8 Highly Anticipated Books and Literary Events For Your Fall Reading Pleasure
Looking Ahead to Bay Area Books to Read This Fall
Litquake Takes to the Streets Again in October
Literary Snapshot: How Do Bay Area Writers Spend Their Day?
A Literary Festival Explores Every Kind of Writing — and a Bit of Drinking
Children of the Summer of Love Discuss Their Unconventional Upbringings
Sound Advice: Thomas Dolby and 'The Speed of Sound'
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With the smell of crisp autumn leaves and the rustle of fresh pages, September brings a renewed sense of fervor for literature with a series of new releases, live readings, zine festivals and author conversations.\u003c/p>\n\u003cfigure id=\"attachment_13918442\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Alice-Wong_comp.jpg\" alt=\"Portrait of author, Asian American woman in power chair, book cover at right\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alice Wong’s debut memoir is a scrapbook of her life. \u003ccite>(Photo by Eddie Hernandez; Cover courtesy of Disability Visibility Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://disabilityvisibilityproject.com/book/tiger/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Year of the Tiger: An Activist’s Life\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>By Alice Wong\u003cbr>\nPublishes Sept. 6\u003c/em>\u003c/p>\n\u003cp>Embodying the ferocity of the tiger, an animal revered for its strength in her Chinese culture, San Francisco disabled activist and writer Alice Wong shares her bold insights in her debut memoir \u003cem>Year of the Tiger\u003c/em>. Described as a “scrapbook,” the book features a collection of personal essays, conversations and commissioned art that provides an intimate glimpse into Wong’s life and her thoughts on power, ableism, access and more. Mirroring her years of experience with community organizing, Wong’s memoir creates space for disabled individuals to be in conversation and community with one another.\u003c/p>\n\u003cfigure id=\"attachment_13918432\" class=\"wp-caption aligncenter\" style=\"max-width: 1178px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Javier-Zamora_comp.jpg\" alt=\"Portrait of author, man with short dark hair, mustache and beard beside book cover\" width=\"1178\" height=\"821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-768x535.jpg 768w\" sizes=\"(max-width: 1178px) 100vw, 1178px\">\u003cfigcaption class=\"wp-caption-text\">Javier Zamora’s new memoir debuts Sept. 6. \u003ccite>(Photo by Gerardo Del Valle; Cover courtesy of Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bookpassage.com/event/javier-zamora-solito-corte-madera-store\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Zamora Reads From New Memoir, \u003cem>Solito\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Book Passage, Corte Madera\u003cbr>\nSept. 11, 4pm\u003c/em>\u003c/p>\n\u003cp>Born in El Salvador, celebrated poet Javier Zamora is known for braiding together English and Spanish to create work on immigration that is observational, visceral and deeply affecting. In his poem “How I Learned to Walk,” Zamora writes: “I’ve heard / of how I used to run to him. His hair still / smelling of fish, gasoline, and seaweed. It’s how / I learned to walk they say. Calláte.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Sept. 6, his new memoir \u003cem>Solito\u003c/em> debuts, recounting his nine-week journey across Guatemala and Mexico towards Arizona. At nine years old, he underwent this exhausting voyage alone, supported by other migrants as he trudged forward, yearning for his mother and father.\u003c/p>\n\u003cp>Zamora will read from \u003cem>Solito\u003c/em> at Book Passage’s Corte Madera location on Sept. 11. Attendants will be among the first to hear Zamora read from this new collection aloud—a collection that, when vocalized, bears the powerful weight of the ways separation and war have shaped the writer.\u003c/p>\n\u003cfigure id=\"attachment_13918437\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jonathan-Escoffery_comp.jpg\" alt=\"Portrait of author, man with short curly dark hair, mustache and goatee, beside book cover\" width=\"1200\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-768x499.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Escoffery’s debut novel centers on a Jamaican family in Miami. \u003ccite>(Photo by Cola Greenhill-Casados; Cover courtesy of Macmillan Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://citylights.com/events/jonathan-escoffery/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Escoffery Reads From \u003cem>If I Survive You\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>City Lights Books, San Francisco\u003cbr>\nOct. 6, 6pm\u003c/em>\u003c/p>\n\u003cp>There’s already excitement surrounding fiction writer Jonathan Escoffery’s debut collection of linked stories, \u003cem>If I Survive You\u003c/em>, publishing Sept. 6. \u003ca href=\"https://www.oprahdaily.com/entertainment/books/a40653557/splashdown-excerpt-if-i-survive-you-jonathan-escoffery/\" target=\"_blank\" rel=\"noopener noreferrer\">Oprah Daily\u003c/a> says that the book “may well be the buzziest debut of 2022.” It’s not hard to see why—the title alone is alluring and gritty, beckoning a second glance, a moment of pause.\u003c/p>\n\u003cp>Currently a Wallace Stegner Fellow at Stanford University, Escoffery has a penchant for worldbuilding, with stories that contain characters as rich and exuberant as the real world has to offer. They read like people you could really befriend, with personal histories full of idiosyncrasies and quirks that illustrate lives that are full and expanding.\u003c/p>\n\u003cp>\u003cem>If I Survive You\u003c/em> is a collection of connected stories centered on a Jamaican family trying to survive in Miami as they face racism, financial hardship, natural disasters, bad luck and other tumult.\u003c/p>\n\u003cfigure id=\"attachment_13918438\" class=\"wp-caption aligncenter\" style=\"max-width: 922px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo-.png\" alt=\"Woman smiles behind colorful display of books and zines\" width=\"922\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo-.png 922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo--800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo--160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo--768x571.png 768w\" sizes=\"(max-width: 922px) 100vw, 922px\">\u003cfigcaption class=\"wp-caption-text\">Naoshi, a Los Angeles based Japanese artist, tables with her prints and crafts at SF Zine Fest in 2020. \u003ccite>(SF Zine Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfzinefest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Zine Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>City View at Metreon, San Francisco\u003cbr>\nSept. 4, 11am-5pm\u003cbr>\nAfter party: Silver Sprocket, San Francisco\u003cbr>\nSept. 4, 7-9:30pm\u003c/em>\u003c/p>\n\u003cp>After two years of remote programming, the beloved SF Zine Fest returns in person at a new venue, City View at Metreon. With over 200 exhibiting artists and collectives, the event welcomes zine, comic and art lovers to spend a day perusing work from local favorites like Mixed Rice Zines and Irrelevant Press as well as artists outside the Bay Area. Since its founding in 2001, SF Zine Fest has become the largest and longest running fair in Northern California for DIY artists and publishers.\u003c/p>\n\u003cp>And there’s nothing quite like preparing for a zine fair: emptying your largest tote bag and bursting with anticipation, wondering what books will fill it at the end of the day. Bracing yourself, you enter the festival and spot your favorite artist tabling at a busy corner, greeting other fans as you consider the least awkward way to approach and say hello. By the end of the day, you’ll be buzzing with leftover adrenaline, holding your bag delicately to prevent scuffing the treasures you collected over the course of the afternoon. Until next year, you think, eager to do it all again.\u003c/p>\n\u003cfigure id=\"attachment_13918440\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Sandra-Cisneros_comp.jpg\" alt=\"Author photo of woman with dark curly hair in chair, book cover at right\" width=\"1200\" height=\"613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-1020x521.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-768x392.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Cisneros returns with her first book of poetry in 28 years. \u003ccite>(Photo by Diana Solis; Cover courtesy of the author)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mrsdalloways.com/events/sandra-cisneros-reading-her-new-poetry-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Sandra Cisneros Reads from \u003cem>Woman Without Shame\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mrs. Dalloway’s, Berkeley\u003cbr>\nSept. 19, 7pm \u003c/em>\u003c/p>\n\u003cp>When I first read Sandra Cisneros’ 1983 novel \u003cem>The House on Mango Street\u003c/em>, I was around the same age as the book’s protagonist, Esperanza Cordero. Even then, as a preteen still naïve to much of the world around me, I was moved by the tenderness and vulnerability of Cisneros’ voice as she moved through vignettes that depicted the complicated intricacies of girlhood.\u003c/p>\n\u003cp>On Sept. 13, Cisneros returns with \u003cem>Woman Without Shame\u003c/em>, her first book of poetry in 28 years. This new work is a culmination of the writer’s voice over the years: sincere and honest, heartfelt and meditative. Her poems reflect on her journey as an artist and her search for home as she contemplates memory, desire and love.\u003c/p>\n\u003cp>On Sept. 19, Cisneros will read her work at Mrs. Dalloway’s in Berkeley followed by a conversation with author Reyna Grande.\u003c/p>\n\u003cfigure id=\"attachment_13918441\" class=\"wp-caption aligncenter\" style=\"max-width: 1848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo-.png\" alt=\"Kaleidoscopic image of burly hairy man in pink speedo bottom\" width=\"1848\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo-.png 1848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--1536x904.png 1536w\" sizes=\"(max-width: 1848px) 100vw, 1848px\">\u003cfigcaption class=\"wp-caption-text\">Beloved San Francisco comic artist and creator of Wuvable Oaf, Ed Luce will be featured at Permanent Damage. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/silversprocket/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Permanent Damage Comics Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Silver Sprocket, San Francisco\u003cbr>\nSept. 24, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Tucked away in the Mission District, Silver Sprocket is San Francisco’s hole-in-the-wall comics oasis. It’s a quiet spot during the day—a tranquil haven where indie rock tunes play as you amble towards the back, stopping to touch whatever book covers interest you along the way. In late September, this sense of wonder continues with Silver Sprocket’s Permanent Damage Comics Fest, where the store will become a bustling hub for alternative comic artists to gather, showcase and sell their original work.\u003c/p>\n\u003cp>Permanent Damage will feature over 20 cartoonists from around the country, including local Oakland “psychedelic nightmare” artist Skinner, \u003cem>Wuvable Oaf\u003c/em> creator Ed Luce and San Francisco cartoonist Harry Nordlinger.\u003c/p>\n\u003cfigure id=\"attachment_13918443\" class=\"wp-caption aligncenter\" style=\"max-width: 2292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Celese-Ng-photo-.png\" alt=\"Portrait of woman with straight dark hair, hands clasped\" width=\"2292\" height=\"1642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo-.png 2292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--1020x731.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--1536x1100.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--2048x1467.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--1920x1375.png 1920w\" sizes=\"(max-width: 2292px) 100vw, 2292px\">\u003cfigcaption class=\"wp-caption-text\">Author Celeste Ng. \u003ccite>(Kieran Kesner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.booksmith.com/event/celeste-ng\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Ng Talks New Book with R.O. Kwon for Berkeley Arts & Letters\u003c/a>\u003c/h2>\n\u003cp>\u003cem>First Presbyterian Church of Berkeley\u003cbr>\nOct. 19, 7pm\u003c/em>\u003c/p>\n\u003cp>Masterful at crafting mysteries rich with psychological and social tension, writer Celeste Ng is back with new novel \u003cem>Our Missing Hearts\u003c/em> this October. Ng’s last book \u003cem>Little Fires Everywhere\u003c/em> was lauded globally before making its way onto the silver screen with a star-studded cast. While success may bring intense pressure, Ng sticks to her passion for crafting stories about family, loss and changes from generation to generation.\u003c/p>\n\u003cp>\u003cem>Our Missing Hearts\u003c/em> focuses on the perspective of Bird Gardner, a young boy with a newfound desire to search for his mother, a Chinese American poet who left the family years before. In a world where “American” identity is protected zealously and work from writers like Bird’s mother are removed from libraries, \u003cem>Our Missing Hearts\u003c/em> digs into how people are left to grapple with legacies when they are broken through injustice.\u003c/p>\n\u003cp>On Oct. 19, Ng will discuss her new novel with R.O. Kwon, author of \u003cem>The Incendiaries\u003c/em> and editor of the short story collection \u003cem>Kink\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13918444\" class=\"wp-caption aligncenter\" style=\"max-width: 1966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/image1.png\" alt=\"Blue graphic of person dancing with book\" width=\"1966\" height=\"1106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1.png 1966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-1920x1080.png 1920w\" sizes=\"(max-width: 1966px) 100vw, 1966px\">\u003cfigcaption class=\"wp-caption-text\">This year’s festival features over 500 writers. \u003ccite>(Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.litquake.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Litquake/Lit Crawl SF\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nOct. 6-22\u003c/em>\u003c/p>\n\u003cp>For two weeks, thousands of people will gather for San Francisco’s biggest literary event of the year: Litquake. For literature lovers, the festival presents a varied lineup of readings, panels and performances from over 500 writers. At the end of its run, the festival will build up to Lit Crawl, a one-night journey through numerous bars, cafes, bookstores, barbershops and other staples of the Mission District, where surprise literary events await.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a chance to be embedded within the diverse and dynamic literary culture of the city: to celebrate in book launches held at museums, learn about queer publishers over cocktails, listen to stories of deception and unreliable narrators at a comics shop, and to embrace the love for reading palpable in the air during Litquake. The festival announces its schedule and lineup on Sept. 6.\u003c/p>\n\n","blocks":[],"excerpt":"Stock up on independent comics, hear luminaries in conversation and fill your shelf with new novels.","status":"publish","parent":0,"modified":1705006429,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1523},"headData":{"title":"8 Highly Anticipated Books and Literary Events For Your Fall Reading Pleasure | KQED","description":"Stock up on independent comics, hear luminaries in conversation and fill your shelf with new novels.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Highly Anticipated Books and Literary Events For Your Fall Reading Pleasure","datePublished":"2022-08-31T20:48:33.000Z","dateModified":"2024-01-11T20:53:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2022","sourceUrl":"https://www.kqed.org/fallarts2022","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13918375/fall-2022-books-literature-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In fall, a love for all things literary comes to life in the nighttime. With the smell of crisp autumn leaves and the rustle of fresh pages, September brings a renewed sense of fervor for literature with a series of new releases, live readings, zine festivals and author conversations.\u003c/p>\n\u003cfigure id=\"attachment_13918442\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Alice-Wong_comp.jpg\" alt=\"Portrait of author, Asian American woman in power chair, book cover at right\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Alice-Wong_comp-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alice Wong’s debut memoir is a scrapbook of her life. \u003ccite>(Photo by Eddie Hernandez; Cover courtesy of Disability Visibility Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://disabilityvisibilityproject.com/book/tiger/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Year of the Tiger: An Activist’s Life\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>By Alice Wong\u003cbr>\nPublishes Sept. 6\u003c/em>\u003c/p>\n\u003cp>Embodying the ferocity of the tiger, an animal revered for its strength in her Chinese culture, San Francisco disabled activist and writer Alice Wong shares her bold insights in her debut memoir \u003cem>Year of the Tiger\u003c/em>. Described as a “scrapbook,” the book features a collection of personal essays, conversations and commissioned art that provides an intimate glimpse into Wong’s life and her thoughts on power, ableism, access and more. Mirroring her years of experience with community organizing, Wong’s memoir creates space for disabled individuals to be in conversation and community with one another.\u003c/p>\n\u003cfigure id=\"attachment_13918432\" class=\"wp-caption aligncenter\" style=\"max-width: 1178px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Javier-Zamora_comp.jpg\" alt=\"Portrait of author, man with short dark hair, mustache and beard beside book cover\" width=\"1178\" height=\"821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javier-Zamora_comp-768x535.jpg 768w\" sizes=\"(max-width: 1178px) 100vw, 1178px\">\u003cfigcaption class=\"wp-caption-text\">Javier Zamora’s new memoir debuts Sept. 6. \u003ccite>(Photo by Gerardo Del Valle; Cover courtesy of Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bookpassage.com/event/javier-zamora-solito-corte-madera-store\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Zamora Reads From New Memoir, \u003cem>Solito\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Book Passage, Corte Madera\u003cbr>\nSept. 11, 4pm\u003c/em>\u003c/p>\n\u003cp>Born in El Salvador, celebrated poet Javier Zamora is known for braiding together English and Spanish to create work on immigration that is observational, visceral and deeply affecting. In his poem “How I Learned to Walk,” Zamora writes: “I’ve heard / of how I used to run to him. His hair still / smelling of fish, gasoline, and seaweed. It’s how / I learned to walk they say. Calláte.”\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>On Sept. 6, his new memoir \u003cem>Solito\u003c/em> debuts, recounting his nine-week journey across Guatemala and Mexico towards Arizona. At nine years old, he underwent this exhausting voyage alone, supported by other migrants as he trudged forward, yearning for his mother and father.\u003c/p>\n\u003cp>Zamora will read from \u003cem>Solito\u003c/em> at Book Passage’s Corte Madera location on Sept. 11. Attendants will be among the first to hear Zamora read from this new collection aloud—a collection that, when vocalized, bears the powerful weight of the ways separation and war have shaped the writer.\u003c/p>\n\u003cfigure id=\"attachment_13918437\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jonathan-Escoffery_comp.jpg\" alt=\"Portrait of author, man with short curly dark hair, mustache and goatee, beside book cover\" width=\"1200\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jonathan-Escoffery_comp-768x499.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Escoffery’s debut novel centers on a Jamaican family in Miami. \u003ccite>(Photo by Cola Greenhill-Casados; Cover courtesy of Macmillan Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://citylights.com/events/jonathan-escoffery/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Escoffery Reads From \u003cem>If I Survive You\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>City Lights Books, San Francisco\u003cbr>\nOct. 6, 6pm\u003c/em>\u003c/p>\n\u003cp>There’s already excitement surrounding fiction writer Jonathan Escoffery’s debut collection of linked stories, \u003cem>If I Survive You\u003c/em>, publishing Sept. 6. \u003ca href=\"https://www.oprahdaily.com/entertainment/books/a40653557/splashdown-excerpt-if-i-survive-you-jonathan-escoffery/\" target=\"_blank\" rel=\"noopener noreferrer\">Oprah Daily\u003c/a> says that the book “may well be the buzziest debut of 2022.” It’s not hard to see why—the title alone is alluring and gritty, beckoning a second glance, a moment of pause.\u003c/p>\n\u003cp>Currently a Wallace Stegner Fellow at Stanford University, Escoffery has a penchant for worldbuilding, with stories that contain characters as rich and exuberant as the real world has to offer. They read like people you could really befriend, with personal histories full of idiosyncrasies and quirks that illustrate lives that are full and expanding.\u003c/p>\n\u003cp>\u003cem>If I Survive You\u003c/em> is a collection of connected stories centered on a Jamaican family trying to survive in Miami as they face racism, financial hardship, natural disasters, bad luck and other tumult.\u003c/p>\n\u003cfigure id=\"attachment_13918438\" class=\"wp-caption aligncenter\" style=\"max-width: 922px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo-.png\" alt=\"Woman smiles behind colorful display of books and zines\" width=\"922\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo-.png 922w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo--800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo--160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Naoshi_SF-Zine-Fest-Photo--768x571.png 768w\" sizes=\"(max-width: 922px) 100vw, 922px\">\u003cfigcaption class=\"wp-caption-text\">Naoshi, a Los Angeles based Japanese artist, tables with her prints and crafts at SF Zine Fest in 2020. \u003ccite>(SF Zine Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfzinefest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Zine Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>City View at Metreon, San Francisco\u003cbr>\nSept. 4, 11am-5pm\u003cbr>\nAfter party: Silver Sprocket, San Francisco\u003cbr>\nSept. 4, 7-9:30pm\u003c/em>\u003c/p>\n\u003cp>After two years of remote programming, the beloved SF Zine Fest returns in person at a new venue, City View at Metreon. With over 200 exhibiting artists and collectives, the event welcomes zine, comic and art lovers to spend a day perusing work from local favorites like Mixed Rice Zines and Irrelevant Press as well as artists outside the Bay Area. Since its founding in 2001, SF Zine Fest has become the largest and longest running fair in Northern California for DIY artists and publishers.\u003c/p>\n\u003cp>And there’s nothing quite like preparing for a zine fair: emptying your largest tote bag and bursting with anticipation, wondering what books will fill it at the end of the day. Bracing yourself, you enter the festival and spot your favorite artist tabling at a busy corner, greeting other fans as you consider the least awkward way to approach and say hello. By the end of the day, you’ll be buzzing with leftover adrenaline, holding your bag delicately to prevent scuffing the treasures you collected over the course of the afternoon. Until next year, you think, eager to do it all again.\u003c/p>\n\u003cfigure id=\"attachment_13918440\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Sandra-Cisneros_comp.jpg\" alt=\"Author photo of woman with dark curly hair in chair, book cover at right\" width=\"1200\" height=\"613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-1020x521.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Sandra-Cisneros_comp-768x392.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Cisneros returns with her first book of poetry in 28 years. \u003ccite>(Photo by Diana Solis; Cover courtesy of the author)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mrsdalloways.com/events/sandra-cisneros-reading-her-new-poetry-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Sandra Cisneros Reads from \u003cem>Woman Without Shame\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mrs. Dalloway’s, Berkeley\u003cbr>\nSept. 19, 7pm \u003c/em>\u003c/p>\n\u003cp>When I first read Sandra Cisneros’ 1983 novel \u003cem>The House on Mango Street\u003c/em>, I was around the same age as the book’s protagonist, Esperanza Cordero. Even then, as a preteen still naïve to much of the world around me, I was moved by the tenderness and vulnerability of Cisneros’ voice as she moved through vignettes that depicted the complicated intricacies of girlhood.\u003c/p>\n\u003cp>On Sept. 13, Cisneros returns with \u003cem>Woman Without Shame\u003c/em>, her first book of poetry in 28 years. This new work is a culmination of the writer’s voice over the years: sincere and honest, heartfelt and meditative. Her poems reflect on her journey as an artist and her search for home as she contemplates memory, desire and love.\u003c/p>\n\u003cp>On Sept. 19, Cisneros will read her work at Mrs. Dalloway’s in Berkeley followed by a conversation with author Reyna Grande.\u003c/p>\n\u003cfigure id=\"attachment_13918441\" class=\"wp-caption aligncenter\" style=\"max-width: 1848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo-.png\" alt=\"Kaleidoscopic image of burly hairy man in pink speedo bottom\" width=\"1848\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo-.png 1848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Ed-Luce-Permanent-Damage-photo--1536x904.png 1536w\" sizes=\"(max-width: 1848px) 100vw, 1848px\">\u003cfigcaption class=\"wp-caption-text\">Beloved San Francisco comic artist and creator of Wuvable Oaf, Ed Luce will be featured at Permanent Damage. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/silversprocket/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Permanent Damage Comics Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Silver Sprocket, San Francisco\u003cbr>\nSept. 24, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Tucked away in the Mission District, Silver Sprocket is San Francisco’s hole-in-the-wall comics oasis. It’s a quiet spot during the day—a tranquil haven where indie rock tunes play as you amble towards the back, stopping to touch whatever book covers interest you along the way. In late September, this sense of wonder continues with Silver Sprocket’s Permanent Damage Comics Fest, where the store will become a bustling hub for alternative comic artists to gather, showcase and sell their original work.\u003c/p>\n\u003cp>Permanent Damage will feature over 20 cartoonists from around the country, including local Oakland “psychedelic nightmare” artist Skinner, \u003cem>Wuvable Oaf\u003c/em> creator Ed Luce and San Francisco cartoonist Harry Nordlinger.\u003c/p>\n\u003cfigure id=\"attachment_13918443\" class=\"wp-caption aligncenter\" style=\"max-width: 2292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Celese-Ng-photo-.png\" alt=\"Portrait of woman with straight dark hair, hands clasped\" width=\"2292\" height=\"1642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo-.png 2292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--1020x731.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--1536x1100.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--2048x1467.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Celese-Ng-photo--1920x1375.png 1920w\" sizes=\"(max-width: 2292px) 100vw, 2292px\">\u003cfigcaption class=\"wp-caption-text\">Author Celeste Ng. \u003ccite>(Kieran Kesner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.booksmith.com/event/celeste-ng\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Ng Talks New Book with R.O. Kwon for Berkeley Arts & Letters\u003c/a>\u003c/h2>\n\u003cp>\u003cem>First Presbyterian Church of Berkeley\u003cbr>\nOct. 19, 7pm\u003c/em>\u003c/p>\n\u003cp>Masterful at crafting mysteries rich with psychological and social tension, writer Celeste Ng is back with new novel \u003cem>Our Missing Hearts\u003c/em> this October. Ng’s last book \u003cem>Little Fires Everywhere\u003c/em> was lauded globally before making its way onto the silver screen with a star-studded cast. While success may bring intense pressure, Ng sticks to her passion for crafting stories about family, loss and changes from generation to generation.\u003c/p>\n\u003cp>\u003cem>Our Missing Hearts\u003c/em> focuses on the perspective of Bird Gardner, a young boy with a newfound desire to search for his mother, a Chinese American poet who left the family years before. In a world where “American” identity is protected zealously and work from writers like Bird’s mother are removed from libraries, \u003cem>Our Missing Hearts\u003c/em> digs into how people are left to grapple with legacies when they are broken through injustice.\u003c/p>\n\u003cp>On Oct. 19, Ng will discuss her new novel with R.O. Kwon, author of \u003cem>The Incendiaries\u003c/em> and editor of the short story collection \u003cem>Kink\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13918444\" class=\"wp-caption aligncenter\" style=\"max-width: 1966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/image1.png\" alt=\"Blue graphic of person dancing with book\" width=\"1966\" height=\"1106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1.png 1966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/image1-1920x1080.png 1920w\" sizes=\"(max-width: 1966px) 100vw, 1966px\">\u003cfigcaption class=\"wp-caption-text\">This year’s festival features over 500 writers. \u003ccite>(Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.litquake.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Litquake/Lit Crawl SF\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nOct. 6-22\u003c/em>\u003c/p>\n\u003cp>For two weeks, thousands of people will gather for San Francisco’s biggest literary event of the year: Litquake. For literature lovers, the festival presents a varied lineup of readings, panels and performances from over 500 writers. At the end of its run, the festival will build up to Lit Crawl, a one-night journey through numerous bars, cafes, bookstores, barbershops and other staples of the Mission District, where surprise literary events await.\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>It’s a chance to be embedded within the diverse and dynamic literary culture of the city: to celebrate in book launches held at museums, learn about queer publishers over cocktails, listen to stories of deception and unreliable narrators at a comics shop, and to embrace the love for reading palpable in the air during Litquake. The festival announces its schedule and lineup on Sept. 6.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13918375/fall-2022-books-literature-guide","authors":["11813"],"categories":["arts_1","arts_73"],"tags":["arts_928","arts_2208","arts_18457","arts_10278","arts_1194","arts_905","arts_585","arts_914"],"featImg":"arts_13918456","label":"source_arts_13918375"},"arts_13902268":{"type":"posts","id":"arts_13902268","meta":{"index":"posts_1591205157","site":"arts","id":"13902268","score":null,"sort":[1630540925000]},"guestAuthors":[],"slug":"looking-ahead-to-bay-area-books-to-read-this-fall","title":"Looking Ahead to Bay Area Books to Read This Fall","publishDate":1630540925,"format":"standard","headTitle":"Looking Ahead to Bay Area Books to Read This Fall | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area authors call for abolition, fair housing, and an end to the refugee crisis—and take center stage at Litquake.","status":"publish","parent":0,"modified":1705007814,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1126},"headData":{"title":"Looking Ahead to Bay Area Books to Read This Fall | KQED","description":"Bay Area authors call for abolition, fair housing, and an end to the refugee crisis—and take center stage at Litquake.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Looking Ahead to Bay Area Books to Read This Fall","datePublished":"2021-09-02T00:02:05.000Z","dateModified":"2024-01-11T21:16:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13902268/looking-ahead-to-bay-area-books-to-read-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\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\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902268/looking-ahead-to-bay-area-books-to-read-this-fall","authors":["11766"],"categories":["arts_1","arts_73"],"tags":["arts_4906","arts_928","arts_15307","arts_10278","arts_1194","arts_1496","arts_585","arts_2209"],"featImg":"arts_13902348","label":"arts"},"arts_13903639":{"type":"posts","id":"arts_13903639","meta":{"index":"posts_1591205157","site":"arts","id":"13903639","score":null,"sort":[1630525750000]},"guestAuthors":[],"slug":"litquake-san-francisco-october","title":"Litquake Takes to the Streets Again in October","publishDate":1630525750,"format":"standard","headTitle":"Litquake Takes to the Streets Again in October | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.litquake.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Litquake\u003c/a>, the biggest literary event in the Bay Area, returns to the streets in 2021 as a half-virtual, half-indoors amalgam of talks, readings and panels. Some of the many, many guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster.\u003c/p>\n\u003cp>The festival opens Oct. 7 with a “masked ball” at St. Joseph’s Arts Society, and then continues on for the next two weeks with back-to-back events. Highlights include the “Litquake Out Loud” BIPOC and LGBTQ+ author showcase, a screening of the upcoming documentary \u003cem>The Capote Tapes\u003c/em>, and returning favorite “Word/Jazz,” a beatnik-inspired evening of poetry with improvised accompaniment.\u003c/p>\n\u003cp>The iconic Lit Crawl also returns after going virtual during the pandemic, and will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies. This year’s Crawl includes events put on by literary journal \u003ci>ZYZZYVA\u003c/i>, LGBTQ+ newspaper \u003ci>Bay Area Reporter\u003c/i> and—full disclosure—KQED.\u003c/p>\n\u003cp>Events are a mix of ticketed and free of charge. All indoors events require masks and proof of vaccination.\u003c/p>\n\u003cp>\u003cem>Litquake runs Oct. 7–23. \u003ca href=\"https://www.litquake.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Some of the many, many guests include Isabel Allende, Tommy Orange, Chang-rae Lee and Paul Auster.","status":"publish","parent":0,"modified":1705007823,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":206},"headData":{"title":"Litquake Returns to San Francisco in October | KQED","description":"Some of the many, many guests include Isabel Allende, Tommy Orange, Chang-rae Lee and Paul Auster.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Litquake Returns to San Francisco in October %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Litquake Takes to the Streets Again in October","datePublished":"2021-09-01T19:49:10.000Z","dateModified":"2024-01-11T21:17:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903639/litquake-san-francisco-october","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.litquake.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Litquake\u003c/a>, the biggest literary event in the Bay Area, returns to the streets in 2021 as a half-virtual, half-indoors amalgam of talks, readings and panels. Some of the many, many guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster.\u003c/p>\n\u003cp>The festival opens Oct. 7 with a “masked ball” at St. Joseph’s Arts Society, and then continues on for the next two weeks with back-to-back events. Highlights include the “Litquake Out Loud” BIPOC and LGBTQ+ author showcase, a screening of the upcoming documentary \u003cem>The Capote Tapes\u003c/em>, and returning favorite “Word/Jazz,” a beatnik-inspired evening of poetry with improvised accompaniment.\u003c/p>\n\u003cp>The iconic Lit Crawl also returns after going virtual during the pandemic, and will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies. This year’s Crawl includes events put on by literary journal \u003ci>ZYZZYVA\u003c/i>, LGBTQ+ newspaper \u003ci>Bay Area Reporter\u003c/i> and—full disclosure—KQED.\u003c/p>\n\u003cp>Events are a mix of ticketed and free of charge. All indoors events require masks and proof of vaccination.\u003c/p>\n\u003cp>\u003cem>Litquake runs Oct. 7–23. \u003ca href=\"https://www.litquake.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903639/litquake-san-francisco-october","authors":["11766"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_1194","arts_585"],"featImg":"arts_13903641","label":"arts_140"},"arts_13810393":{"type":"posts","id":"arts_13810393","meta":{"index":"posts_1591205157","site":"arts","id":"13810393","score":null,"sort":[1507467609000]},"guestAuthors":[],"slug":"literary-snapshot-a-day-in-the-bay","title":"Literary Snapshot: How Do Bay Area Writers Spend Their Day?","publishDate":1507467609,"format":"image","headTitle":"Literary Snapshot: How Do Bay Area Writers Spend Their Day? | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>The act of writing can be fickle, merciless, tiresome. Many writers cling to routines as creative hail marys to the gods of productivity. While some have a no-fuss schedule, able to write whenever time is available, others favor routines with habitual locations and specific times. What does a literary day look like for the Bay Area? Think of it: as most get in cars, trains, and bicycles to begin their commutes, a whole other class of people — writers — engage in their daily rituals to settle down at their desks and do the work.\u003c/p>\n\u003cp>I asked five Bay Area authors to describe a typical writing day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tobias Wolff, Peninsula\u003c/em>\u003c/h2>\n\u003cp>True writerly work is the most unromantic enterprise imaginable. If you’re doing it right, you have sentenced yourself to what any court would deem cruel and unusual punishment. Daily solitary confinement made more cruel by additional confinement to a chair for hours on end, during which you beat your brains out against a screen while taking semicolons out and putting them back in.\u003c/p>\n\u003cp>I’m serving my sentence in a carrell in the basement of Green Library at Stanford, under a buzzing fluorescent light. Some cells have windows; mine does not, by my choice—I would waste too much time gazing out of it, yearning for freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hope to be out on parole in 2018, provided I finish the book I’m working on, and don’t go crazy first.\u003c/p>\n\u003cp>\u003cem>Tobias Wolff is the author of ‘A Boy’s Life,’ and more recently ‘\u003ca href=\"https://www.indiebound.org/book/9780880010498\">The Barracks Thief\u003c/a>.’\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Vanessa Hua, East Bay\u003c/em>\u003c/h2>\n\u003cp>Now that the days are getting shorter, my six-year-old twins are rising before dawn, but still we scramble to get out the door to school. After drop off, I settle down at my desk, where I look over my task list—I’m big on lists!—which keep me on track about what I need to revise in my novel, what I need to do for an upcoming column or freelance piece, and other correspondence I need to return. I listen to ambient electronic music: \u003cem>Tycho, Ulrich Schnauss, Bonobo, Boards of Canada, Air. \u003c/em>Lyrics can be distracting, but sometimes I get into a nostalgic mood and listen to favorites from college, \u003cem>They Might Be Giants, Indigo Girls, \u003c/em>or \u003cem>Erasure. \u003c/em>Towards the end of the day, I go for a run or a swim—exercise is key to my creative practice. It’s when I’m away from my computer that solutions to narrative dilemmas bubble up from my unconscious. It’s been said that sitting is the new smoking, in terms of the harm it causes, and we need to keep our strength! After I get back, I start getting dinner ready—something I can pop into the oven and don’t have to tend to—then work for another hour and a half or so before the babysitter leaves. I write a to-do list at the end of the day, so that I’m ready to go the next morning. After family time and putting the twins to bed, I read research related to my novel, for pleasure, or catch up on the news before light’s out.\u003c/p>\n\u003cp>\u003cem>Vanessa Hua is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780997199628\">Deceit and Other Possibilities\u003c/a>.’ Catch her at Litquake for \u003ca href=\"https://litquake2017.sched.com/event/BJvx/you-cant-write-that-writing-from-privilege\">You Can’t Write That: Writing from Privilege\u003c/a> on Monday, Oct. 9, at the San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tongo Eisen-Martin, San Francisco\u003c/em>\u003c/h2>\n\u003cp>I write in kitchens (a home’s true commons) or back bedrooms (for inner-city hermitage purposes). I start small. Sometimes three or four words are already there for me to begin excavating around. Sometimes I use immediate sights within a room or sounds from outside to fish lines of representation or corresponding phenomena out of my mind. I stay pretty close to the immediate and even after lines throw me off of cliffs down into a past, future or parallel, I try to land back in the room. Energies, sensations, joys, and aggravations are all starting points. Out and back. Sometimes I will have music playing if my mind won’t let energy in. Music is a good jump-start. The trade off is that music also dominates the tones, colors, even topics of a given landscape of a poem; zaps some of my lucidity. I like to leave my immediate reality just where it is when writing.\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780872867451\">Heaven is All Goodbyes\u003c/a>.’ He reads at Grace Cathedral on Oct. 13 at 7:30pm as part of Litquake’s \u003ca href=\"http://sched.co/BY3T\">Exalted Verse: Poets at Grace Cathedral\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Shanthi Sekaran, San Francisco\u003c/em>\u003c/h2>\n\u003cp>When I was writing \u003cem>Lucky Boy\u003c/em>, steeped in teaching and childcare, I gave myself one full writing day per week at the San Francisco Writers’ Grotto. My do-or-die day. Once I got into the swing of that book, I could write anywhere, anytime, and that’s what I did. Maybe that’s what mothers do. I’d steal a few minutes before bed, an hour during soccer practice. Now, starting my next novel, I’m searching again for some sort of process. All I know is that I like writing free-hand before I start typing. Writing by hand creates a physical—maybe metaphysical?—flow from mind to hand, passing, somewhere along the way, through avenues of longing and urgency. Wednesdays are my saving grace, when I meet two writer friends for coffee-and-no-gossip (the gossip happens at lunch). We work in a café in Oakland, where the tables are big and chunky. My only requirement: a big, meaty table. None of those coaster-sized French café tables for me. And tea. A big table and tea. And often chocolate. Table, tea, chocolate. One day, I fully intend to start the daily thing: 9:35 every morning, like a good and disciplined writer. I hope to start tomorrow. Or maybe the day after that.\u003c/p>\n\u003cp>\u003cem>Shanthi Sekaran is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781101982266\">Lucky Boy\u003c/a>.’ Hear her read for \u003ca href=\"https://litcrawlsanfrancisco2017.sched.com/event/BROw/an-evening-with-the-rumpus\">The Rumpus at Litcrawl\u003c/a> on Oct. 14 at The Laundry in San Francisco at 6:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Andrew Lam, San Francisco\u003c/em>\u003c/h2>\n\u003cp>My daily rituals have been odd for many reasons: Until two weeks ago, I worked three days a week as an editor at New America Media, and those three days more or less were shot. They afforded me little time to work on my own writing. Instead I worked on others’ writing and posting stories for that website. The remaining days I ended up doing freelance work or working on writing that was close to my heart. Preferably, I get up early in the morning when dreams and memories and reality share a tenuous terrain. It’s when writing is most fluid and uninhibited. If I get some writing done then throughout the day I think about what I managed to jot down and, even when walking or out and about, I would use my cell phone to record new ideas and thoughts. Then again the next morning…\u003c/p>\n\u003cp>\u003cem>Andrew Lam is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781597141383\">East Eats West: Writing in Two Hemispheres\u003c/a>.’ Catch him on Wednesday, Oct. 11 at 7pm in conversation at the Swedish American Hall for Litquake’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\">Some Stories Deserve to be True: International Nonfiction\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Tobias Wolff, Vanessa Hua, Tongo Eisen-Martin, Shanthi Sekaran, and Andrew Lam reveal their habitual locations and times to get their writing done. ","status":"publish","parent":0,"modified":1705029385,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1295},"headData":{"title":"Literary Snapshot: How Do Bay Area Writers Spend Their Day? | KQED","description":"Tobias Wolff, Vanessa Hua, Tongo Eisen-Martin, Shanthi Sekaran, and Andrew Lam reveal their habitual locations and times to get their writing done. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Literary Snapshot: How Do Bay Area Writers Spend Their Day?","datePublished":"2017-10-08T13:00:09.000Z","dateModified":"2024-01-12T03:16:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810393/literary-snapshot-a-day-in-the-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The act of writing can be fickle, merciless, tiresome. Many writers cling to routines as creative hail marys to the gods of productivity. While some have a no-fuss schedule, able to write whenever time is available, others favor routines with habitual locations and specific times. What does a literary day look like for the Bay Area? Think of it: as most get in cars, trains, and bicycles to begin their commutes, a whole other class of people — writers — engage in their daily rituals to settle down at their desks and do the work.\u003c/p>\n\u003cp>I asked five Bay Area authors to describe a typical writing day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tobias-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tobias Wolff, Peninsula\u003c/em>\u003c/h2>\n\u003cp>True writerly work is the most unromantic enterprise imaginable. If you’re doing it right, you have sentenced yourself to what any court would deem cruel and unusual punishment. Daily solitary confinement made more cruel by additional confinement to a chair for hours on end, during which you beat your brains out against a screen while taking semicolons out and putting them back in.\u003c/p>\n\u003cp>I’m serving my sentence in a carrell in the basement of Green Library at Stanford, under a buzzing fluorescent light. Some cells have windows; mine does not, by my choice—I would waste too much time gazing out of it, yearning for freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hope to be out on parole in 2018, provided I finish the book I’m working on, and don’t go crazy first.\u003c/p>\n\u003cp>\u003cem>Tobias Wolff is the author of ‘A Boy’s Life,’ and more recently ‘\u003ca href=\"https://www.indiebound.org/book/9780880010498\">The Barracks Thief\u003c/a>.’\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/vanessa-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Vanessa Hua, East Bay\u003c/em>\u003c/h2>\n\u003cp>Now that the days are getting shorter, my six-year-old twins are rising before dawn, but still we scramble to get out the door to school. After drop off, I settle down at my desk, where I look over my task list—I’m big on lists!—which keep me on track about what I need to revise in my novel, what I need to do for an upcoming column or freelance piece, and other correspondence I need to return. I listen to ambient electronic music: \u003cem>Tycho, Ulrich Schnauss, Bonobo, Boards of Canada, Air. \u003c/em>Lyrics can be distracting, but sometimes I get into a nostalgic mood and listen to favorites from college, \u003cem>They Might Be Giants, Indigo Girls, \u003c/em>or \u003cem>Erasure. \u003c/em>Towards the end of the day, I go for a run or a swim—exercise is key to my creative practice. It’s when I’m away from my computer that solutions to narrative dilemmas bubble up from my unconscious. It’s been said that sitting is the new smoking, in terms of the harm it causes, and we need to keep our strength! After I get back, I start getting dinner ready—something I can pop into the oven and don’t have to tend to—then work for another hour and a half or so before the babysitter leaves. I write a to-do list at the end of the day, so that I’m ready to go the next morning. After family time and putting the twins to bed, I read research related to my novel, for pleasure, or catch up on the news before light’s out.\u003c/p>\n\u003cp>\u003cem>Vanessa Hua is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780997199628\">Deceit and Other Possibilities\u003c/a>.’ Catch her at Litquake for \u003ca href=\"https://litquake2017.sched.com/event/BJvx/you-cant-write-that-writing-from-privilege\">You Can’t Write That: Writing from Privilege\u003c/a> on Monday, Oct. 9, at the San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/tongo-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Tongo Eisen-Martin, San Francisco\u003c/em>\u003c/h2>\n\u003cp>I write in kitchens (a home’s true commons) or back bedrooms (for inner-city hermitage purposes). I start small. Sometimes three or four words are already there for me to begin excavating around. Sometimes I use immediate sights within a room or sounds from outside to fish lines of representation or corresponding phenomena out of my mind. I stay pretty close to the immediate and even after lines throw me off of cliffs down into a past, future or parallel, I try to land back in the room. Energies, sensations, joys, and aggravations are all starting points. Out and back. Sometimes I will have music playing if my mind won’t let energy in. Music is a good jump-start. The trade off is that music also dominates the tones, colors, even topics of a given landscape of a poem; zaps some of my lucidity. I like to leave my immediate reality just where it is when writing.\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9780872867451\">Heaven is All Goodbyes\u003c/a>.’ He reads at Grace Cathedral on Oct. 13 at 7:30pm as part of Litquake’s \u003ca href=\"http://sched.co/BY3T\">Exalted Verse: Poets at Grace Cathedral\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/shanthi-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Shanthi Sekaran, San Francisco\u003c/em>\u003c/h2>\n\u003cp>When I was writing \u003cem>Lucky Boy\u003c/em>, steeped in teaching and childcare, I gave myself one full writing day per week at the San Francisco Writers’ Grotto. My do-or-die day. Once I got into the swing of that book, I could write anywhere, anytime, and that’s what I did. Maybe that’s what mothers do. I’d steal a few minutes before bed, an hour during soccer practice. Now, starting my next novel, I’m searching again for some sort of process. All I know is that I like writing free-hand before I start typing. Writing by hand creates a physical—maybe metaphysical?—flow from mind to hand, passing, somewhere along the way, through avenues of longing and urgency. Wednesdays are my saving grace, when I meet two writer friends for coffee-and-no-gossip (the gossip happens at lunch). We work in a café in Oakland, where the tables are big and chunky. My only requirement: a big, meaty table. None of those coaster-sized French café tables for me. And tea. A big table and tea. And often chocolate. Table, tea, chocolate. One day, I fully intend to start the daily thing: 9:35 every morning, like a good and disciplined writer. I hope to start tomorrow. Or maybe the day after that.\u003c/p>\n\u003cp>\u003cem>Shanthi Sekaran is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781101982266\">Lucky Boy\u003c/a>.’ Hear her read for \u003ca href=\"https://litcrawlsanfrancisco2017.sched.com/event/BROw/an-evening-with-the-rumpus\">The Rumpus at Litcrawl\u003c/a> on Oct. 14 at The Laundry in San Francisco at 6:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13810481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg\" alt=\"\" width=\"1200\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1020x449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-800x352.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-768x338.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1920x846.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-1180x520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-960x423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-375x165.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/andrew-520x229.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003ch2>\u003cem>Andrew Lam, San Francisco\u003c/em>\u003c/h2>\n\u003cp>My daily rituals have been odd for many reasons: Until two weeks ago, I worked three days a week as an editor at New America Media, and those three days more or less were shot. They afforded me little time to work on my own writing. Instead I worked on others’ writing and posting stories for that website. The remaining days I ended up doing freelance work or working on writing that was close to my heart. Preferably, I get up early in the morning when dreams and memories and reality share a tenuous terrain. It’s when writing is most fluid and uninhibited. If I get some writing done then throughout the day I think about what I managed to jot down and, even when walking or out and about, I would use my cell phone to record new ideas and thoughts. Then again the next morning…\u003c/p>\n\u003cp>\u003cem>Andrew Lam is the author of ‘\u003ca href=\"https://www.indiebound.org/book/9781597141383\">East Eats West: Writing in Two Hemispheres\u003c/a>.’ Catch him on Wednesday, Oct. 11 at 7pm in conversation at the Swedish American Hall for Litquake’s \u003ca href=\"http://www.litquake.org/2017-litquake-festival\">Some Stories Deserve to be True: International Nonfiction\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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 Spine is a biweekly book column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810393/literary-snapshot-a-day-in-the-bay","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_928","arts_1118","arts_1194","arts_596","arts_1234","arts_2209"],"featImg":"arts_13810530","label":"arts_1054"},"arts_13810500":{"type":"posts","id":"arts_13810500","meta":{"index":"posts_1591205157","site":"arts","id":"13810500","score":null,"sort":[1507166413000]},"guestAuthors":[],"slug":"a-literary-festival-explores-every-kind-of-writing-and-a-bit-of-drinking","title":"A Literary Festival Explores Every Kind of Writing — and a Bit of Drinking","publishDate":1507166413,"format":"standard","headTitle":"A Literary Festival Explores Every Kind of Writing — and a Bit of Drinking | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Litquake, the festival of all things literary, is back in San Francisco, Oakland, Napa, Berkeley, and Marin, with a huge menu of writers for every taste and age group. There are YA panels and poets, erotic tale tellers, a Barbary Coast prostitute walking tour, a panel on how to break into publishing, a literary death match, and a bar crawl to close out the festival. We’re partial to a staging of Joan Didion’s \u003cem>Slouching Toward Bethlehem\u003c/em> by the theater troupe Word for Word, readings by local poets Tongo Eisen-Martin and Jose Vadi, a panel on microdosing with Berkeley’s Ayelet Waldman, and spiritual readings in the majestic Grace Cathedral. The festival runs Oct. 5–14; \u003ca href=\"http://www.litquake.org/2017-litquake-festival\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=INMnqiOD_pE&t=40s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Litquake explores every kind of writing — and leaves room for a poet-packed bar crawl.","status":"publish","parent":0,"modified":1705029403,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":137},"headData":{"title":"A Literary Festival Explores Every Kind of Writing — and a Bit of Drinking | KQED","description":"Litquake explores every kind of writing — and leaves room for a poet-packed bar crawl.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Literary Festival Explores Every Kind of Writing — and a Bit of Drinking","datePublished":"2017-10-05T01:20:13.000Z","dateModified":"2024-01-12T03:16:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810500/a-literary-festival-explores-every-kind-of-writing-and-a-bit-of-drinking","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Litquake, the festival of all things literary, is back in San Francisco, Oakland, Napa, Berkeley, and Marin, with a huge menu of writers for every taste and age group. There are YA panels and poets, erotic tale tellers, a Barbary Coast prostitute walking tour, a panel on how to break into publishing, a literary death match, and a bar crawl to close out the festival. We’re partial to a staging of Joan Didion’s \u003cem>Slouching Toward Bethlehem\u003c/em> by the theater troupe Word for Word, readings by local poets Tongo Eisen-Martin and Jose Vadi, a panel on microdosing with Berkeley’s Ayelet Waldman, and spiritual readings in the majestic Grace Cathedral. The festival runs Oct. 5–14; \u003ca href=\"http://www.litquake.org/2017-litquake-festival\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\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/INMnqiOD_pE'\n title='//www.youtube.com/embed/INMnqiOD_pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810500/a-literary-festival-explores-every-kind-of-writing-and-a-bit-of-drinking","authors":["32"],"programs":["arts_140"],"categories":["arts_73"],"tags":["arts_928","arts_1194","arts_596","arts_626","arts_2209"],"featImg":"arts_13810515","label":"arts_140"},"arts_13620067":{"type":"posts","id":"arts_13620067","meta":{"index":"posts_1591205157","site":"arts","id":"13620067","score":null,"sort":[1499605248000]},"guestAuthors":[],"slug":"children-of-the-summer-of-love-discuss-their-unconventional-upbringings","title":"Children of the Summer of Love Discuss Their Unconventional Upbringings","publishDate":1499605248,"format":"audio","headTitle":"Children of the Summer of Love Discuss Their Unconventional Upbringings | KQED","labelTerm":{"term":1839,"site":"arts"},"content":"\u003cp>During this year’s citywide 50th anniversary festivities for the Summer of Love, those who lived the events of 1967 have had ample opportunity to romanticize their stories of social change, altered consciousness and free love.\u003c/p>\n\u003cp>But what about the products of all that free love? Where are the stories of those children born to hippies, raised on communes, fed a diet of unusual foods and even more unusual philosophies?\u003c/p>\n\u003cp>In June, Litquake filled that void by hosting a panel discussion with three authors, all of whom penned memoirs about being raised in the shadow of the Summer of Love. Their accounts of growing up with parents who’d rejected the status quo are sometimes funny, sometimes sad, and oftentimes harrowing. Ultimately, they represent the counterculture’s most important legacy of all: its own kids.\u003c/p>\n\u003cp>Listen above to the panel discussion and Q&A, moderated by KQED’s own Gabe Meline. Authors include:\u003c/p>\n\u003cp>\u003cstrong>Clane Hayward\u003c/strong>, author of \u003cem>The Hypocrisy of Disco: A Memoir\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Joshua Safran\u003c/strong>, author of \u003cem>Free Spirit: Growing Up On the Road and Off the Grid\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbott\u003c/strong>, author of \u003cem>Fairyland: A Memoir of My Father\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Listen to a Litquake panel discussion featuring Clane Hayward, Joshua Safran, Alysia Abbott and KQED's own Gabe Meline.","status":"publish","parent":0,"modified":1705030118,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":195},"headData":{"title":"Children of the Summer of Love Discuss Their Unconventional Upbringings | KQED","description":"Listen to a Litquake panel discussion featuring Clane Hayward, Joshua Safran, Alysia Abbott and KQED's own Gabe Meline.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Children of the Summer of Love Discuss Their Unconventional Upbringings","datePublished":"2017-07-09T13:00:48.000Z","dateModified":"2024-01-12T03:28:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"http://media.libsyn.com/media/litquake/Lit_Cast_Children_of_Love.mp3","guestFields":"0","sticky":false,"path":"/arts/13620067/children-of-the-summer-of-love-discuss-their-unconventional-upbringings","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During this year’s citywide 50th anniversary festivities for the Summer of Love, those who lived the events of 1967 have had ample opportunity to romanticize their stories of social change, altered consciousness and free love.\u003c/p>\n\u003cp>But what about the products of all that free love? Where are the stories of those children born to hippies, raised on communes, fed a diet of unusual foods and even more unusual philosophies?\u003c/p>\n\u003cp>In June, Litquake filled that void by hosting a panel discussion with three authors, all of whom penned memoirs about being raised in the shadow of the Summer of Love. Their accounts of growing up with parents who’d rejected the status quo are sometimes funny, sometimes sad, and oftentimes harrowing. Ultimately, they represent the counterculture’s most important legacy of all: its own kids.\u003c/p>\n\u003cp>Listen above to the panel discussion and Q&A, moderated by KQED’s own Gabe Meline. Authors include:\u003c/p>\n\u003cp>\u003cstrong>Clane Hayward\u003c/strong>, author of \u003cem>The Hypocrisy of Disco: A Memoir\u003c/em>\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>\u003cstrong>Joshua Safran\u003c/strong>, author of \u003cem>Free Spirit: Growing Up On the Road and Off the Grid\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbott\u003c/strong>, author of \u003cem>Fairyland: A Memoir of My Father\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13620067/children-of-the-summer-of-love-discuss-their-unconventional-upbringings","authors":["185"],"programs":["arts_1839"],"categories":["arts_73"],"tags":["arts_1118","arts_1194","arts_596","arts_1761"],"featImg":"arts_13620275","label":"arts_1839"},"arts_12190997":{"type":"posts","id":"arts_12190997","meta":{"index":"posts_1591205157","site":"arts","id":"12190997","score":null,"sort":[1476311932000]},"guestAuthors":[],"slug":"sound-advice-thomas-dolby-and-the-speed-of-sound","title":"Sound Advice: Thomas Dolby and 'The Speed of Sound'","publishDate":1476311932,"format":"standard","headTitle":"Sound Advice: Thomas Dolby and ‘The Speed of Sound’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If you’ve ever grinned somewhat guiltily and turned up the volume when the irreverent, synth-driven 1982 single “\u003ca href=\"https://www.youtube.com/watch?v=nMWGXt979yg\" target=\"_blank\" rel=\"noopener\">She Blinded Me With Science\u003c/a>” comes on the radio, you already have an appreciation for \u003ca href=\"http://www.npr.org/artists/15588544/thomas-dolby\" target=\"_blank\" rel=\"noopener\">Thomas Dolby\u003c/a>.\u003c/p>\n\u003cp>The British singer-songwriter, keyboardist and producer is perhaps less known for his other contributions to music, though one of his innovations has been famous — truly, instantly recognizable in every industrialized country in the world — for the better part of three decades.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j7kLNJWTDYA\u003c/p>\n\u003cp>Dolby, 57, has had a long and varied career since his charting singles in the ’80s. He’s been a successful session musician and educator (he’s currently a professor of the arts at Johns Hopkins University), a composer for video games and films, and a technology entrepreneur. His passion for innovation in sound recording and engineering intersected nicely with Silicon Valley’s first tech boom in the ’90s when he founded Headspace, then Beatnik, a company that created the RMF, a groundbreaking new file format for digital music. It was there, too, that Dolby adapted the nearly 100-year-old classical guitar composition “Gran Vals” into the first polyphonic ringtone, now commonly known as the “Nokia tune.”\u003c/p>\n\u003cp>Dolby will regale audiences with this tale, among others, when he reads from his new autobiography \u003cem>The Speed of Sound\u003c/em> on \u003ca href=\"http://www.ticketfly.com/event/1293399-thomas-dolby-speed-sound-san-francisco/\" target=\"_blank\" rel=\"noopener\">Friday, Oct. 14 at the Swedish American Hall in San Francisco\u003c/a>. The event, just one of Litquake’s many music-related offerings, will see Dolby in conversation with \u003cem>Mythbusters’\u003c/em> Kari Byron; he’ll also perform a handful of songs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps worth noting, for those more drawn in by the book name than anything: Oct. 14 just so happens to be the anniversary of the 1947 flight that broke the sound barrier, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thomas Dolby appears on Friday, Oct. 14 at the Swedish American Hall, 2174 Market St. in San Francisco. 8:30pm. \u003ca href=\"http://www.ticketfly.com/event/1293399-thomas-dolby-speed-sound-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($15) and details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Get blinded with science -- in a good way -- at this Oct. 14 performance by one of the music industry's most curious technological minds.","status":"publish","parent":0,"modified":1705032792,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":358},"headData":{"title":"Sound Advice: Thomas Dolby and 'The Speed of Sound' | KQED","description":"Get blinded with science -- in a good way -- at this Oct. 14 performance by one of the music industry's most curious technological minds.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sound Advice: Thomas Dolby and 'The Speed of Sound'","datePublished":"2016-10-12T22:38:52.000Z","dateModified":"2024-01-12T04:13:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12190997/sound-advice-thomas-dolby-and-the-speed-of-sound","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever grinned somewhat guiltily and turned up the volume when the irreverent, synth-driven 1982 single “\u003ca href=\"https://www.youtube.com/watch?v=nMWGXt979yg\" target=\"_blank\" rel=\"noopener\">She Blinded Me With Science\u003c/a>” comes on the radio, you already have an appreciation for \u003ca href=\"http://www.npr.org/artists/15588544/thomas-dolby\" target=\"_blank\" rel=\"noopener\">Thomas Dolby\u003c/a>.\u003c/p>\n\u003cp>The British singer-songwriter, keyboardist and producer is perhaps less known for his other contributions to music, though one of his innovations has been famous — truly, instantly recognizable in every industrialized country in the world — for the better part of three decades.\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/j7kLNJWTDYA'\n title='//www.youtube.com/embed/j7kLNJWTDYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dolby, 57, has had a long and varied career since his charting singles in the ’80s. He’s been a successful session musician and educator (he’s currently a professor of the arts at Johns Hopkins University), a composer for video games and films, and a technology entrepreneur. His passion for innovation in sound recording and engineering intersected nicely with Silicon Valley’s first tech boom in the ’90s when he founded Headspace, then Beatnik, a company that created the RMF, a groundbreaking new file format for digital music. It was there, too, that Dolby adapted the nearly 100-year-old classical guitar composition “Gran Vals” into the first polyphonic ringtone, now commonly known as the “Nokia tune.”\u003c/p>\n\u003cp>Dolby will regale audiences with this tale, among others, when he reads from his new autobiography \u003cem>The Speed of Sound\u003c/em> on \u003ca href=\"http://www.ticketfly.com/event/1293399-thomas-dolby-speed-sound-san-francisco/\" target=\"_blank\" rel=\"noopener\">Friday, Oct. 14 at the Swedish American Hall in San Francisco\u003c/a>. The event, just one of Litquake’s many music-related offerings, will see Dolby in conversation with \u003cem>Mythbusters’\u003c/em> Kari Byron; he’ll also perform a handful of songs.\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>Perhaps worth noting, for those more drawn in by the book name than anything: Oct. 14 just so happens to be the anniversary of the 1947 flight that broke the sound barrier, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thomas Dolby appears on Friday, Oct. 14 at the Swedish American Hall, 2174 Market St. in San Francisco. 8:30pm. \u003ca href=\"http://www.ticketfly.com/event/1293399-thomas-dolby-speed-sound-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($15) and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12190997/sound-advice-thomas-dolby-and-the-speed-of-sound","authors":["7237"],"categories":["arts_73","arts_69"],"tags":["arts_1194","arts_596"],"featImg":"arts_12195460","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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