant=41083800682530\">\u003cem>The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky\u003c/em>\u003c/a>. Shuster shows us the invasion from inside the war room to demonstrate both the effect the comedian-turned-politician has had on the war — and the effect the war has had on him. At the heart of this book is a question: What path best prepares us for the unimaginable?\u003c/p>\n\u003cfigure id=\"attachment_13950822\" class=\"wp-caption alignright\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg\" alt=\"\" width=\"1925\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1020x1356.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1155x1536.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1540x2048.jpg 1540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1920x2553.jpg 1920w\" sizes=\"(max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">‘Time’ senior correspondent and author Simon Shuster. \u003ccite>(Debora Mittelstaedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The author’s own path toward that war room wasn’t straightforward. Few immigrants from the former Soviet Union return to visit their homeland. Fewer still move there to build a career. Shuster said it was while he was dabbling in journalism at Stanford that he realized his ability to speak Russian and write in English was “a pretty cool competitive advantage that I should not squander.” He moved to Moscow to work as a reporter in 2006 and has remained a key figure in the coverage of the region ever since.\u003c/p>\n\u003cp>Still, when asked what it was about him that made Zelensky grant him unique access, he said he doesn’t fully know. “I think he saw my long-term commitment to covering the story. But also, the way he makes decisions is usually shooting from the hip. It’s quite intuitive.”\u003c/p>\n\u003cp>Zelensky’s decision-making style is evident from the start of the book. \u003cem>The Showman\u003c/em> opens with a striking scene at the president’s villa at 4:30 a.m. on the morning of Russia’s invasion, when Zelensky, already dressed in a suit, tells his wife, “It’s started.” We follow him as his driver takes him toward Kyiv’s center, while “in the other direction the traffic had started to thicken.” People are fleeing. Soon, Zelensky will get offers from foreign heads of state to help him flee as well. He will find them offensive. The opening scene sets the tone for the rest of the narrative, where the president’s confidence in his decisions (some brave, some irrational) forges a path for Ukraine that no one could have predicted.\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>We follow him down into the Soviet-era nuclear bunker where he will spend the first dramatic weeks of the invasion and deliver some of his most stirring speeches. His life there is far from glamorous: He and his team subsist on tinned meat and packaged sweets while sleeping on twin-size cots with no sunlight, fresh air or a way to see their families. The description is a riveting reminder of just how precarious and mind boggling those initial weeks of Europe’s first 21st-century war really were.\u003c/p>\n\u003cp>\u003cem>The Showman\u003c/em> isn’t a play by play of the first year of the full-scale war. Once the scene of the invasion is set, Shuster takes us back to Zelensky’s upbringing in a rough industrial town, through his growing popularity as a comedian and TV producer, and to his pivotal warzone tours at the start of the conflict in 2014 that sent him on his path toward politics. We also see a portrait of the president’s marriage as he and Olena Zelenska try to get comfortable with politics.\u003c/p>\n\u003cp>Zelensky emerges as a candid guy who isn’t politically savvy, but who is able to harness his skills as a showman to convince, inspire, fundraise and ultimately stage an unlikely resistance to annihilation.\u003c/p>\n\u003cp>But Shuster isn’t blind to his protagonist’s more problematic sides. \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>One of the most revealing threads of \u003cem>The Showman\u003c/em> is Zelensky’s mistaken belief in his power of persuasion when it came to negotiating peace with Russia. While visiting the massacre site in Bucha in April 2022, Zelensky said of Putin, “I’m not sure he knows what is happening.” Shuster, just as the reader, finds this naivete astonishing. He writes, “He seemed to believe that if he could only take Putin on a tour of Bucha […], the war might stop.”\u003c/p>\n\u003cp>Shuster also worries whether Zelensky, who has stamped out competition and \u003ca href=\"https://thehill.com/homenews/3795160-zelensky-signs-controversial-law-expanding-government-power-to-regulate-media/\">instituted control of the media\u003c/a>, “will have the wisdom and restraint to part with the extraordinary powers granted to him under martial law, or whether he will, like so many leaders through history, find that power too addictive.”\u003c/p>\n\u003cp>While it is tricky to write a work of longform journalism against the backdrop of a relentless news cycle, \u003cem>The Showman\u003c/em> stands as a clear-eyed insider look into this conflict. As the war enters its third year, \u003cem>The Showman\u003c/em> serves as a reminder of what could happen if we turn away.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>Simon Shuster discusses ‘The Showman’ at the \u003ca href=\"https://commonwealthclub.my.salesforce-sites.com/ticket#/events/a0S8Z00000HNsxLUAT\">Commonwealth Club in San Francisco on Jan. 29\u003c/a> and at \u003ca href=\"https://www.keplers.org/upcoming-events-internal/simon-shuster\">Kepler’s Books in Menlo Park on Jan. 30\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950809/the-showman-simon-shuster-zelensky-biography-ukraine","authors":["byline_arts_13950809"],"categories":["arts_1","arts_73","arts_2303"],"tags":["arts_928","arts_2767","arts_10278","arts_16761"],"featImg":"arts_13950826","label":"source_arts_13950809"},"arts_13950449":{"type":"posts","id":"arts_13950449","meta":{"index":"posts_1591205157","site":"arts","id":"13950449","score":null,"sort":[1705517522000]},"guestAuthors":[],"slug":"oakland-arts-lectures-sistah-scifi-chain-gang-all-stars","title":"‘Chain-Gang All-Stars’ Author Talks Abolition and Sci-Fi at Oakland Arts & Lectures","publishDate":1705517522,"format":"audio","headTitle":"‘Chain-Gang All-Stars’ Author Talks Abolition and Sci-Fi at Oakland Arts & Lectures | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In \u003ca href=\"https://www.nanakwameadjei-brenyah.com/\">Nana Kwame Adjei-Brenyah\u003c/a>’s debut novel, \u003ci>Chain-Gang All-Stars\u003c/i>, incarcerated people fight to the death for a chance at freedom in televised gladiator matches. These “hard action-sports” have become a wildly popular — and extremely profitable — form of entertainment in a not-so-distant, technologically advanced future.\u003c/p>\n\u003cp>The story is a searing indictment not only of the American prison system, but of the general public’s complicity in exploitation and injustice. And given that the Bay Area is a hub for abolitionist activism — and the place where many real-life dystopian \u003ca href=\"https://www.kqed.org/news/11969898/protesters-outside-google-in-san-francisco-call-for-immediate-end-to-project-nimbus\">technologies are developed\u003c/a> — \u003ci>Chain-Gang All-Stars\u003c/i> makes a fascinating subject for the Feb. 4 launch of a new speaker series called \u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13950484\" class=\"wp-caption alignright\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg\" alt=\"The cover of 'Chain-Gang All-Stars' features an abstract painting of a scythe with multicolored blood spraying from it.\" width=\"641\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover-160x250.jpg 160w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">‘Chain-Gang All-Stars’ by Nana Kwame Adjei-Brenyah. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the premise of \u003ci>Chain-Gang All-Stars\u003c/i> may sound bleak, the 2023 bestseller has a rich emotional core. At its center, two Black women in love reach for connection despite their dehumanizing circumstances. It’s those seeds of hope that remind the reader that though our political landscape might feel like a flaming dumpster careening towards an abyss, there’s still good in humanity, and the potential to fight for a better world.\u003c/p>\n\u003cp>“My work is to try to remind us that we are \u003ci>it\u003c/i>,” says Adjei-Brenyah from his book-filled New York office over Zoom. “Even if we’re not the rule makers, we’re the rule carry-out-ers. We’re not only the victims, we are also the hand that’s holding the hammer. It can be scary, but it’s also powerful as well.”\u003c/p>\n\u003cp>“We \u003ci>are\u003c/i> the power to change things,” the 33-year-old author adds.\u003c/p>\n\u003cp>At Oakland Arts & Lectures, Adjei-Brenyah will take the stage at Oakstop’s \u003ca href=\"https://oakstop.com/portfolio-item/gaines-gallery-suite/\">Gaines Gallery\u003c/a> in a conversation with Isis Asare, founder of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore and community centered on Black and Indigenous speculative fiction.\u003c/p>\n\u003cp>Sistah Scifi is helming the programming at Oakland Arts & Lectures. Inspired by City Arts & Lectures across the bridge in San Francisco, the City of Oakland-funded program’s aim is to connect the Town’s literary community to the national scene. That dovetails with Sistah Scifi’s mission of using speculative fiction to fuel activists’ imaginations. [aside postid='news_11941785']\u003c/p>\n\u003cp>“We can begin with talking about the book, but then also talk about larger societal themes and do that in community,” says Asare, who is also hosting upcoming in-person Sistah Scifi events in \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=769874975777\">San Francisco\u003c/a> and \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=782303138747\">Seattle\u003c/a>. “Once those conversations happen, it’s like, how can we move forward? How can we mobilize? How can we organize?”\u003c/p>\n\u003cp>Indeed, \u003ci>Chain-Gang All-Stars\u003c/i> lends itself to those nuanced conversations. Far from a straightforward allegory of good versus evil, the novel gets under readers’ skin and forces us to examine our own capacity for violence. Adjei-Brenyah writes engrossing battle scenes that glue readers to the page while also implicating them, making horrifically clear how despicable forms of entertainment can become normalized. And though we root for the main characters, they’re not without deep flaws and dark pasts. By allowing us to see their complicated humanity, the novel affirms people’s capacity for remorse, healing and positive change. [aside postid='arts_13940524']\u003c/p>\n\u003cp>Today’s social-justice movements and speculative fiction have a symbiotic relationship. \u003ci>Chain-Gang All-Stars\u003c/i> references activist-scholar \u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">Ruth Wilson Gilmore\u003c/a> as characters grapple with how society should address interpersonal violence. And abolitionists like \u003ca href=\"https://www.kqed.org/arts/13893734/a-roadmap-away-from-cancel-culture-and-towards-transformative-justice\">adrienne maree brown\u003c/a> regularly turn to Octavia Butler, whose canonical novels grapple with the legacy of slavery and imagine futures in which Black people are liberators and change agents.\u003c/p>\n\u003cp>“To me, activism is really like love taking action in the world,” Adjei-Brenyah says. Much like speculative fiction, “It requires you to see what’s in front of you and take an imaginative leap towards what could be instead.” [ad fullwidth]\u003c/p>\n\u003cp>By putting Black and Indigenous sci-fi authors at the center, Sistah Scifi is creating intentional space for dialogues that encourage building new worlds both on and off the page.\u003c/p>\n\u003cp>As Adjei-Brenyah puts it, “That perspective is exactly what we actually need to transform this world because of not only the way we’ve been oppressed, but also because of the way we thrive and how often that story is not told.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures with Nana Kwame Adjei-Brenyah and Sistah Scifi\u003c/a> takes place on Feb. 4 at Oakstop’s Gaines Gallery (1740 Telegraph Ave., Oakland). Free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Nana Kwame Adjei-Brenyah’s provocative bestseller kicks off the new event series Oakland Arts & Lectures. ","status":"publish","parent":0,"modified":1706642707,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":795},"headData":{"title":"‘Chain-Gang All-Stars’ Author Talks Abolition, Sci-Fi in Oakland | KQED","description":"Nana Kwame Adjei-Brenyah’s provocative bestseller kicks off the new event series Oakland Arts & Lectures. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Chain-Gang All-Stars’ Author Talks Abolition, Sci-Fi in Oakland %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Chain-Gang All-Stars’ Author Talks Abolition and Sci-Fi at Oakland Arts & Lectures","datePublished":"2024-01-17T18:52:02.000Z","dateModified":"2024-01-30T19:25:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/30703e54-13b1-44de-95d6-b10001358a78/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950449/oakland-arts-lectures-sistah-scifi-chain-gang-all-stars","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.nanakwameadjei-brenyah.com/\">Nana Kwame Adjei-Brenyah\u003c/a>’s debut novel, \u003ci>Chain-Gang All-Stars\u003c/i>, incarcerated people fight to the death for a chance at freedom in televised gladiator matches. These “hard action-sports” have become a wildly popular — and extremely profitable — form of entertainment in a not-so-distant, technologically advanced future.\u003c/p>\n\u003cp>The story is a searing indictment not only of the American prison system, but of the general public’s complicity in exploitation and injustice. And given that the Bay Area is a hub for abolitionist activism — and the place where many real-life dystopian \u003ca href=\"https://www.kqed.org/news/11969898/protesters-outside-google-in-san-francisco-call-for-immediate-end-to-project-nimbus\">technologies are developed\u003c/a> — \u003ci>Chain-Gang All-Stars\u003c/i> makes a fascinating subject for the Feb. 4 launch of a new speaker series called \u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13950484\" class=\"wp-caption alignright\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg\" alt=\"The cover of 'Chain-Gang All-Stars' features an abstract painting of a scythe with multicolored blood spraying from it.\" width=\"641\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover-160x250.jpg 160w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">‘Chain-Gang All-Stars’ by Nana Kwame Adjei-Brenyah. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the premise of \u003ci>Chain-Gang All-Stars\u003c/i> may sound bleak, the 2023 bestseller has a rich emotional core. At its center, two Black women in love reach for connection despite their dehumanizing circumstances. It’s those seeds of hope that remind the reader that though our political landscape might feel like a flaming dumpster careening towards an abyss, there’s still good in humanity, and the potential to fight for a better world.\u003c/p>\n\u003cp>“My work is to try to remind us that we are \u003ci>it\u003c/i>,” says Adjei-Brenyah from his book-filled New York office over Zoom. “Even if we’re not the rule makers, we’re the rule carry-out-ers. We’re not only the victims, we are also the hand that’s holding the hammer. It can be scary, but it’s also powerful as well.”\u003c/p>\n\u003cp>“We \u003ci>are\u003c/i> the power to change things,” the 33-year-old author adds.\u003c/p>\n\u003cp>At Oakland Arts & Lectures, Adjei-Brenyah will take the stage at Oakstop’s \u003ca href=\"https://oakstop.com/portfolio-item/gaines-gallery-suite/\">Gaines Gallery\u003c/a> in a conversation with Isis Asare, founder of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore and community centered on Black and Indigenous speculative fiction.\u003c/p>\n\u003cp>Sistah Scifi is helming the programming at Oakland Arts & Lectures. Inspired by City Arts & Lectures across the bridge in San Francisco, the City of Oakland-funded program’s aim is to connect the Town’s literary community to the national scene. That dovetails with Sistah Scifi’s mission of using speculative fiction to fuel activists’ imaginations. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11941785","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can begin with talking about the book, but then also talk about larger societal themes and do that in community,” says Asare, who is also hosting upcoming in-person Sistah Scifi events in \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=769874975777\">San Francisco\u003c/a> and \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=782303138747\">Seattle\u003c/a>. “Once those conversations happen, it’s like, how can we move forward? How can we mobilize? How can we organize?”\u003c/p>\n\u003cp>Indeed, \u003ci>Chain-Gang All-Stars\u003c/i> lends itself to those nuanced conversations. Far from a straightforward allegory of good versus evil, the novel gets under readers’ skin and forces us to examine our own capacity for violence. Adjei-Brenyah writes engrossing battle scenes that glue readers to the page while also implicating them, making horrifically clear how despicable forms of entertainment can become normalized. And though we root for the main characters, they’re not without deep flaws and dark pasts. By allowing us to see their complicated humanity, the novel affirms people’s capacity for remorse, healing and positive change. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940524","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s social-justice movements and speculative fiction have a symbiotic relationship. \u003ci>Chain-Gang All-Stars\u003c/i> references activist-scholar \u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">Ruth Wilson Gilmore\u003c/a> as characters grapple with how society should address interpersonal violence. And abolitionists like \u003ca href=\"https://www.kqed.org/arts/13893734/a-roadmap-away-from-cancel-culture-and-towards-transformative-justice\">adrienne maree brown\u003c/a> regularly turn to Octavia Butler, whose canonical novels grapple with the legacy of slavery and imagine futures in which Black people are liberators and change agents.\u003c/p>\n\u003cp>“To me, activism is really like love taking action in the world,” Adjei-Brenyah says. Much like speculative fiction, “It requires you to see what’s in front of you and take an imaginative leap towards what could be instead.” \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>By putting Black and Indigenous sci-fi authors at the center, Sistah Scifi is creating intentional space for dialogues that encourage building new worlds both on and off the page.\u003c/p>\n\u003cp>As Adjei-Brenyah puts it, “That perspective is exactly what we actually need to transform this world because of not only the way we’ve been oppressed, but also because of the way we thrive and how often that story is not told.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures with Nana Kwame Adjei-Brenyah and Sistah Scifi\u003c/a> takes place on Feb. 4 at Oakstop’s Gaines Gallery (1740 Telegraph Ave., Oakland). Free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950449/oakland-arts-lectures-sistah-scifi-chain-gang-all-stars","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_928","arts_10278","arts_1143","arts_3797","arts_585"],"featImg":"arts_13950483","label":"arts_140"},"arts_13940524":{"type":"posts","id":"arts_13940524","meta":{"index":"posts_1591205157","site":"arts","id":"13940524","score":null,"sort":[1705507213000]},"guestAuthors":[],"slug":"dead-in-long-beach-california-review-venita-blackburn","title":"In ‘Dead in Long Beach, California,’ Grief Gives Way to Disastrous Decisions","publishDate":1705507213,"format":"standard","headTitle":"In ‘Dead in Long Beach, California,’ Grief Gives Way to Disastrous Decisions | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Imagine going through the seven stages of grief in seven days. That monumentally disorienting premise is the framework for Venita Blackburn’s debut novel, \u003cem>\u003ca href=\"https://us.macmillan.com/books/9780374602826/deadinlongbeachcalifornia\">Dead in Long Beach, California\u003c/a>\u003c/em>. The novel centers on Coral Brown, a Black lesbian sci-fi writer, who walks into her brother Jay’s apartment in Long Beach and discovers he has died by suicide. The whole story takes place within the week she finds his body, one Friday to the next. Amidst chapters titled after days of the week, memory, grief, denial and time bleed into each other.\u003c/p>\n\u003cfigure id=\"attachment_13950445\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Author-Photo-Venita-Blackburn-credit-to-Virginia-Barnes.jpg\" alt=\"Person in plaid blazer with rose-tinted glasses\" width=\"432\" height=\"648\" class=\"size-full wp-image-13950445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Author-Photo-Venita-Blackburn-credit-to-Virginia-Barnes.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Author-Photo-Venita-Blackburn-credit-to-Virginia-Barnes-160x240.jpg 160w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Author Venita Blackburn. \u003ccite>(Virginia Barnes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackburn is an associate professor of creative writing at California State University, Fresno, and the founder and president of Live, Write, a nonprofit that offers free creative writing workshops to communities of color. She has previously published two short story collections. The most recent, \u003cem>\u003ca href=\"https://www.mcdbooks.com/books/how-to-wrestle-a-girl\">How to Wrestle a Girl\u003c/a>\u003c/em>, was a 2022 finalist for the Lambda Literary Award for Lesbian Fiction. Reviewers praised the collection for its playfully inventive structure; in it Blackburn alternates between first and third person, uses her background as a flash fiction writer to pack big feelings and stories into small words counts, and blunts tragedy with farce. Echoes of these writing flourishes can be found in her latest offering. \u003c/p>\n\u003cp>“Californians walked like they were underwater,” Blackburn writes in \u003cem>Dead in Long Beach\u003c/em>, “slow, with all the time in the universe.” This warped temporal reality is compounded in Compton, where she notes “even time moved like water … a thing to drown in, a thing necessary for life.” \u003c/p>\n\u003cp>Like Blackburn, whose hometown is Compton, Coral is a South Los Angeles native. In suffusing the book with Coral’s memories — tender, bitter, formative — Blackburn effectively turns it into a love letter to the region. In the ’90s when Coral was young, the city was “a mecca, an Eden, a place to dream, honor; to buy liquor, doughnuts, fried chicken and greens; a place to loathe and protect.” Coral came of age in this place. She was familiar with its music and violence — a regularity she regarded as “white noise.” Still, death is not something you can prepare for. \u003c/p>\n\u003cp>“Death IRL is an ice bath from the inside out,” the narrator reflects. Blackburn’s writing is similarly bracing. The book’s format is experimental and hard to pin down — the label “a novel” is in winking quotes on its cover. We meet the narrator in the opening sentence as a mysterious and nameless ‘we’ announces, “We are responsible for telling this story, mostly because Coral cannot.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This voice can alternately be interpreted as a representative of Coral’s split self (her grief has detached her from reality) or as the characters from her popular dystopian novel, \u003cem>Wildfire\u003c/em>, who speak in a similarly omniscient tone. In \u003cem>Wildfire\u003c/em>, the world has ended and the librarians (as they call themselves) have categorized all of humanity — including, but not limited to, helium, turkey bacon, motherhood and Velcro. “All of humanity is our firstborn, and each moment is a precious memory to be stored away,” they explain in the prologue of Coral’s book. “We are learning what precious is and what time is and how it attacks and soothes all at once and can leave without a trace.” The chapters of \u003cem>Wildfire\u003c/em> mingled with the main text of \u003cem>Dead in Long Beach\u003c/em> indicate the way grief is fracturing Coral’s mind. \u003c/p>\n\u003cp>You expect to deal with sadness after a loss. What you don’t expect after someone you love dies is the paperwork. Soon after finding his body Coral is faced with Jay’s paperwork: hospital bills, insurance papers. But we don’t linger on these details for long. They are mentioned more so to paint a picture of Coral’s growing mental load. She has already lost both of her parents and now her only brother, who was in his 40s, lived alone and didn’t keep his phone locked. The latter fact, while primarily evidence of his carelessness, also serves as an inciting incident for the book.\u003c/p>\n\u003cp>As the EMTs remove his body from the apartment, Jay’s phone pings and Coral sees a text from his young adult daughter asking to reschedule dinner plans. She has not yet been informed of her father’s passing. Rather than tell her, rather than acquiesce to truth and linear time, Coral decides to attempt the impossible — to hit pause on a traumatic moment while she is still in it. She makes a spur of the moment, erratic and ultimately doomed choice to respond to her niece and the admittedly few contacts in Jay’s phone as her late brother. \u003c/p>\n\u003cp>“We worship the ghosts of history, marvel at desiccated tombs, and play in their dust,” the omniscient ‘we’ shares. The dust kicked up by Jay’s death is fine and voluminous, enough to form a fog that clouds Coral’s vision and judgment. She is not so much playing in it as she is desperately grasping at it. She spends her week tucking herself away in memories while attempting to maintain the order of her life: going on dates, fulfilling professional obligations, texting strangers in the voice of her deceased brother. \u003c/p>\n\u003cp>The narrator, who has studied all human interaction and relationships and has indexed them as a way of understanding, explains Coral’s behavior with the help of dedicated ‘clinics’ into which memories and behaviors are compartmentalized. One of these is the Clinic for Excavating Repressed Memories in Search of Solutions to Current Crises. Another is the Clinic for Outrageous Disguises that Cloak All Existence of Frailty. \u003c/p>\n\u003cp>“In the Clinic for Telling Lies to Avoid Pending Death,” we learn, “there is a unit on living in good memories to dissociate from reality, like when we recall being fourteen in the front seat of our father’s Cadillac de Ville on the way to the Hollywood racetrack with our brother in the front seat … We were happy. We were safe. The sky was blue and we would never be there again.” In memories like these, Coral can both avoid and make sense of the present. The reader knows, however, that the comfort found in avoidance has a time limit; the book crescendos as this building tension is loosed.\u003c/p>\n\u003cp>\u003cem>Dead in Long Beach, California\u003c/em> is the work of a gifted writer who understands love bonds, family, death and inevitability, but also has a sense of humor about all of the above. Blackburn’s novel presents grief as memory puzzle, grief as creative license, grief as fuel for delusion and awakening.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Dead in Long Beach, California’ is out from \u003ca href=\"https://us.macmillan.com/books/9780374602826/deadinlongbeachcalifornia\">MCD Books\u003c/a> on Jan. 23, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In Venita Blackburn’s debut, experimental novel, a sci-fi writer responds to the shock of her brother’s death.","status":"publish","parent":0,"modified":1705451521,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1174},"headData":{"title":"‘Dead in Long Beach, California’ Review: A Weird Week of Grief | KQED","description":"In Venita Blackburn’s debut, experimental novel, a sci-fi writer responds to the shock of her brother’s death.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Dead in Long Beach, California’ Review: A Weird Week of Grief %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Dead in Long Beach, California,’ Grief Gives Way to Disastrous Decisions","datePublished":"2024-01-17T16:00:13.000Z","dateModified":"2024-01-17T00:32:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Naomi Elias","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13940524/dead-in-long-beach-california-review-venita-blackburn","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine going through the seven stages of grief in seven days. That monumentally disorienting premise is the framework for Venita Blackburn’s debut novel, \u003cem>\u003ca href=\"https://us.macmillan.com/books/9780374602826/deadinlongbeachcalifornia\">Dead in Long Beach, California\u003c/a>\u003c/em>. The novel centers on Coral Brown, a Black lesbian sci-fi writer, who walks into her brother Jay’s apartment in Long Beach and discovers he has died by suicide. The whole story takes place within the week she finds his body, one Friday to the next. Amidst chapters titled after days of the week, memory, grief, denial and time bleed into each other.\u003c/p>\n\u003cfigure id=\"attachment_13950445\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Author-Photo-Venita-Blackburn-credit-to-Virginia-Barnes.jpg\" alt=\"Person in plaid blazer with rose-tinted glasses\" width=\"432\" height=\"648\" class=\"size-full wp-image-13950445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Author-Photo-Venita-Blackburn-credit-to-Virginia-Barnes.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Author-Photo-Venita-Blackburn-credit-to-Virginia-Barnes-160x240.jpg 160w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Author Venita Blackburn. \u003ccite>(Virginia Barnes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackburn is an associate professor of creative writing at California State University, Fresno, and the founder and president of Live, Write, a nonprofit that offers free creative writing workshops to communities of color. She has previously published two short story collections. The most recent, \u003cem>\u003ca href=\"https://www.mcdbooks.com/books/how-to-wrestle-a-girl\">How to Wrestle a Girl\u003c/a>\u003c/em>, was a 2022 finalist for the Lambda Literary Award for Lesbian Fiction. Reviewers praised the collection for its playfully inventive structure; in it Blackburn alternates between first and third person, uses her background as a flash fiction writer to pack big feelings and stories into small words counts, and blunts tragedy with farce. Echoes of these writing flourishes can be found in her latest offering. \u003c/p>\n\u003cp>“Californians walked like they were underwater,” Blackburn writes in \u003cem>Dead in Long Beach\u003c/em>, “slow, with all the time in the universe.” This warped temporal reality is compounded in Compton, where she notes “even time moved like water … a thing to drown in, a thing necessary for life.” \u003c/p>\n\u003cp>Like Blackburn, whose hometown is Compton, Coral is a South Los Angeles native. In suffusing the book with Coral’s memories — tender, bitter, formative — Blackburn effectively turns it into a love letter to the region. In the ’90s when Coral was young, the city was “a mecca, an Eden, a place to dream, honor; to buy liquor, doughnuts, fried chicken and greens; a place to loathe and protect.” Coral came of age in this place. She was familiar with its music and violence — a regularity she regarded as “white noise.” Still, death is not something you can prepare for. \u003c/p>\n\u003cp>“Death IRL is an ice bath from the inside out,” the narrator reflects. Blackburn’s writing is similarly bracing. The book’s format is experimental and hard to pin down — the label “a novel” is in winking quotes on its cover. We meet the narrator in the opening sentence as a mysterious and nameless ‘we’ announces, “We are responsible for telling this story, mostly because Coral cannot.” \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>This voice can alternately be interpreted as a representative of Coral’s split self (her grief has detached her from reality) or as the characters from her popular dystopian novel, \u003cem>Wildfire\u003c/em>, who speak in a similarly omniscient tone. In \u003cem>Wildfire\u003c/em>, the world has ended and the librarians (as they call themselves) have categorized all of humanity — including, but not limited to, helium, turkey bacon, motherhood and Velcro. “All of humanity is our firstborn, and each moment is a precious memory to be stored away,” they explain in the prologue of Coral’s book. “We are learning what precious is and what time is and how it attacks and soothes all at once and can leave without a trace.” The chapters of \u003cem>Wildfire\u003c/em> mingled with the main text of \u003cem>Dead in Long Beach\u003c/em> indicate the way grief is fracturing Coral’s mind. \u003c/p>\n\u003cp>You expect to deal with sadness after a loss. What you don’t expect after someone you love dies is the paperwork. Soon after finding his body Coral is faced with Jay’s paperwork: hospital bills, insurance papers. But we don’t linger on these details for long. They are mentioned more so to paint a picture of Coral’s growing mental load. She has already lost both of her parents and now her only brother, who was in his 40s, lived alone and didn’t keep his phone locked. The latter fact, while primarily evidence of his carelessness, also serves as an inciting incident for the book.\u003c/p>\n\u003cp>As the EMTs remove his body from the apartment, Jay’s phone pings and Coral sees a text from his young adult daughter asking to reschedule dinner plans. She has not yet been informed of her father’s passing. Rather than tell her, rather than acquiesce to truth and linear time, Coral decides to attempt the impossible — to hit pause on a traumatic moment while she is still in it. She makes a spur of the moment, erratic and ultimately doomed choice to respond to her niece and the admittedly few contacts in Jay’s phone as her late brother. \u003c/p>\n\u003cp>“We worship the ghosts of history, marvel at desiccated tombs, and play in their dust,” the omniscient ‘we’ shares. The dust kicked up by Jay’s death is fine and voluminous, enough to form a fog that clouds Coral’s vision and judgment. She is not so much playing in it as she is desperately grasping at it. She spends her week tucking herself away in memories while attempting to maintain the order of her life: going on dates, fulfilling professional obligations, texting strangers in the voice of her deceased brother. \u003c/p>\n\u003cp>The narrator, who has studied all human interaction and relationships and has indexed them as a way of understanding, explains Coral’s behavior with the help of dedicated ‘clinics’ into which memories and behaviors are compartmentalized. One of these is the Clinic for Excavating Repressed Memories in Search of Solutions to Current Crises. Another is the Clinic for Outrageous Disguises that Cloak All Existence of Frailty. \u003c/p>\n\u003cp>“In the Clinic for Telling Lies to Avoid Pending Death,” we learn, “there is a unit on living in good memories to dissociate from reality, like when we recall being fourteen in the front seat of our father’s Cadillac de Ville on the way to the Hollywood racetrack with our brother in the front seat … We were happy. We were safe. The sky was blue and we would never be there again.” In memories like these, Coral can both avoid and make sense of the present. The reader knows, however, that the comfort found in avoidance has a time limit; the book crescendos as this building tension is loosed.\u003c/p>\n\u003cp>\u003cem>Dead in Long Beach, California\u003c/em> is the work of a gifted writer who understands love bonds, family, death and inevitability, but also has a sense of humor about all of the above. Blackburn’s novel presents grief as memory puzzle, grief as creative license, grief as fuel for delusion and awakening.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>\u003ci>‘Dead in Long Beach, California’ is out from \u003ca href=\"https://us.macmillan.com/books/9780374602826/deadinlongbeachcalifornia\">MCD Books\u003c/a> on Jan. 23, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940524/dead-in-long-beach-california-review-venita-blackburn","authors":["byline_arts_13940524"],"categories":["arts_1","arts_73"],"tags":["arts_928","arts_769"],"featImg":"arts_13950448","label":"arts"},"arts_13936729":{"type":"posts","id":"arts_13936729","meta":{"index":"posts_1591205157","site":"arts","id":"13936729","score":null,"sort":[1697793344000]},"guestAuthors":[],"slug":"britney-spears-book-autobiography-the-woman-in-me-gallery-books","title":"Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal","publishDate":1697793344,"format":"standard","headTitle":"Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Britney Spears’ highly anticipated memoir \u003cem>The Woman in Me\u003c/em> will be released Tuesday, revealing the pop superstar’s personal take on events that have played out publicly in her decades as one of the most scrutinized figures in American life, along with private moments that she previously kept under wraps.\u003c/p>\n\u003cp>The book details her childhood and rise to stardom, along with her marriages, her nearly-14-year court conservatorship and even a brief mention of a July incident where she was hit in the face by security for NBA player Victor Wembanyama.\u003c/p>\n\u003cp>[aside postid='pop_111253']Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_33345']“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>[aside postid='arts_13903795']She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>[aside postid='arts_13901695']Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\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\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"‘The Woman In Me’ focuses on the men who have dominated Spears’ life, for better and for worse.","status":"publish","parent":0,"modified":1705003208,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":1601},"headData":{"title":"Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal | KQED","description":"‘The Woman In Me’ focuses on the men who have dominated Spears’ life, for better and for worse.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal","datePublished":"2023-10-20T09:15:44.000Z","dateModified":"2024-01-11T20:00:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Maria Sherman and Andrew Dalton, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britney Spears’ highly anticipated memoir \u003cem>The Woman in Me\u003c/em> will be released Tuesday, revealing the pop superstar’s personal take on events that have played out publicly in her decades as one of the most scrutinized figures in American life, along with private moments that she previously kept under wraps.\u003c/p>\n\u003cp>The book details her childhood and rise to stardom, along with her marriages, her nearly-14-year court conservatorship and even a brief mention of a July incident where she was hit in the face by security for NBA player Victor Wembanyama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_111253","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\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>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_33345","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903795","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13901695","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\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\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books","authors":["byline_arts_13936729"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_69","arts_75"],"tags":["arts_928","arts_10387","arts_585"],"featImg":"arts_13936734","label":"arts_140"},"arts_13936556":{"type":"posts","id":"arts_13936556","meta":{"index":"posts_1591205157","site":"arts","id":"13936556","score":null,"sort":[1697578616000]},"guestAuthors":[],"slug":"the-stud-pin-archive-and-ephemera-book-land-and-sea","title":"A New Book Tells the Stud’s History Through Hundreds of Bartender-Made Pins","publishDate":1697578616,"format":"standard","headTitle":"A New Book Tells the Stud’s History Through Hundreds of Bartender-Made Pins | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s been a banner few months for one of San Francisco’s most important queer venues. The Stud, which closed its doors in the first months of the pandemic, \u003ca href=\"https://www.kqed.org/arts/13934286/the-stud-will-reopen-in-a-new-location-in-early-2024\">recently announced\u003c/a> it will reopen in early 2024 in a new location, continuing the bar’s now 57-year history.\u003c/p>\n\u003cp>[aside postID='arts_13934286']In further cause for celebration, that history will soon be even more visible thanks to an image-filled, nearly 200-page book published by the Oakland press \u003ca href=\"https://www.instagram.com/landandseaoakland/\">Land and Sea\u003c/a>. \u003ci>\u003ca href=\"https://studpinarchives.com/Book\">The Stud Pin Archive and Ephemera 1970–1999\u003c/a>\u003c/i> contains photographs, news clippings and documentation of the Stud’s pin collection (numbering over 250 pins!), lovingly documented by former bartender Chloe Miller. On Friday, Oct. 20, \u003ca href=\"https://etaletc.com/\">Et al.\u003c/a>’s Mission Street gallery will host a launch party for the book, with music and performances befitting the eclectic, welcoming nature of the bar.\u003c/p>\n\u003cp>For Miller, the project came out of a desire to preserve, but also from a basic curiosity about the artist behind the pins. When Miller worked at the Stud, the pins held up pictures on a wall opposite her well, operating as thumbtacks for pieces of Stud ephemera. Most were created by longtime Stud bartender Paul “Gidget” Sinclair, who often placed a telltale lower-case “g” on his pared-down, visually arresting pin designs.\u003c/p>\n\u003cp>“They were hilarious,” she remembers thinking. “They’re really comical. Like, whoever made them has to be such a funny person.” She tracked down Sinclair’s identity (he died from AIDS in the late 1990s) through stories in the \u003ci>Bay Area Reporter\u003c/i> and by talking to former Stud bartenders.\u003c/p>\n\u003cfigure id=\"attachment_13936574\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gidgetphoto.jpg\" alt=\"Three white people pose in fancy dress and makeup at a party\" width=\"1376\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-768x584.jpg 768w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">A photo from the Stud archives featuring Paul ‘Gidget’ Sinclair at right. \u003ccite>(Courtesy Land and Sea)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pins capture a real sense of the time in which they were made — and the events that were notable in the lives of Stud staff and patrons. “The pinbacks are like tiny time capsules,” Miller writes in the book’s introduction. Alongside cheeky designs made for parties and dance nights are pins that mark \u003ca href=\"https://www.instagram.com/p/BtMDNiNh6Mc/\">the Challenger disaster\u003c/a>, the \u003ca href=\"https://www.instagram.com/p/Btl5Cc2hwnk/\">Atlanta Child Murders\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BsQ8w0Vh2zP/\">49ers games\u003c/a> and \u003ca href=\"https://www.instagram.com/p/Buozak0Bw9Q/\">the royal wedding\u003c/a> of Diana and Charles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In late 2018, Miller started the Instagram account \u003ca href=\"https://www.instagram.com/stud_pin_archives\">@stud_pin_archives\u003c/a>, posting tightly cropped photographs of the 2.5-inch and 3-inch (mostly round) pins. Miller says putting the archive on the site was very purposeful; she and Rachel Ryan, the Stud collective president, often talk about how to make the bar’s history as easy to access as possible.\u003c/p>\n\u003cp>“When you give [a collection] to a museum or historical society, it just goes into the basement before it gets processed,” Miller says, noting that interested viewers aren’t always researchers; they might not know how to jump through the necessary institutional hoops to visit archival material in person. “Instagram is accessible to almost everybody. It’s something that somebody who is queer living in Texas or Indiana could see. Or even in another country.”\u003c/p>\n\u003cfigure id=\"attachment_13936575\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/pins.jpg\" alt=\"Black and white image of crowded sea of round pins with graphics advertising parties or the bar\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Some of the over 250 pins in the Stud’s pin archive, many created by Paul ‘Gidget’ Sinclair. \u003ccite>(Courtesy Stud Pin Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was also a real sense of urgency in getting the pins out into the world — one of Miller’s main sources died during the pandemic. So many with knowledge of the bar’s history were lost to the AIDS epidemic, Miller says, that it’s rare to have access to people with memories of those decades.\u003c/p>\n\u003cp>The book expands greatly on the Instagram account, including short essays by Miller and Stud collective member Marke Bieschke, context-providing articles from local newspapers and juicy bits of ephemera, like this jotted-down memory from New Year’s Eve 1970: “they locked the bar @ midnite & passed out window pane acid & everyone got naked & crazy ‘til dawn!!”\u003c/p>\n\u003cp>The publication is a true homage to Sinclair, and to the “Studettes who came before us,” as Miller writes. More than anything, this material sheds light on those who do the hard, creative work of making a safe and happy place for others to enjoy: the bartenders. In a \u003ca href=\"https://youtu.be/rpMXef15YLg?feature=shared&t=344\">1982 video about the Stud\u003c/a>, Sinclair speaks cheerfully about the bar’s philosophy: “People who work here, we all love each other, and care about each other. And that’s what’s generated!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>‘The Stud Pin Archive and Ephemera’ book release party will take place 6–10 p.m. Friday, Oct. 20 at \u003ca href=\"https://etaletc.com/\">Et al. etc.\u003c/a> (2831 Mission St., San Francisco) with DJs Josh Cheon and Lakeverett and performances by Hollywood Texas and Cliff Hengst. Books and other Stud-related merch will be available for sale.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A book release at Et al. etc. on Oct. 20 celebrates the work of longtime bartender Paul ‘Gidget’ Sinclair.","status":"publish","parent":0,"modified":1705003220,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":815},"headData":{"title":"Telling the Stud’s History Through Bartender-Made Pins | KQED","description":"A book release at Et al. etc. on Oct. 20 celebrates the work of longtime bartender Paul ‘Gidget’ Sinclair.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Telling the Stud’s History Through Bartender-Made Pins %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Book Tells the Stud’s History Through Hundreds of Bartender-Made Pins","datePublished":"2023-10-17T21:36:56.000Z","dateModified":"2024-01-11T20:00:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13936556/the-stud-pin-archive-and-ephemera-book-land-and-sea","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a banner few months for one of San Francisco’s most important queer venues. The Stud, which closed its doors in the first months of the pandemic, \u003ca href=\"https://www.kqed.org/arts/13934286/the-stud-will-reopen-in-a-new-location-in-early-2024\">recently announced\u003c/a> it will reopen in early 2024 in a new location, continuing the bar’s now 57-year history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934286","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In further cause for celebration, that history will soon be even more visible thanks to an image-filled, nearly 200-page book published by the Oakland press \u003ca href=\"https://www.instagram.com/landandseaoakland/\">Land and Sea\u003c/a>. \u003ci>\u003ca href=\"https://studpinarchives.com/Book\">The Stud Pin Archive and Ephemera 1970–1999\u003c/a>\u003c/i> contains photographs, news clippings and documentation of the Stud’s pin collection (numbering over 250 pins!), lovingly documented by former bartender Chloe Miller. On Friday, Oct. 20, \u003ca href=\"https://etaletc.com/\">Et al.\u003c/a>’s Mission Street gallery will host a launch party for the book, with music and performances befitting the eclectic, welcoming nature of the bar.\u003c/p>\n\u003cp>For Miller, the project came out of a desire to preserve, but also from a basic curiosity about the artist behind the pins. When Miller worked at the Stud, the pins held up pictures on a wall opposite her well, operating as thumbtacks for pieces of Stud ephemera. Most were created by longtime Stud bartender Paul “Gidget” Sinclair, who often placed a telltale lower-case “g” on his pared-down, visually arresting pin designs.\u003c/p>\n\u003cp>“They were hilarious,” she remembers thinking. “They’re really comical. Like, whoever made them has to be such a funny person.” She tracked down Sinclair’s identity (he died from AIDS in the late 1990s) through stories in the \u003ci>Bay Area Reporter\u003c/i> and by talking to former Stud bartenders.\u003c/p>\n\u003cfigure id=\"attachment_13936574\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gidgetphoto.jpg\" alt=\"Three white people pose in fancy dress and makeup at a party\" width=\"1376\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-768x584.jpg 768w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">A photo from the Stud archives featuring Paul ‘Gidget’ Sinclair at right. \u003ccite>(Courtesy Land and Sea)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pins capture a real sense of the time in which they were made — and the events that were notable in the lives of Stud staff and patrons. “The pinbacks are like tiny time capsules,” Miller writes in the book’s introduction. Alongside cheeky designs made for parties and dance nights are pins that mark \u003ca href=\"https://www.instagram.com/p/BtMDNiNh6Mc/\">the Challenger disaster\u003c/a>, the \u003ca href=\"https://www.instagram.com/p/Btl5Cc2hwnk/\">Atlanta Child Murders\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BsQ8w0Vh2zP/\">49ers games\u003c/a> and \u003ca href=\"https://www.instagram.com/p/Buozak0Bw9Q/\">the royal wedding\u003c/a> of Diana and Charles.\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 late 2018, Miller started the Instagram account \u003ca href=\"https://www.instagram.com/stud_pin_archives\">@stud_pin_archives\u003c/a>, posting tightly cropped photographs of the 2.5-inch and 3-inch (mostly round) pins. Miller says putting the archive on the site was very purposeful; she and Rachel Ryan, the Stud collective president, often talk about how to make the bar’s history as easy to access as possible.\u003c/p>\n\u003cp>“When you give [a collection] to a museum or historical society, it just goes into the basement before it gets processed,” Miller says, noting that interested viewers aren’t always researchers; they might not know how to jump through the necessary institutional hoops to visit archival material in person. “Instagram is accessible to almost everybody. It’s something that somebody who is queer living in Texas or Indiana could see. Or even in another country.”\u003c/p>\n\u003cfigure id=\"attachment_13936575\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/pins.jpg\" alt=\"Black and white image of crowded sea of round pins with graphics advertising parties or the bar\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Some of the over 250 pins in the Stud’s pin archive, many created by Paul ‘Gidget’ Sinclair. \u003ccite>(Courtesy Stud Pin Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was also a real sense of urgency in getting the pins out into the world — one of Miller’s main sources died during the pandemic. So many with knowledge of the bar’s history were lost to the AIDS epidemic, Miller says, that it’s rare to have access to people with memories of those decades.\u003c/p>\n\u003cp>The book expands greatly on the Instagram account, including short essays by Miller and Stud collective member Marke Bieschke, context-providing articles from local newspapers and juicy bits of ephemera, like this jotted-down memory from New Year’s Eve 1970: “they locked the bar @ midnite & passed out window pane acid & everyone got naked & crazy ‘til dawn!!”\u003c/p>\n\u003cp>The publication is a true homage to Sinclair, and to the “Studettes who came before us,” as Miller writes. More than anything, this material sheds light on those who do the hard, creative work of making a safe and happy place for others to enjoy: the bartenders. In a \u003ca href=\"https://youtu.be/rpMXef15YLg?feature=shared&t=344\">1982 video about the Stud\u003c/a>, Sinclair speaks cheerfully about the bar’s philosophy: “People who work here, we all love each other, and care about each other. And that’s what’s generated!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>‘The Stud Pin Archive and Ephemera’ book release party will take place 6–10 p.m. Friday, Oct. 20 at \u003ca href=\"https://etaletc.com/\">Et al. etc.\u003c/a> (2831 Mission St., San Francisco) with DJs Josh Cheon and Lakeverett and performances by Hollywood Texas and Cliff Hengst. Books and other Stud-related merch will be available for sale.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936556/the-stud-pin-archive-and-ephemera-book-land-and-sea","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_70"],"tags":["arts_7705","arts_928","arts_10278","arts_3226","arts_1146"],"featImg":"arts_13936581","label":"arts_140"},"arts_13936538":{"type":"posts","id":"arts_13936538","meta":{"index":"posts_1591205157","site":"arts","id":"13936538","score":null,"sort":[1697571659000]},"guestAuthors":[],"slug":"sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk","title":"Sly Stone’s Memoir Teems With Tales of Music, Drugs, Survival — and a Pet Baboon?","publishDate":1697571659,"format":"aside","headTitle":"Sly Stone’s Memoir Teems With Tales of Music, Drugs, Survival — and a Pet Baboon? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13936552\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png\" alt=\"A book cover showing a shirtless Black man with an afro, wearing patchwork jeans and big ’70s-style sunglasses, kneeling on the ground and smiling.\" width=\"890\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-768x1163.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone and Ben Greenman. \u003ccite>(AUWA Books via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While summoning stories from his remarkable yet erratic life in music, Sly Stone admits he occasionally had to depend on the recollections of others because his own memory wasn’t always reliable.\u003c/p>\n\u003cp>At one point in his new memoir, Stone, now 80, remembers that during the hazy excesses of his 1970s rock stardom he briefly shared a Los Angeles mansion with a baboon that had the run of the place. He’s just not sure where the primate came from.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“I forgot where I got him?” Stone muses. “Baboon store?”\u003c/p>\n\u003cp>His book, co-written with Ben Greenman, overflows with wit and wordplay befitting a maestro whose funkiest song with his band the Family Stone was “Thank You (Falettinme Be Mice Elf Agin)” — also the title of the book.\u003c/p>\n\u003cp>Born Sylvester Stewart in Texas and raised in Vallejo, he studied music composition at a junior college while working as a radio DJ, becoming known for his whimsical patter and eclectic playlists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stone clearly recalls his early and evolving vision of a no-barriers style of music that would meld Motown pop-soul, James Brown’s funk, R&B, gospel and psychedelic rock. Shortly after forming in 1966, Sly and the Family Stone produced a string of sunny hits including “Everyday People,” “I Want To Take You Higher,” “Hot Fun in the Summertime” and “Stand!” that captured the hippy spirit of the times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GY_5CUmvpdw\u003c/p>\n\u003cp>Stone’s band included Black and white musicians while featuring women not just singing but playing instruments — a rarity at the time. \u003ca href=\"https://www.youtube.com/watch?v=me-UKbXOFts\">A triumphant set at Woodstock\u003c/a> and a star turn in the subsequent film of the concert made him a household name.\u003c/p>\n\u003cp>“Rhythm, melody and lyrics carried inspiration to the people,” he writes. That inspiration became a lasting influence for generations of artists including The Jackson 5, Prince and countless hip-hop acts.\u003c/p>\n\u003cp>[aside postid='arts_13936226']Stone’s music took a darker and more cynical turn as drugs took hold and the dream of the ’60s devolved into political assassinations, racial strife and lingering war in Vietnam. He takes readers through the agonizing recording process of his 1971 classic “There’s a Riot Goin’ On,” on which he says he “sacrificed technique for feeling.” The album has an anguished tone, exemplified by the volatile funk of the single “Luv N’ Haight.”\u003c/p>\n\u003cp>Meanwhile at concerts, fans never knew whether they’d get one of his famously ecstatic performances, or if Stone would bother showing up at all.\u003c/p>\n\u003cp>He espoused Black Power, but not loudly enough for Black Panthers, who accused Stone of acquiescing to white America. Meanwhile, some white people thought he was too militant. While unafraid to be political, he remained defiantly nonviolent and never shook the notion that, yes, people can all get along. “We exist to coexist,” he writes.\u003c/p>\n\u003cp>That uplifting spirit returns, if only sporadically, for 1973’s \u003cem>Fresh\u003c/em>, his last great album. The band splintered soon after and Stone entered a decades-long cycle of addiction, middling solo offerings, doomed tours and tax troubles.\u003c/p>\n\u003cp>Predictably, the memoir contains no shortage of occasionally humorous — but mostly bleak — backstage tales of debauchery and drug abuse. While on tour in his glory days Stone carried a violin case filled with cocaine. Later he said he went on PCP binges because “it threw your perspective off, which I liked.” Eventually he was overtaken by a dependence on crack cocaine that drained his talents, ruined relationships and led to regular stints in jail and rehab.\u003c/p>\n\u003cp>[aside postid='arts_13924126']“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Stone’s new book, co-written with Ben Greenman, overflows with wit and wordplay befitting of the funk maestro.","status":"publish","parent":0,"modified":1705003224,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":803},"headData":{"title":"Sly Stone’s Memoir Teems With Tales of Music, Drugs, Survival — and a Pet Baboon? | KQED","description":"Stone’s new book, co-written with Ben Greenman, overflows with wit and wordplay befitting of the funk maestro.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sly Stone’s Memoir Teems With Tales of Music, Drugs, Survival — and a Pet Baboon?","datePublished":"2023-10-17T19:40:59.000Z","dateModified":"2024-01-11T20:00:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Christopher Weber, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936552\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png\" alt=\"A book cover showing a shirtless Black man with an afro, wearing patchwork jeans and big ’70s-style sunglasses, kneeling on the ground and smiling.\" width=\"890\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-768x1163.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone and Ben Greenman. \u003ccite>(AUWA Books via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While summoning stories from his remarkable yet erratic life in music, Sly Stone admits he occasionally had to depend on the recollections of others because his own memory wasn’t always reliable.\u003c/p>\n\u003cp>At one point in his new memoir, Stone, now 80, remembers that during the hazy excesses of his 1970s rock stardom he briefly shared a Los Angeles mansion with a baboon that had the run of the place. He’s just not sure where the primate came from.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925408","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I forgot where I got him?” Stone muses. “Baboon store?”\u003c/p>\n\u003cp>His book, co-written with Ben Greenman, overflows with wit and wordplay befitting a maestro whose funkiest song with his band the Family Stone was “Thank You (Falettinme Be Mice Elf Agin)” — also the title of the book.\u003c/p>\n\u003cp>Born Sylvester Stewart in Texas and raised in Vallejo, he studied music composition at a junior college while working as a radio DJ, becoming known for his whimsical patter and eclectic playlists.\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>Stone clearly recalls his early and evolving vision of a no-barriers style of music that would meld Motown pop-soul, James Brown’s funk, R&B, gospel and psychedelic rock. Shortly after forming in 1966, Sly and the Family Stone produced a string of sunny hits including “Everyday People,” “I Want To Take You Higher,” “Hot Fun in the Summertime” and “Stand!” that captured the hippy spirit of the times.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GY_5CUmvpdw'\n title='//www.youtube.com/embed/GY_5CUmvpdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stone’s band included Black and white musicians while featuring women not just singing but playing instruments — a rarity at the time. \u003ca href=\"https://www.youtube.com/watch?v=me-UKbXOFts\">A triumphant set at Woodstock\u003c/a> and a star turn in the subsequent film of the concert made him a household name.\u003c/p>\n\u003cp>“Rhythm, melody and lyrics carried inspiration to the people,” he writes. That inspiration became a lasting influence for generations of artists including The Jackson 5, Prince and countless hip-hop acts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936226","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Stone’s music took a darker and more cynical turn as drugs took hold and the dream of the ’60s devolved into political assassinations, racial strife and lingering war in Vietnam. He takes readers through the agonizing recording process of his 1971 classic “There’s a Riot Goin’ On,” on which he says he “sacrificed technique for feeling.” The album has an anguished tone, exemplified by the volatile funk of the single “Luv N’ Haight.”\u003c/p>\n\u003cp>Meanwhile at concerts, fans never knew whether they’d get one of his famously ecstatic performances, or if Stone would bother showing up at all.\u003c/p>\n\u003cp>He espoused Black Power, but not loudly enough for Black Panthers, who accused Stone of acquiescing to white America. Meanwhile, some white people thought he was too militant. While unafraid to be political, he remained defiantly nonviolent and never shook the notion that, yes, people can all get along. “We exist to coexist,” he writes.\u003c/p>\n\u003cp>That uplifting spirit returns, if only sporadically, for 1973’s \u003cem>Fresh\u003c/em>, his last great album. The band splintered soon after and Stone entered a decades-long cycle of addiction, middling solo offerings, doomed tours and tax troubles.\u003c/p>\n\u003cp>Predictably, the memoir contains no shortage of occasionally humorous — but mostly bleak — backstage tales of debauchery and drug abuse. While on tour in his glory days Stone carried a violin case filled with cocaine. Later he said he went on PCP binges because “it threw your perspective off, which I liked.” Eventually he was overtaken by a dependence on crack cocaine that drained his talents, ruined relationships and led to regular stints in jail and rehab.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk","authors":["byline_arts_13936538"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_11615","arts_69","arts_75"],"tags":["arts_928","arts_585"],"featImg":"arts_13936555","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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