‘The Feeling That the Time for Doing Something Has Passed’ Announces An Exciting New Voice
This Collection May Be the Closest We'll Ever Come to a Dickinson Autobiography
Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness
Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty
Prepare to Get Hot and Bothered With Stylish, Synthy Tennis Drama ‘Challengers’
‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making
So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?
Your Phone is Haunted
5 New Mysteries and Thrillers for Your Nightstand This Spring
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FM","link":"/"}},"arts_13956724":{"type":"posts","id":"arts_13956724","meta":{"index":"posts_1591205157","site":"arts","id":"13956724","score":null,"sort":[1714167461000]},"guestAuthors":[],"slug":"the-feeling-that-the-time-for-doing-something-has-passed-movie-review-joanna-arnow","title":"‘The Feeling That the Time for Doing Something Has Passed’ Announces An Exciting New Voice","publishDate":1714167461,"format":"standard","headTitle":"‘The Feeling That the Time for Doing Something Has Passed’ Announces An Exciting New Voice | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In writer-director-star Joanna Arnow’s \u003cem>The Feeling That the Time for Doing Something Has Passed\u003c/em>, Ann (Arnow), a 30-something New Yorker, lies naked in bed with an older man, Allen (Scott Cohen), with whom she has a yearslong BDSM relationship. She tells him she’s grateful he only cares about his own pleasure.\u003c/p>\n\u003cp>“It’s like I don’t even exist,” she says.\u003c/p>\n\u003cp>[aside postid='arts_13956480']Much is just out of reach in Arnow’s shrewdly perceptive and very funny new film. Love, certainly, is nowhere near Ann’s life despite a series of romantic encounters. Music is talked about — from Andrew Lloyd Webber showtunes to the team cheer from \u003cem>A League of Their Own\u003c/em> — but seldom heard. In one scene during a tryst with a composer, Ann says her favorite soundtrack is \u003cem>In the Act of Wishing for Love\u003c/em>, but she means \u003cem>In the Mood for Love\u003c/em>.\u003c/p>\n\u003cp>Even Ann’s existential crisis doesn’t quite materialize in this unwaveringly sardonic portrait of millennial malaise. Her life plays out in a series of brief, crispy edited vignettes that jump between her drab work life and her extreme but equally drab sex life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KVacS6T7jxs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Obedience is pushed on her in both places, as are labels, most of which Ann quietly but not necessarily apathetically accepts. One partner (Parish Bradley) who instructs her to communicate in “a series of oinks” writes the lewd name he’s given her across her belly in marker. At work, an unseen HR gives her a new job title: “Clinical Media E-learning Specialist.” Which is worse is hard to say. After three years on the job, she’s given a one-year anniversary trophy.\u003c/p>\n\u003cp>How Ann feels about all of this isn’t always obvious, possibly even to her. Arnow portrays her much as she directs and edits the film, with a detached deadpan. Sometimes Ann pushes back. She tells her older lover that she’s not an internet window he can open and close. But there’s also something in Ann that recoils against more sentimental encounters. Later in the film, she begins dating someone sweetly if naively romantic (Babak Tafti) who’s unfamiliar with the kind of bondage role-playing Ann is accustomed to. But his sweetness is more of a strike against him. Ann may be a victim of her modern, alienating environment, but she’s also a product of it.\u003c/p>\n\u003cp>[aside postid='arts_13956512']Arnow, who also made the 2013 film \u003cem>I hate myself 🙂\u003c/em> has often been compared to Lena Dunham as a generation-representing voice, for her willingness to bear all on screen and for her proclivity for autobiography. (Ann’s parents in the film are played by Arnow’s real-life mother and father, Barbara Weiserbs and David Arnow.)\u003c/p>\n\u003cp>But Arnow’s sensibility is much dryer and more satirical. Whether Ann can free herself of her circumstance is one thing, but Arnow, as a keenly insightful filmmaker, proves again and again that she has. How else can you explain the trenchant absurdity of the poem-worthy dialogue that runs through the film? A sexual partner whose first line is: “Thank you for forgiving me for mansplaining about L.A.” A boss who announces: “If you’re not on Spotify, you’re behind the times.” And Ann, who after debasing herself with her older lover, says, “The candles were nice,” only for him to reply: “There was just one candle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Feeling That the Time for Doing Something Has Passed’ is released nationwide on April 26, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Writer-director-star Joanna Arnow has somehow made a sharp and insightful movie about a drab work and equally drab sex life.","status":"publish","parent":0,"modified":1714167461,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":635},"headData":{"title":"Review: ‘Feeling That the Time for Doing Something Has Passed’ | KQED","description":"Writer-director-star Joanna Arnow has somehow made a sharp and insightful movie about a drab work and equally drab sex life.","ogTitle":"‘The Feeling That the Time for Doing Something Has Passed’ Announces An Exciting New Voice","ogDescription":"","ogImgId":"","twTitle":"‘The Feeling That the Time for Doing Something Has Passed’ Announces An Exciting New Voice","twDescription":"","twImgId":"","socialTitle":"Review: ‘Feeling That the Time for Doing Something Has Passed’%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Feeling That the Time for Doing Something Has Passed’ Announces An Exciting New Voice","datePublished":"2024-04-26T21:37:41.000Z","dateModified":"2024-04-26T21:37:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jake Coyle, Associated Press","nprStoryId":"kqed-13956724","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956724/the-feeling-that-the-time-for-doing-something-has-passed-movie-review-joanna-arnow","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In writer-director-star Joanna Arnow’s \u003cem>The Feeling That the Time for Doing Something Has Passed\u003c/em>, Ann (Arnow), a 30-something New Yorker, lies naked in bed with an older man, Allen (Scott Cohen), with whom she has a yearslong BDSM relationship. She tells him she’s grateful he only cares about his own pleasure.\u003c/p>\n\u003cp>“It’s like I don’t even exist,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956480","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Much is just out of reach in Arnow’s shrewdly perceptive and very funny new film. Love, certainly, is nowhere near Ann’s life despite a series of romantic encounters. Music is talked about — from Andrew Lloyd Webber showtunes to the team cheer from \u003cem>A League of Their Own\u003c/em> — but seldom heard. In one scene during a tryst with a composer, Ann says her favorite soundtrack is \u003cem>In the Act of Wishing for Love\u003c/em>, but she means \u003cem>In the Mood for Love\u003c/em>.\u003c/p>\n\u003cp>Even Ann’s existential crisis doesn’t quite materialize in this unwaveringly sardonic portrait of millennial malaise. Her life plays out in a series of brief, crispy edited vignettes that jump between her drab work life and her extreme but equally drab sex life.\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/KVacS6T7jxs'\n title='//www.youtube.com/embed/KVacS6T7jxs'\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>\n\u003cp>Obedience is pushed on her in both places, as are labels, most of which Ann quietly but not necessarily apathetically accepts. One partner (Parish Bradley) who instructs her to communicate in “a series of oinks” writes the lewd name he’s given her across her belly in marker. At work, an unseen HR gives her a new job title: “Clinical Media E-learning Specialist.” Which is worse is hard to say. After three years on the job, she’s given a one-year anniversary trophy.\u003c/p>\n\u003cp>How Ann feels about all of this isn’t always obvious, possibly even to her. Arnow portrays her much as she directs and edits the film, with a detached deadpan. Sometimes Ann pushes back. She tells her older lover that she’s not an internet window he can open and close. But there’s also something in Ann that recoils against more sentimental encounters. Later in the film, she begins dating someone sweetly if naively romantic (Babak Tafti) who’s unfamiliar with the kind of bondage role-playing Ann is accustomed to. But his sweetness is more of a strike against him. Ann may be a victim of her modern, alienating environment, but she’s also a product of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956512","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Arnow, who also made the 2013 film \u003cem>I hate myself 🙂\u003c/em> has often been compared to Lena Dunham as a generation-representing voice, for her willingness to bear all on screen and for her proclivity for autobiography. (Ann’s parents in the film are played by Arnow’s real-life mother and father, Barbara Weiserbs and David Arnow.)\u003c/p>\n\u003cp>But Arnow’s sensibility is much dryer and more satirical. Whether Ann can free herself of her circumstance is one thing, but Arnow, as a keenly insightful filmmaker, proves again and again that she has. How else can you explain the trenchant absurdity of the poem-worthy dialogue that runs through the film? A sexual partner whose first line is: “Thank you for forgiving me for mansplaining about L.A.” A boss who announces: “If you’re not on Spotify, you’re behind the times.” And Ann, who after debasing herself with her older lover, says, “The candles were nice,” only for him to reply: “There was just one candle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Feeling That the Time for Doing Something Has Passed’ is released nationwide on April 26, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956724/the-feeling-that-the-time-for-doing-something-has-passed-movie-review-joanna-arnow","authors":["byline_arts_13956724"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_769","arts_585"],"featImg":"arts_13956725","label":"arts_140"},"arts_13956715":{"type":"posts","id":"arts_13956715","meta":{"index":"posts_1591205157","site":"arts","id":"13956715","score":null,"sort":[1714165232000]},"guestAuthors":[],"slug":"letters-of-emily-dickinson-book-autobiography-miller-mitchell","title":"This Collection May Be the Closest We'll Ever Come to a Dickinson Autobiography","publishDate":1714165232,"format":"aside","headTitle":"This Collection May Be the Closest We’ll Ever Come to a Dickinson Autobiography | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13956716\" class=\"wp-caption aligncenter\" style=\"max-width: 1547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956716 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-3072437_custom-a79fddc7e5d22b41a352b1bc0d2a3b1029839308-scaled-e1714160605404.jpg\" alt=\"An 19th century portrait of a young woman.\" width=\"1547\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A new collection of Emily Dickinson’s letters has been published by Harvard’s Belknap Press, edited by Dickinson scholars Cristanne Miller and Domhnall Mitchell. \u003ccite>(Three Lions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new collection of Emily Dickinson’s letters has been published by Harvard’s Belknap Press, edited by Dickinson scholars Cristanne Miller and Domhnall Mitchell.\u003c/p>\n\u003cp>Among the Great Moments in Literary History I wish I could’ve witnessed is that day, sometime after May 15, 1886, when Lavinia Dickinson entered the bedroom of her newly deceased older sister and began opening drawers. Out sprang poems, almost 1,800 of them. Given that Emily Dickinson had only published a handful of poems during her lifetime, this discovery was a shock.\u003c/p>\n\u003cp>[aside postid='arts_13956411']“‘Hope’ is the thing with feathers/That perches in the soul,” \u003ca href=\"https://www.poetryfoundation.org/poems/42889/hope-is-the-thing-with-feathers-314\">begins one of those now-famous poems. \u003c/a>Whatever Dickinson hoped for her poems, she could never have envisioned how they’d resonate with readers; nor how curious those readers would be about her life, much of it spent within her father’s house in Amherst, Mass., and, in later years, within that bedroom.\u003c/p>\n\u003cp>Every so often, the reading public’s image of Emily Dickinson shifts: For much of the 20th century, she was a fey Stevie Nicks-type figure — check out, for instance, the 1976 film of Julie Harris’ lauded one-woman show, \u003cem>The Belle of Amherst\u003c/em>.\u003c/p>\n\u003cp>A feminist Emily Dickinson emerged during the Second Women’s Movement, when poems like “I’m ‘wife’” were celebrated for their \u003cem>avant garde\u003c/em> anger. And, jumping to the present, a new monumental volume of Dickinson’s letters — the first in more than 60 years — gives us an engaged Emily Dickinson; a woman in conversation with the world, through gossip, as well as remarks about books, politics and the signal events of her age, particularly the Civil War.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/21/51om5bjyvel._sl1000__custom-ec9c737497b65eefa6872d24e745711e729592e4.jpg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a stamped letter, addressed in cursive.\" width=\"676\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">‘The Letters of Emily Dickinson,’ by Emily Dickinson, edited by Cristanne Miller and Domhnall Mitchell.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>This new collection of \u003cem>The Letters of Emily Dickinson \u003c/em>is published by Harvard’s Belknap Press and edited by two Dickinson scholars, Cristanne Miller and Domhnall Mitchell. To accurately date some of Dickinson’s letters, they’ve studied weather reports and seasonal blooming and harvest cycles in 19th century Amherst. They’ve also added some 300 previously uncollected letters to this volume for a grand total of 1,304 letters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13955903']The result is that \u003cem>The Letters of Emily Dickinson\u003c/em> reads like the closest thing we’ll probably ever have to an intimate autobiography of the poet. The first letter here is written by an 11-year-old Dickinson to her brother Austin, away at school. It’s a breathless, kid-sister-marvel of run-on sentences about yellow hens and a “skonk” and poor “Cousin Zebina [who] had a fit the other day and bit his tongue…”\u003c/p>\n\u003cp>The final letter, by an ailing 55-year-old Dickinson — most likely the last she wrote before falling unconscious on May 13, 1886 — was to her cousins Louisa and Frances Norcross. It reads:\u003c/p>\n\u003cblockquote>\u003cp>Little Cousins,\u003c/p>\n\u003cp>“Called back.”\u003c/p>\n\u003cp>Emily.\u003c/p>\u003c/blockquote>\n\u003cp>In between is a life filled with visitors, chores and recipes for doughnuts and coconut cakes. There’s mention of the racist minstrel stereotype Jim Crow, as well as of public figures like Florence Nightingale and Walt Whitman. There are also allusions to the death toll of the ongoing Civil War.\u003c/p>\n\u003cp>Dickinson’s loyal dog Carlo walks with her, and frogs and even flies keep her company. Indeed, in an 1859 letter about one such winged companion, Belle of Amherst charm alternates with cold-blooded callousness. Dickinson writes to her cousin Louisa:\u003c/p>\n\u003cblockquote>\u003cp>I enjoy much with a fly, during sister’s absence, not one of your blue monsters, but a timid creature, that hops from pane to pane of her white house, so very cheerfully, and hums and thrums, a sort of speck piano. … I’ll kill him the day [Lavinia] comes [home], for I shan’t need him any more …”\u003c/p>\u003c/blockquote>\n\u003cp>Dickinson’s singular voice comes into its own in the letters of the 1860s, which often blur into poems: cryptic, comic and charged with Awe. A simple thank-you note to her soul mate and beloved sister-in-law, Susan Gilbert Dickinson, reads:\u003c/p>\n\u003cblockquote>\u003cp>Dear Sue,\u003c/p>\n\u003cp>The Supper was delicate and strange. I ate it with compunction as I would eat a Vision.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There are 1,304 letters, and, still, they’re not enough. Scholars estimate that we only have about one-tenth of the letters Dickinson ever wrote. And, on that momentous day in 1886, Lavinia entered her sister’s bedroom to find and successfully burn all the letters Dickinson herself had received from others during her lifetime. Such was the custom of the day. Which makes this new volume of Dickinson’s letters feel like both an intrusion and an outwitting of the silence of death — something I want to believe Dickinson would have relished.\u003c/p>\n\n","blocks":[],"excerpt":"Dickinson scholars Cristanne Miller and Domhnall Mitchell have compiled 1,304 letters, starting with one she wrote at age 11. ","status":"publish","parent":0,"modified":1714165232,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":872},"headData":{"title":"‘The Letters of Emily Dickinson’ Book Review: A Poetic Collection | KQED","description":"Dickinson scholars Cristanne Miller and Domhnall Mitchell have compiled 1,304 letters, starting with one she wrote at age 11. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘The Letters of Emily Dickinson’ Book Review: A Poetic Collection%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Collection May Be the Closest We'll Ever Come to a Dickinson Autobiography","datePublished":"2024-04-26T21:00:32.000Z","dateModified":"2024-04-26T21:00:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"1246249850","nprHtmlLink":"https://www.npr.org/2024/04/25/1246249850/emily-dickinsons-letters-review","nprRetrievedStory":"1","nprPubDate":"2024-04-25T10:14:50-04:00","nprStoryDate":"2024-04-25T10:14:50-04:00","nprLastModifiedDate":"2024-04-25T14:38:04-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240425_fa_02.mp3?d=437&size=7002951&e=1246249850&t=progseg&seg=2&p=13","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956715/letters-of-emily-dickinson-book-autobiography-miller-mitchell","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240425_fa_02.mp3?d=437&size=7002951&e=1246249850&t=progseg&seg=2&p=13","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13956716\" class=\"wp-caption aligncenter\" style=\"max-width: 1547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956716 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/gettyimages-3072437_custom-a79fddc7e5d22b41a352b1bc0d2a3b1029839308-scaled-e1714160605404.jpg\" alt=\"An 19th century portrait of a young woman.\" width=\"1547\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A new collection of Emily Dickinson’s letters has been published by Harvard’s Belknap Press, edited by Dickinson scholars Cristanne Miller and Domhnall Mitchell. \u003ccite>(Three Lions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new collection of Emily Dickinson’s letters has been published by Harvard’s Belknap Press, edited by Dickinson scholars Cristanne Miller and Domhnall Mitchell.\u003c/p>\n\u003cp>Among the Great Moments in Literary History I wish I could’ve witnessed is that day, sometime after May 15, 1886, when Lavinia Dickinson entered the bedroom of her newly deceased older sister and began opening drawers. Out sprang poems, almost 1,800 of them. Given that Emily Dickinson had only published a handful of poems during her lifetime, this discovery was a shock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956411","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“‘Hope’ is the thing with feathers/That perches in the soul,” \u003ca href=\"https://www.poetryfoundation.org/poems/42889/hope-is-the-thing-with-feathers-314\">begins one of those now-famous poems. \u003c/a>Whatever Dickinson hoped for her poems, she could never have envisioned how they’d resonate with readers; nor how curious those readers would be about her life, much of it spent within her father’s house in Amherst, Mass., and, in later years, within that bedroom.\u003c/p>\n\u003cp>Every so often, the reading public’s image of Emily Dickinson shifts: For much of the 20th century, she was a fey Stevie Nicks-type figure — check out, for instance, the 1976 film of Julie Harris’ lauded one-woman show, \u003cem>The Belle of Amherst\u003c/em>.\u003c/p>\n\u003cp>A feminist Emily Dickinson emerged during the Second Women’s Movement, when poems like “I’m ‘wife’” were celebrated for their \u003cem>avant garde\u003c/em> anger. And, jumping to the present, a new monumental volume of Dickinson’s letters — the first in more than 60 years — gives us an engaged Emily Dickinson; a woman in conversation with the world, through gossip, as well as remarks about books, politics and the signal events of her age, particularly the Civil War.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 676px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/21/51om5bjyvel._sl1000__custom-ec9c737497b65eefa6872d24e745711e729592e4.jpg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a stamped letter, addressed in cursive.\" width=\"676\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">‘The Letters of Emily Dickinson,’ by Emily Dickinson, edited by Cristanne Miller and Domhnall Mitchell.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>This new collection of \u003cem>The Letters of Emily Dickinson \u003c/em>is published by Harvard’s Belknap Press and edited by two Dickinson scholars, Cristanne Miller and Domhnall Mitchell. To accurately date some of Dickinson’s letters, they’ve studied weather reports and seasonal blooming and harvest cycles in 19th century Amherst. They’ve also added some 300 previously uncollected letters to this volume for a grand total of 1,304 letters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955903","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The result is that \u003cem>The Letters of Emily Dickinson\u003c/em> reads like the closest thing we’ll probably ever have to an intimate autobiography of the poet. The first letter here is written by an 11-year-old Dickinson to her brother Austin, away at school. It’s a breathless, kid-sister-marvel of run-on sentences about yellow hens and a “skonk” and poor “Cousin Zebina [who] had a fit the other day and bit his tongue…”\u003c/p>\n\u003cp>The final letter, by an ailing 55-year-old Dickinson — most likely the last she wrote before falling unconscious on May 13, 1886 — was to her cousins Louisa and Frances Norcross. It reads:\u003c/p>\n\u003cblockquote>\u003cp>Little Cousins,\u003c/p>\n\u003cp>“Called back.”\u003c/p>\n\u003cp>Emily.\u003c/p>\u003c/blockquote>\n\u003cp>In between is a life filled with visitors, chores and recipes for doughnuts and coconut cakes. There’s mention of the racist minstrel stereotype Jim Crow, as well as of public figures like Florence Nightingale and Walt Whitman. There are also allusions to the death toll of the ongoing Civil War.\u003c/p>\n\u003cp>Dickinson’s loyal dog Carlo walks with her, and frogs and even flies keep her company. Indeed, in an 1859 letter about one such winged companion, Belle of Amherst charm alternates with cold-blooded callousness. Dickinson writes to her cousin Louisa:\u003c/p>\n\u003cblockquote>\u003cp>I enjoy much with a fly, during sister’s absence, not one of your blue monsters, but a timid creature, that hops from pane to pane of her white house, so very cheerfully, and hums and thrums, a sort of speck piano. … I’ll kill him the day [Lavinia] comes [home], for I shan’t need him any more …”\u003c/p>\u003c/blockquote>\n\u003cp>Dickinson’s singular voice comes into its own in the letters of the 1860s, which often blur into poems: cryptic, comic and charged with Awe. A simple thank-you note to her soul mate and beloved sister-in-law, Susan Gilbert Dickinson, reads:\u003c/p>\n\u003cblockquote>\u003cp>Dear Sue,\u003c/p>\n\u003cp>The Supper was delicate and strange. I ate it with compunction as I would eat a Vision.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There are 1,304 letters, and, still, they’re not enough. Scholars estimate that we only have about one-tenth of the letters Dickinson ever wrote. And, on that momentous day in 1886, Lavinia entered her sister’s bedroom to find and successfully burn all the letters Dickinson herself had received from others during her lifetime. Such was the custom of the day. Which makes this new volume of Dickinson’s letters feel like both an intrusion and an outwitting of the silence of death — something I want to believe Dickinson would have relished.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956715/letters-of-emily-dickinson-book-autobiography-miller-mitchell","authors":["92"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_21719","arts_21679","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13956720","label":"arts_140"},"arts_13956676":{"type":"posts","id":"arts_13956676","meta":{"index":"posts_1591205157","site":"arts","id":"13956676","score":null,"sort":[1714081090000]},"guestAuthors":[],"slug":"baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","title":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","publishDate":1714081090,"format":"standard","headTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>[aside postid='arts_13955549']He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eafm1gB6SCM\u003c/p>\n\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>[aside postid='arts_13954225']But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>[aside postid='arts_13954702']This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>[aside postid='arts_13953601']But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>[aside postid='arts_13953497']When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I’m holding out hope for Donny.\u003c/p>\n\n","blocks":[],"excerpt":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","status":"publish","parent":0,"modified":1714081090,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1560},"headData":{"title":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ | KQED","description":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","ogTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","ogDescription":"","ogImgId":"","twTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","twDescription":"","twImgId":"","socialTitle":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","datePublished":"2024-04-25T21:38:10.000Z","dateModified":"2024-04-25T21:38:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"1247130712","nprHtmlLink":"https://www.npr.org/2024/04/25/1247130712/baby-reindeer-review-netflix","nprRetrievedStory":"1","nprPubDate":"2024-04-25T11:32:00-04:00","nprStoryDate":"2024-04-25T11:32:00-04:00","nprLastModifiedDate":"2024-04-25T11:32:00-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955549","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\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>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\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/eafm1gB6SCM'\n title='//www.youtube.com/embed/eafm1gB6SCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954702","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953601","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\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>But I’m holding out hope for Donny.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","authors":["92"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3226","arts_3324","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13956677","label":"arts_137"},"arts_13956493":{"type":"posts","id":"arts_13956493","meta":{"index":"posts_1591205157","site":"arts","id":"13956493","score":null,"sort":[1713970852000]},"guestAuthors":[],"slug":"musical-chairs-dorothea-tanning-gallery-wendi-norris-surrealism","title":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty","publishDate":1713970852,"format":"standard","headTitle":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“Please don’t ask me to explain them,” Dorothea Tanning \u003ca href=\"https://www.youtube.com/watch?v=92LvYigLMLc\">once said\u003c/a> of her paintings. “I just don’t think it’s possible.”\u003c/p>\n\u003cp>Tanning, who died in 2012 at the age of 101, had a career in the arts that spanned several movements, but Surrealism was always close to her heart. She was working as a commercial artist in New York when the Museum of Modern Art mounted its influential 1936 exhibition \u003cem>\u003ca href=\"https://www.moma.org/calendar/exhibitions/2823\">Fantastic Art, Dada and Surrealism\u003c/a>\u003c/em>, a show that had a lasting impact on the young painter’s aesthetic interests and style. She would become known, for the next seven decades, for her figurative paintings, which often portrayed women and girls navigating labyrinths of doorways.\u003c/p>\n\u003cp>[aside postID='arts_13956354']Tanning’s love of Surrealism was also personal. Her introduction to the circle of émigré Surrealists in New York segued into a 30-year marriage to the German painter and sculptor Max Ernst. Tanning too experimented with sculpture, as well as writing fiction and \u003ca href=\"https://www.poetryfoundation.org/poets/dorothea-tanning\">poetry\u003c/a>.\u003c/p>\n\u003cp>Following a 2018 retrospective that traveled from Madrid’s \u003ca href=\"https://www.museoreinasofia.es/en/exhibitions/dorothea-tanning\">Museo Reina Sofía\u003c/a> to London’s Tate Modern, Tanning’s latest posthumous exhibition is \u003cem>\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>\u003c/em>, at Gallery Wendi Norris in San Francisco. The show, which includes a handful of works by Tanning alongside real chairs (not made by Tanning), centers on the exhibition’s namesake, a painting that’s on view for the first time in the United States in over 70 years.\u003c/p>\n\u003cp>The 1951 canvas shows a female figure bent in a contortionist’s pose as she slides off the red velvet upholstery of a tilting chair. The background is a torrent of yellow and green fabric, another chair partially obscured. While essentially Surrealist, the picture also boasts elements of Futurism — a movement that preceded Surrealism and prioritized capturing a sense of motion — and even Cubism, the crumpled fabric evoking a sense of fractured space. Perpetual motion and shifting vantages would remain hallmarks of the painter’s career.\u003c/p>\n\u003cfigure id=\"attachment_13956509\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg\" alt=\"Painting of two figures pushing against central door with hands and feet\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13956509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-768x512.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dorothea Tanning, ‘Door 84,’ 1984; oil on canvas with found door. \u003ccite>(Courtesy of The Destina Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The broad range of influences on Tanning’s practice are even more apparent in the juxtaposition of \u003cem>Musical Chairs\u003c/em> with \u003cem>Door 84\u003c/em>, which Tanning painted 33 years later in 1984. The piece consists of two canvases bisected by a wooden door protruding vertically from the wall. Each canvas contains a colorful, expressionistic rendering of a female figure straining to keep the door closed from either side. The diptych merges assemblage, an Abstract Expressionist painting style and Pop sensibilities, something like a hybrid of Jasper Johns, Joan Mitchell and Lisa Yuskavage. Clearly, in the decades after \u003cem>Musical Chairs\u003c/em>, Tanning incorporated even more artistic influences into her repertoire, synthesizing them all through a Surrealist lens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to these major works, the exhibition consists of three smaller, early pieces — one painting and two ink drawings — as well as a rare portfolio of seven lithographs.\u003c/p>\n\u003cp>The two small drawings, of women in ball gowns, show Tanning’s segue from commercial illustration into fine art painting. In the oil-on-canvas \u003cem>Fatala\u003c/em>, she has arrived. A waifish woman embraces a door which is also the cover of a book, her hand slipping through the hole where the doorknob ought to be. The inside pages are revealed to contain wigs and tassels, all easily confusable for each other. Looking at the painting is necessarily disorienting, and makes you wonder what actually setting foot in such a landscape would be like, until you remember that, for the Surrealists, these eerie, dream-like settings already were examinations of the strangeness of lived experience.\u003c/p>\n\u003cfigure id=\"attachment_13956510\" class=\"wp-caption aligncenter\" style=\"max-width: 1780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg\" alt=\"Two images, one a painting of woman reaching hand through doorknob, the other print of a woman hanging upside down\" width=\"1780\" height=\"1280\" class=\"size-full wp-image-13956510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg 1780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1536x1105.jpg 1536w\" sizes=\"(max-width: 1780px) 100vw, 1780px\">\u003cfigcaption class=\"wp-caption-text\">L: Dorothea Tanning, ‘Fatala,’ 1947, oil on canvas, 10 x 7 inches; R: ‘Septième péril (Seventh Peril)’ from ‘Les 7 périls spectraux,’ 1950, color lithographs on paper. \u003ccite>(Courtesy of Gallery Wendi Norris, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In partnership with contemporary design gallery \u003ca href=\"https://www.thefutureperfect.com/\">The Future Perfect\u003c/a>, Tanning’s work here has been paired with a selection of chairs by five designers and design studios. The assortment is fittingly whimsical, including a woven wicker seat that itself resembles a seated figure, and a wooden construction similar to an easel.\u003c/p>\n\u003cp>The inclusion of chairs in the exhibition alludes to Tanning’s own mid-career divergence into sculpture. In the 1970s, while living in Paris, she created what today might be called an “immersive” installation. \u003cem>\u003ca href=\"https://www.dorotheatanning.org/life-and-work/view/132/\">Hôtel du Pavot, Chambre 202\u003c/a>\u003c/em> was a hotel room filled with life-sized dolls bursting through the walls and melting into the furniture, like one of her own paintings brought to life. \u003cem>Chambre 202\u003c/em> had more to do with psychological interiority than interior design, bringing the surreal into reality. Here, the chairs pad an otherwise spare exhibition, but the depth of Tanning’s works more than make up for their small number.\u003c/p>\n\u003cp>The metaphor of musical chairs also extends to Tanning herself. She occupied several artistic roles during her long lifetime, and uncertainty was perhaps her only constant. In the epigraph to Tanning’s first poetry collection, \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/table-content\">A Table of Content\u003c/a>\u003c/em> she wrote, “It’s hard to be always the same person.” Her \u003ca href=\"https://50wattsbooks.com/products/chasm-a-weekend\">only novel\u003c/a> was about a masquerade ball.\u003c/p>\n\u003cp>[aside postID='arts_13956215']Tanning’s apparent persistent, personal bewilderment — unable to explain her work, unsure of who she was — is reflective of the radical uncertainty foundational to the Surrealist sensibility. For these artists, Surrealism was not about disorientation but rather the embrace of cognitive dissonance, something realer than real in the context of postwar life.\u003c/p>\n\u003cp>While Tanning \u003ca href=\"https://bombmagazine.org/articles/1990/10/01/dorothea-tanning/\">resisted a feminist interpretation\u003c/a> of her art, her female subjects seem to oscillate between being at the mercy of the surreal and assuming agency in their navigation of it. Tanning was a woman always on the move, reconfiguring her conceptual position and stylistic approach to best suit her ongoing exploration of the unknown. \u003c/p>\n\u003cp>And maybe that’s the point. The only constant is change; the only sure thing is that which is unsure, unfixed and unreal. \u003cem>Musical Chairs\u003c/em> invites us to sit with that uncertainty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>’ is on view at Gallery Wendi Norris (436 Jackson St., San Francisco) through May 4, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘Musical Chairs’ pairs evocative work by the late painter with whimsical, high-design chairs. ","status":"publish","parent":0,"modified":1713925797,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1065},"headData":{"title":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty | KQED","description":"‘Musical Chairs’ pairs evocative work by the late painter with whimsical, high-design chairs. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dorothea Tanning’s Surrealism Invites Us to Sit With Uncertainty","datePublished":"2024-04-24T15:00:52.000Z","dateModified":"2024-04-24T02:29:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Max Blue","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956493/musical-chairs-dorothea-tanning-gallery-wendi-norris-surrealism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Please don’t ask me to explain them,” Dorothea Tanning \u003ca href=\"https://www.youtube.com/watch?v=92LvYigLMLc\">once said\u003c/a> of her paintings. “I just don’t think it’s possible.”\u003c/p>\n\u003cp>Tanning, who died in 2012 at the age of 101, had a career in the arts that spanned several movements, but Surrealism was always close to her heart. She was working as a commercial artist in New York when the Museum of Modern Art mounted its influential 1936 exhibition \u003cem>\u003ca href=\"https://www.moma.org/calendar/exhibitions/2823\">Fantastic Art, Dada and Surrealism\u003c/a>\u003c/em>, a show that had a lasting impact on the young painter’s aesthetic interests and style. She would become known, for the next seven decades, for her figurative paintings, which often portrayed women and girls navigating labyrinths of doorways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956354","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Tanning’s love of Surrealism was also personal. Her introduction to the circle of émigré Surrealists in New York segued into a 30-year marriage to the German painter and sculptor Max Ernst. Tanning too experimented with sculpture, as well as writing fiction and \u003ca href=\"https://www.poetryfoundation.org/poets/dorothea-tanning\">poetry\u003c/a>.\u003c/p>\n\u003cp>Following a 2018 retrospective that traveled from Madrid’s \u003ca href=\"https://www.museoreinasofia.es/en/exhibitions/dorothea-tanning\">Museo Reina Sofía\u003c/a> to London’s Tate Modern, Tanning’s latest posthumous exhibition is \u003cem>\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>\u003c/em>, at Gallery Wendi Norris in San Francisco. The show, which includes a handful of works by Tanning alongside real chairs (not made by Tanning), centers on the exhibition’s namesake, a painting that’s on view for the first time in the United States in over 70 years.\u003c/p>\n\u003cp>The 1951 canvas shows a female figure bent in a contortionist’s pose as she slides off the red velvet upholstery of a tilting chair. The background is a torrent of yellow and green fabric, another chair partially obscured. While essentially Surrealist, the picture also boasts elements of Futurism — a movement that preceded Surrealism and prioritized capturing a sense of motion — and even Cubism, the crumpled fabric evoking a sense of fractured space. Perpetual motion and shifting vantages would remain hallmarks of the painter’s career.\u003c/p>\n\u003cfigure id=\"attachment_13956509\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg\" alt=\"Painting of two figures pushing against central door with hands and feet\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13956509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Door-84-UNCROPPED-copy-768x512.jpeg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dorothea Tanning, ‘Door 84,’ 1984; oil on canvas with found door. \u003ccite>(Courtesy of The Destina Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The broad range of influences on Tanning’s practice are even more apparent in the juxtaposition of \u003cem>Musical Chairs\u003c/em> with \u003cem>Door 84\u003c/em>, which Tanning painted 33 years later in 1984. The piece consists of two canvases bisected by a wooden door protruding vertically from the wall. Each canvas contains a colorful, expressionistic rendering of a female figure straining to keep the door closed from either side. The diptych merges assemblage, an Abstract Expressionist painting style and Pop sensibilities, something like a hybrid of Jasper Johns, Joan Mitchell and Lisa Yuskavage. Clearly, in the decades after \u003cem>Musical Chairs\u003c/em>, Tanning incorporated even more artistic influences into her repertoire, synthesizing them all through a Surrealist lens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to these major works, the exhibition consists of three smaller, early pieces — one painting and two ink drawings — as well as a rare portfolio of seven lithographs.\u003c/p>\n\u003cp>The two small drawings, of women in ball gowns, show Tanning’s segue from commercial illustration into fine art painting. In the oil-on-canvas \u003cem>Fatala\u003c/em>, she has arrived. A waifish woman embraces a door which is also the cover of a book, her hand slipping through the hole where the doorknob ought to be. The inside pages are revealed to contain wigs and tassels, all easily confusable for each other. Looking at the painting is necessarily disorienting, and makes you wonder what actually setting foot in such a landscape would be like, until you remember that, for the Surrealists, these eerie, dream-like settings already were examinations of the strangeness of lived experience.\u003c/p>\n\u003cfigure id=\"attachment_13956510\" class=\"wp-caption aligncenter\" style=\"max-width: 1780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg\" alt=\"Two images, one a painting of woman reaching hand through doorknob, the other print of a woman hanging upside down\" width=\"1780\" height=\"1280\" class=\"size-full wp-image-13956510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril.jpg 1780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DT0007-FatalaPeril-1536x1105.jpg 1536w\" sizes=\"(max-width: 1780px) 100vw, 1780px\">\u003cfigcaption class=\"wp-caption-text\">L: Dorothea Tanning, ‘Fatala,’ 1947, oil on canvas, 10 x 7 inches; R: ‘Septième péril (Seventh Peril)’ from ‘Les 7 périls spectraux,’ 1950, color lithographs on paper. \u003ccite>(Courtesy of Gallery Wendi Norris, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In partnership with contemporary design gallery \u003ca href=\"https://www.thefutureperfect.com/\">The Future Perfect\u003c/a>, Tanning’s work here has been paired with a selection of chairs by five designers and design studios. The assortment is fittingly whimsical, including a woven wicker seat that itself resembles a seated figure, and a wooden construction similar to an easel.\u003c/p>\n\u003cp>The inclusion of chairs in the exhibition alludes to Tanning’s own mid-career divergence into sculpture. In the 1970s, while living in Paris, she created what today might be called an “immersive” installation. \u003cem>\u003ca href=\"https://www.dorotheatanning.org/life-and-work/view/132/\">Hôtel du Pavot, Chambre 202\u003c/a>\u003c/em> was a hotel room filled with life-sized dolls bursting through the walls and melting into the furniture, like one of her own paintings brought to life. \u003cem>Chambre 202\u003c/em> had more to do with psychological interiority than interior design, bringing the surreal into reality. Here, the chairs pad an otherwise spare exhibition, but the depth of Tanning’s works more than make up for their small number.\u003c/p>\n\u003cp>The metaphor of musical chairs also extends to Tanning herself. She occupied several artistic roles during her long lifetime, and uncertainty was perhaps her only constant. In the epigraph to Tanning’s first poetry collection, \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/table-content\">A Table of Content\u003c/a>\u003c/em> she wrote, “It’s hard to be always the same person.” Her \u003ca href=\"https://50wattsbooks.com/products/chasm-a-weekend\">only novel\u003c/a> was about a masquerade ball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956215","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Tanning’s apparent persistent, personal bewilderment — unable to explain her work, unsure of who she was — is reflective of the radical uncertainty foundational to the Surrealist sensibility. For these artists, Surrealism was not about disorientation but rather the embrace of cognitive dissonance, something realer than real in the context of postwar life.\u003c/p>\n\u003cp>While Tanning \u003ca href=\"https://bombmagazine.org/articles/1990/10/01/dorothea-tanning/\">resisted a feminist interpretation\u003c/a> of her art, her female subjects seem to oscillate between being at the mercy of the surreal and assuming agency in their navigation of it. Tanning was a woman always on the move, reconfiguring her conceptual position and stylistic approach to best suit her ongoing exploration of the unknown. \u003c/p>\n\u003cp>And maybe that’s the point. The only constant is change; the only sure thing is that which is unsure, unfixed and unreal. \u003cem>Musical Chairs\u003c/em> invites us to sit with that uncertainty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.gallerywendinorris.com/exhibitions-collection/dorothea-tanning-musical-chairs\">Musical Chairs\u003c/a>’ is on view at Gallery Wendi Norris (436 Jackson St., San Francisco) through May 4, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956493/musical-chairs-dorothea-tanning-gallery-wendi-norris-surrealism","authors":["byline_arts_13956493"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_769","arts_585"],"featImg":"arts_13956507","label":"arts_140"},"arts_13956512":{"type":"posts","id":"arts_13956512","meta":{"index":"posts_1591205157","site":"arts","id":"13956512","score":null,"sort":[1713915813000]},"guestAuthors":[],"slug":"chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist","title":"Prepare to Get Hot and Bothered With Stylish, Synthy Tennis Drama ‘Challengers’","publishDate":1713915813,"format":"standard","headTitle":"Prepare to Get Hot and Bothered With Stylish, Synthy Tennis Drama ‘Challengers’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Challengers\u003c/em> is a bit of a tease. That’s what makes it fun.\u003c/p>\n\u003cp>There is plenty of skin, sweat, close-ups of muscly thighs and smoldering looks of lust and hate in this deliriously over-the-top psychodrama. But get that image of Josh O’Connor, Zendaya and Mike Faist sitting together on the bed out of your mind. Most of this action takes place on the tennis court.\u003c/p>\n\u003cp>[aside postid='arts_13955948']It’s still a sexy tennis movie about friendship, love, competition and sport set to a synth-y score from Trent Reznor and Atticus Ross — it just might not contain exactly what you think it does. But remember, Luca Guadagnino is the one who filmed Timothée Chalamet with that peach, perhaps more memorable than any actual sex scene from the past decade. Manage expectations, but also trust.\u003c/p>\n\u003cp>And like \u003cem>Call Me By Your Name\u003c/em> did for Chalamet, \u003cem>Challengers\u003c/em> is one of those rare original big-screen delights that firmly announces the arrival of a new generation of movie stars. Zendaya and Faist already had a bit of a leg up. She has played significant supporting roles in some of the biggest movies of the past few years, from \u003cem>Spider-Man\u003c/em> to \u003cem>Dune\u003c/em>, and he had had his big cinematic breakthrough as Riff in Steven Spielberg’s \u003cem>West Side Story\u003c/em>. But it’s O’Connor who really comes out on top, effectively shedding any lingering image of him as a whiny, dweeby Prince Charles in seasons three and four of \u003cem>The Crown\u003c/em>. In \u003cem>Challengers\u003c/em>, his Patrick Zweig is the cocky, flirty, slightly mean, slightly dirty and slightly broken bad boyfriend of our fictional dreams.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2N3hmRmwHQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by playwright Justin Kuritzkes (who is married to \u003cem>Past Lives\u003c/em> filmmaker Celine Song), \u003cem>Challengers\u003c/em> is a prickly treat, about fractured relationships, egos, infidelity and ambition. Set during a qualifying match at the New Rochelle Tennis Club, outside New York City, the intricately woven story reveals itself through flashbacks that build to a crescendo in the present-day match.\u003c/p>\n\u003cp>[aside postid='arts_13955729']O’Connor’s Patrick and Faist’s Art are old boarding school roommates turned tennis teammates. It’s a relationship that’s at turns brotherly, erotic and competitive. Whatever it is, they are definitely too close and not remotely prepared for Zendaya’s Tashi Duncan to enter the mix.\u003c/p>\n\u003cp>Tashi, in high school, is well on her way to becoming the next big tennis superstar. Art and Patrick watch her play, mouths agape at her technical form and physical beauty. Later, they both ask for her number, leading to a revealing night in a grungy hotel room. She promises her number to the one who wins the singles match the next day. Tashi just wants to see some good tennis, she says, but she also knows how to motivate and manipulate.\u003c/p>\n\u003cp>Because of the fractured timeline, we know that Tashi in the present day does not play tennis anymore. She was injured at some point and never recovered, unlike her husband, Art, who is now one of the most famous players in the world. The two of them are wildly wealthy, living in a ritzy hotel and fronting Aston Martin ad campaigns. At night, Tashi uses Augustinus Bader cream to moisturize her legs. Guadagnino, who likes to wink at and luxuriate in wealth signifiers, enlisted JW Anderson designer Jonathan Anderson to do the costumes, which will surely populate summer style inspiration boards the way his \u003cem>A Bigger Splash\u003c/em> and \u003cem>Call Me By Your Name\u003c/em> have in the past.\u003c/p>\n\u003cp>[aside postid='arts_13956480']But while they are technically at the top, Art is also on a losing streak, so Tashi sends him to a low-stakes tournament where he can get his confidence back. That’s where they encounter Patrick, who has not been so fortunate over the years and who has fallen out with his old friends. Of course, it’s all building to Patrick and Art playing one another in the final match, a part of which is so wildly and comically drawn out that you can almost envision the \u003cem>Saturday Night Live\u003c/em> spoof.\u003c/p>\n\u003cp>\u003cem>Challengers\u003c/em> is a drama, but a funny and self-aware one. It doesn’t take itself very seriously and has a lot of fun with its characters, all three of which are anti-heroes in a way. You might have a favorite, but you’re probably not rooting for anyone exactly — just glued to the screen to see how it all plays out on and off the court.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Challengers’ is released nationwide on April 26, 2024. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Zendaya stars in this funny and self-aware drama about fractured relationships, egos, infidelity and ambition.","status":"publish","parent":0,"modified":1713915813,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":789},"headData":{"title":"‘Challengers’ Review: Zendaya Mesmerizes in Sexy Tennis Drama | KQED","description":"Zendaya stars in this funny and self-aware drama about fractured relationships, egos, infidelity and ambition.","ogTitle":"Prepare to Get Hot and Bothered With Stylish, Synthy Tennis Drama ‘Challengers’","ogDescription":"","ogImgId":"","twTitle":"Prepare to Get Hot and Bothered With Stylish, Synthy Tennis Drama ‘Challengers’","twDescription":"","twImgId":"","socialTitle":"‘Challengers’ Review: Zendaya Mesmerizes in Sexy Tennis Drama %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Prepare to Get Hot and Bothered With Stylish, Synthy Tennis Drama ‘Challengers’","datePublished":"2024-04-23T23:43:33.000Z","dateModified":"2024-04-23T23:43:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","nprStoryId":"kqed-13956512","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Challengers\u003c/em> is a bit of a tease. That’s what makes it fun.\u003c/p>\n\u003cp>There is plenty of skin, sweat, close-ups of muscly thighs and smoldering looks of lust and hate in this deliriously over-the-top psychodrama. But get that image of Josh O’Connor, Zendaya and Mike Faist sitting together on the bed out of your mind. Most of this action takes place on the tennis court.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955948","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s still a sexy tennis movie about friendship, love, competition and sport set to a synth-y score from Trent Reznor and Atticus Ross — it just might not contain exactly what you think it does. But remember, Luca Guadagnino is the one who filmed Timothée Chalamet with that peach, perhaps more memorable than any actual sex scene from the past decade. Manage expectations, but also trust.\u003c/p>\n\u003cp>And like \u003cem>Call Me By Your Name\u003c/em> did for Chalamet, \u003cem>Challengers\u003c/em> is one of those rare original big-screen delights that firmly announces the arrival of a new generation of movie stars. Zendaya and Faist already had a bit of a leg up. She has played significant supporting roles in some of the biggest movies of the past few years, from \u003cem>Spider-Man\u003c/em> to \u003cem>Dune\u003c/em>, and he had had his big cinematic breakthrough as Riff in Steven Spielberg’s \u003cem>West Side Story\u003c/em>. But it’s O’Connor who really comes out on top, effectively shedding any lingering image of him as a whiny, dweeby Prince Charles in seasons three and four of \u003cem>The Crown\u003c/em>. In \u003cem>Challengers\u003c/em>, his Patrick Zweig is the cocky, flirty, slightly mean, slightly dirty and slightly broken bad boyfriend of our fictional dreams.\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/-2N3hmRmwHQ'\n title='//www.youtube.com/embed/-2N3hmRmwHQ'\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>\n\u003cp>Written by playwright Justin Kuritzkes (who is married to \u003cem>Past Lives\u003c/em> filmmaker Celine Song), \u003cem>Challengers\u003c/em> is a prickly treat, about fractured relationships, egos, infidelity and ambition. Set during a qualifying match at the New Rochelle Tennis Club, outside New York City, the intricately woven story reveals itself through flashbacks that build to a crescendo in the present-day match.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955729","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>O’Connor’s Patrick and Faist’s Art are old boarding school roommates turned tennis teammates. It’s a relationship that’s at turns brotherly, erotic and competitive. Whatever it is, they are definitely too close and not remotely prepared for Zendaya’s Tashi Duncan to enter the mix.\u003c/p>\n\u003cp>Tashi, in high school, is well on her way to becoming the next big tennis superstar. Art and Patrick watch her play, mouths agape at her technical form and physical beauty. Later, they both ask for her number, leading to a revealing night in a grungy hotel room. She promises her number to the one who wins the singles match the next day. Tashi just wants to see some good tennis, she says, but she also knows how to motivate and manipulate.\u003c/p>\n\u003cp>Because of the fractured timeline, we know that Tashi in the present day does not play tennis anymore. She was injured at some point and never recovered, unlike her husband, Art, who is now one of the most famous players in the world. The two of them are wildly wealthy, living in a ritzy hotel and fronting Aston Martin ad campaigns. At night, Tashi uses Augustinus Bader cream to moisturize her legs. Guadagnino, who likes to wink at and luxuriate in wealth signifiers, enlisted JW Anderson designer Jonathan Anderson to do the costumes, which will surely populate summer style inspiration boards the way his \u003cem>A Bigger Splash\u003c/em> and \u003cem>Call Me By Your Name\u003c/em> have in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956480","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But while they are technically at the top, Art is also on a losing streak, so Tashi sends him to a low-stakes tournament where he can get his confidence back. That’s where they encounter Patrick, who has not been so fortunate over the years and who has fallen out with his old friends. Of course, it’s all building to Patrick and Art playing one another in the final match, a part of which is so wildly and comically drawn out that you can almost envision the \u003cem>Saturday Night Live\u003c/em> spoof.\u003c/p>\n\u003cp>\u003cem>Challengers\u003c/em> is a drama, but a funny and self-aware one. It doesn’t take itself very seriously and has a lot of fun with its characters, all three of which are anti-heroes in a way. You might have a favorite, but you’re probably not rooting for anyone exactly — just glued to the screen to see how it all plays out on and off the court.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Challengers’ is released nationwide on April 26, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist","authors":["byline_arts_13956512"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_13238"],"tags":["arts_8905","arts_769","arts_22107","arts_585","arts_21968"],"featImg":"arts_13956514","label":"arts_140"},"arts_13956354":{"type":"posts","id":"arts_13956354","meta":{"index":"posts_1591205157","site":"arts","id":"13956354","score":null,"sort":[1713913255000]},"guestAuthors":[],"slug":"day-jobs-cantor-arts-center-review","title":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making","publishDate":1713913255,"format":"standard","headTitle":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The premise of the Cantor Arts Center’s newest exhibition paints an optimistic and uniquely American portrait: artists can be inspired by their day jobs. Not only are they earning a steady income, \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>\u003c/em> argues, artists can also mine those jobs for materials, know-how and access to specific industries. Structure can spark spontaneity and creativity. \u003c/p>\n\u003cp>In this vein, it’s encouraging to see Larry Bell’s sculptures and hear that he was first struck with the idea to use glass as a material while working in a frame shop. That through line is as clear as one of the sides of his transparent glass cubes. \u003c/p>\n\u003cp>We can look back at Bell’s origin story wistfully, the way we get a thrill looking at the prices on a menu from 1966. (Coffee for 15¢!) But according to the curatorial framework of \u003cem>Day Jobs\u003c/em>, this kind of sentimentality is exactly what the show means to push against. The exhibition, according to its press release, “seeks to demystify artistic production and overturn the romanticized concept of the artist sequestered in their studio, waiting for inspiration to strike.” Yet I’d argue that hitting upon a career-defining idea while working as a humble frame shop technician \u003cem>is\u003c/em> romantic, especially now.\u003c/p>\n\u003cfigure id=\"attachment_13956449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg\" alt=\"Beige wall with six Nefertiti statues in different skin tones on small shelves, light yellow abstract painting at right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fred Wilson, ‘Grey Area (Brown version),’ 1993 at left and Howardena Pindell, ‘Untitled #16,’ 1976 at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Day Jobs\u003c/em>, curated by Cantor director Veronica Roberts and curatorial assistant Jorge Sibaja, was first presented at Austin’s \u003ca href=\"https://blantonmuseum.org/exhibition/day-jobs/\">Blanton Museum of Art\u003c/a> in 2023. It’s been refigured here to feature a larger selection of works by California artists like Margaret Kilgallen and Barbara Kruger.\u003c/p>\n\u003cp>It’s a big show, comprising more than 90 works by 36 established and emerging artists. A forthcoming catalog will include firsthand accounts about the impact money-jobs had on the included artists’ careers. The exhibition is divided by the different fields the artists worked in: service industry, media and advertising, art world, design and fashion, caregivers, technology and law.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Day Jobs\u003c/i> includes some great works. Fred Wilson’s \u003cem>Grey Area (Brown version)\u003c/em>, a series of Nefertiti heads painted in varying skin tones, is a standout. Richard Artschwager’s \u003cem>Mirror/Mirror – Table/Table\u003c/em> from 1964, a set of formica on wood sculptures that playact as home furnishings, is another. But it’s Tishan Hsu’s biomorphic wall relief, \u003cem>Outer Banks of Memory\u003c/em>, that arguably steals the show. \u003c/p>\n\u003cp>The Cronenberg-esque painting from 1984 mimics a modern-day laptop or smartphone screen. Fleshy ripples, bruised areas of color and screaming orifices accumulate on a surface that resembles the blue static glow of a vintage television set. Hsu studied environmental science and architecture at MIT, and worked in the technology sector in 1980s New York before taking a position teaching studio art at Sarah Lawrence College, where he stayed up until he retired from teaching in 2019. \u003c/p>\n\u003cfigure id=\"attachment_13956451\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg\" alt=\"Large square relief with rounded corners, painted abstractly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tishan Hsu, ‘Outer Banks of Memory,’ 1984; Acrylic, concrete, Styrofoam, oil and enamel on wood in three parts. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ensconced in this museum context, the roadmap to success appears less treacherous than it really is. From a contemporary artist’s perspective, working and making art in the United States is a bleak, sometimes impossible balance. In an \u003ca href=\"https://thebaffler.com/odds-and-ends/its-not-what-the-world-needs-right-now-norman-wilson\">entertainingly raw piece\u003c/a> published this month in The Baffler, artist Andrew Norman Wilson recounts the past eight years of his career: “It’s 2016. I’m a contemporary artist and have been living off of Medicaid, food stamps, and $20k annually since graduating from art school five years ago.” The essay, which ends with Wilson ostensibly exiting the art world for the film industry, has been going somewhat viral since it was published.\u003c/p>\n\u003cp>How much artists should be paid for their work — or their participation in shows — is very much part of the \u003ca href=\"https://www.theartnewspaper.com/2024/03/13/how-much-should-museums-pay-artists#\">contemporary conversation\u003c/a> around artists’ economic prospects. But museums often appear to operate outside of commercial reality — a useful, if fictional vantage point from which to consider these questions. \u003c/p>\n\u003cp>Rarely, the wall text points out, do artists’ biographies include information about how they’ve supported themselves. By adding this information back into the narrative surrounding well-known artists, the show models how we might remove associations of shame and disgrace from the subject. \u003c/p>\n\u003cp>The premise of \u003ci>Day Jobs\u003c/i> is important and interesting, but it’s only a step in the right direction. Thirty of the 36 artists in the show were born before 1980. Without significantly addressing the current economic landscape for emerging artists, we get an oversimplified version of present-day reality.\u003c/p>\n\u003cfigure id=\"attachment_13956450\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg\" alt=\"Grid of four framed colorful prints featuring products next to tall black and white print\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Day Jobs’ at Cantor Arts Center with screenprints from Andy Warhol’s 1985 series ‘Ads’ at left and Barbara Kruger’s ‘Untitled (Your fact is stranger than fiction),’ 1983, at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can look at postwar case studies like Andy Warhol (commercial illustrator and window display designer) and Sol LeWitt (museum security guard) and see prime examples of artists whose day jobs directly and successfully contributed to the content and context of their work. But that trajectory has become less and less relatable. In the 2000s, Margaret Kilgallen was a library page and book repairer at the San Francisco Public Library, but even that was two decades ago, in a very different version of the city. Is it realistic to look to the past as proof of the current options available?\u003c/p>\n\u003cp>The question of how artists can make time for their practice and survive financially is always critical. And the topic is particularly relevant in a time of ramped-up economic insecurity. In the Bay Area we ask ourselves all the time: How do you find the energy to work full time and have a life in the studio in one of the most expensive cities in the country? \u003c/p>\n\u003cp>\u003cem>Day Jobs\u003c/em> presents strategies some artists have used in the past to find a way forward. It’s now up to the next generations to figure out how those strategies will map onto the art world of today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>’ is on view at the Cantor Arts Center (328 Lomita Drive, Stanford) through July 21, 2024.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A group show at the Cantor Arts Center examines the overlooked influence of artists’ day jobs on their art.","status":"publish","parent":0,"modified":1713910437,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1065},"headData":{"title":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making | KQED","description":"A group show at the Cantor Arts Center examines the overlooked influence of artists’ day jobs on their art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Day Jobs’ Wants to Dispel Romantic Notions of Art Making","datePublished":"2024-04-23T23:00:55.000Z","dateModified":"2024-04-23T22:13:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Quintessa Matranga","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956354/day-jobs-cantor-arts-center-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise of the Cantor Arts Center’s newest exhibition paints an optimistic and uniquely American portrait: artists can be inspired by their day jobs. Not only are they earning a steady income, \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>\u003c/em> argues, artists can also mine those jobs for materials, know-how and access to specific industries. Structure can spark spontaneity and creativity. \u003c/p>\n\u003cp>In this vein, it’s encouraging to see Larry Bell’s sculptures and hear that he was first struck with the idea to use glass as a material while working in a frame shop. That through line is as clear as one of the sides of his transparent glass cubes. \u003c/p>\n\u003cp>We can look back at Bell’s origin story wistfully, the way we get a thrill looking at the prices on a menu from 1966. (Coffee for 15¢!) But according to the curatorial framework of \u003cem>Day Jobs\u003c/em>, this kind of sentimentality is exactly what the show means to push against. The exhibition, according to its press release, “seeks to demystify artistic production and overturn the romanticized concept of the artist sequestered in their studio, waiting for inspiration to strike.” Yet I’d argue that hitting upon a career-defining idea while working as a humble frame shop technician \u003cem>is\u003c/em> romantic, especially now.\u003c/p>\n\u003cfigure id=\"attachment_13956449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg\" alt=\"Beige wall with six Nefertiti statues in different skin tones on small shelves, light yellow abstract painting at right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-021-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fred Wilson, ‘Grey Area (Brown version),’ 1993 at left and Howardena Pindell, ‘Untitled #16,’ 1976 at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Day Jobs\u003c/em>, curated by Cantor director Veronica Roberts and curatorial assistant Jorge Sibaja, was first presented at Austin’s \u003ca href=\"https://blantonmuseum.org/exhibition/day-jobs/\">Blanton Museum of Art\u003c/a> in 2023. It’s been refigured here to feature a larger selection of works by California artists like Margaret Kilgallen and Barbara Kruger.\u003c/p>\n\u003cp>It’s a big show, comprising more than 90 works by 36 established and emerging artists. A forthcoming catalog will include firsthand accounts about the impact money-jobs had on the included artists’ careers. The exhibition is divided by the different fields the artists worked in: service industry, media and advertising, art world, design and fashion, caregivers, technology and law.\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>\u003ci>Day Jobs\u003c/i> includes some great works. Fred Wilson’s \u003cem>Grey Area (Brown version)\u003c/em>, a series of Nefertiti heads painted in varying skin tones, is a standout. Richard Artschwager’s \u003cem>Mirror/Mirror – Table/Table\u003c/em> from 1964, a set of formica on wood sculptures that playact as home furnishings, is another. But it’s Tishan Hsu’s biomorphic wall relief, \u003cem>Outer Banks of Memory\u003c/em>, that arguably steals the show. \u003c/p>\n\u003cp>The Cronenberg-esque painting from 1984 mimics a modern-day laptop or smartphone screen. Fleshy ripples, bruised areas of color and screaming orifices accumulate on a surface that resembles the blue static glow of a vintage television set. Hsu studied environmental science and architecture at MIT, and worked in the technology sector in 1980s New York before taking a position teaching studio art at Sarah Lawrence College, where he stayed up until he retired from teaching in 2019. \u003c/p>\n\u003cfigure id=\"attachment_13956451\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg\" alt=\"Large square relief with rounded corners, painted abstractly\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-089-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tishan Hsu, ‘Outer Banks of Memory,’ 1984; Acrylic, concrete, Styrofoam, oil and enamel on wood in three parts. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ensconced in this museum context, the roadmap to success appears less treacherous than it really is. From a contemporary artist’s perspective, working and making art in the United States is a bleak, sometimes impossible balance. In an \u003ca href=\"https://thebaffler.com/odds-and-ends/its-not-what-the-world-needs-right-now-norman-wilson\">entertainingly raw piece\u003c/a> published this month in The Baffler, artist Andrew Norman Wilson recounts the past eight years of his career: “It’s 2016. I’m a contemporary artist and have been living off of Medicaid, food stamps, and $20k annually since graduating from art school five years ago.” The essay, which ends with Wilson ostensibly exiting the art world for the film industry, has been going somewhat viral since it was published.\u003c/p>\n\u003cp>How much artists should be paid for their work — or their participation in shows — is very much part of the \u003ca href=\"https://www.theartnewspaper.com/2024/03/13/how-much-should-museums-pay-artists#\">contemporary conversation\u003c/a> around artists’ economic prospects. But museums often appear to operate outside of commercial reality — a useful, if fictional vantage point from which to consider these questions. \u003c/p>\n\u003cp>Rarely, the wall text points out, do artists’ biographies include information about how they’ve supported themselves. By adding this information back into the narrative surrounding well-known artists, the show models how we might remove associations of shame and disgrace from the subject. \u003c/p>\n\u003cp>The premise of \u003ci>Day Jobs\u003c/i> is important and interesting, but it’s only a step in the right direction. Thirty of the 36 artists in the show were born before 1980. Without significantly addressing the current economic landscape for emerging artists, we get an oversimplified version of present-day reality.\u003c/p>\n\u003cfigure id=\"attachment_13956450\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg\" alt=\"Grid of four framed colorful prints featuring products next to tall black and white print\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024-03_Day-Jobs_GC-029-web-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Day Jobs’ at Cantor Arts Center with screenprints from Andy Warhol’s 1985 series ‘Ads’ at left and Barbara Kruger’s ‘Untitled (Your fact is stranger than fiction),’ 1983, at right. \u003ccite>(Glen C. Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can look at postwar case studies like Andy Warhol (commercial illustrator and window display designer) and Sol LeWitt (museum security guard) and see prime examples of artists whose day jobs directly and successfully contributed to the content and context of their work. But that trajectory has become less and less relatable. In the 2000s, Margaret Kilgallen was a library page and book repairer at the San Francisco Public Library, but even that was two decades ago, in a very different version of the city. Is it realistic to look to the past as proof of the current options available?\u003c/p>\n\u003cp>The question of how artists can make time for their practice and survive financially is always critical. And the topic is particularly relevant in a time of ramped-up economic insecurity. In the Bay Area we ask ourselves all the time: How do you find the energy to work full time and have a life in the studio in one of the most expensive cities in the country? \u003c/p>\n\u003cp>\u003cem>Day Jobs\u003c/em> presents strategies some artists have used in the past to find a way forward. It’s now up to the next generations to figure out how those strategies will map onto the art world of today.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://museum.stanford.edu/exhibitions/day-jobs\">Day Jobs\u003c/a>’ is on view at the Cantor Arts Center (328 Lomita Drive, Stanford) through July 21, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956354/day-jobs-cantor-arts-center-review","authors":["byline_arts_13956354"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3935","arts_10278","arts_769","arts_585"],"featImg":"arts_13956447","label":"arts_140"},"arts_13956374":{"type":"posts","id":"arts_13956374","meta":{"index":"posts_1591205157","site":"arts","id":"13956374","score":null,"sort":[1713893938000]},"guestAuthors":[],"slug":"new-the-jinx-part-two-hbo-max-review-robert-durst-confession","title":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","publishDate":1713893938,"format":"standard","headTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>[aside postid='arts_11299066']These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ShYl5K8Nlq8\u003c/p>\n\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>[aside postid='arts_13955854']The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Nine years ago, HBO’s ‘The Jinx’ played a role in the arrest of Robert Durst. Now its follow-up is grasping for revelations.","status":"publish","parent":0,"modified":1713893938,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":837},"headData":{"title":"Review: ‘The Jinx - Part Two’ Doesn’t Offer Much New Information | KQED","description":"Nine years ago, HBO’s ‘The Jinx’ played a role in the arrest of Robert Durst. Now its follow-up is grasping for revelations.","ogTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","ogDescription":"","ogImgId":"","twTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","twDescription":"","twImgId":"","socialTitle":"Review: ‘The Jinx - Part Two’ Doesn’t Offer Much New Information %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","datePublished":"2024-04-23T17:38:58.000Z","dateModified":"2024-04-23T17:38:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"HBO","nprStoryId":"1245787366","nprApiLink":"http://api.npr.org/query?id=1245787366&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/20/1245787366/the-jinx-part-two-review-robert-durst-murder?ft=nprml&f=1245787366","nprRetrievedStory":"1","nprPubDate":"Sat, 20 Apr 2024 07:01:00 -0400","nprStoryDate":"Sat, 20 Apr 2024 07:01:14 -0400","nprLastModifiedDate":"Sat, 20 Apr 2024 07:01:14 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956374/new-the-jinx-part-two-hbo-max-review-robert-durst-confession","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11299066","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\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/ShYl5K8Nlq8'\n title='//www.youtube.com/embed/ShYl5K8Nlq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\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>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955854","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956374/new-the-jinx-part-two-hbo-max-review-robert-durst-confession","authors":["byline_arts_13956374"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_21958","arts_8350","arts_20624","arts_769","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13956375","label":"arts_140"},"arts_13956215":{"type":"posts","id":"arts_13956215","meta":{"index":"posts_1591205157","site":"arts","id":"13956215","score":null,"sort":[1713544938000]},"guestAuthors":[],"slug":"jen-liu-ghost-world-slash-the-lab-review","title":"Your Phone is Haunted","publishDate":1713544938,"format":"standard","headTitle":"Your Phone is Haunted | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In ‘GHOST__WORLD,’ Jen Liu summons the voices of China’s labor activists and electronics workers.","status":"publish","parent":0,"modified":1713544938,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1057},"headData":{"title":"Jen Liu’s ‘GHOST__WORLD’ Haunts Slash and The Lab | KQED","description":"In ‘GHOST__WORLD,’ Jen Liu summons the voices of China’s labor activists and electronics workers.","ogTitle":"Your Phone is Haunted","ogDescription":"","ogImgId":"","twTitle":"Your Phone is Haunted","twDescription":"","twImgId":"","socialTitle":"Jen Liu’s ‘GHOST__WORLD’ Haunts Slash and The Lab %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Phone is Haunted","datePublished":"2024-04-19T16:42:18.000Z","dateModified":"2024-04-19T16:42:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956215/jen-liu-ghost-world-slash-the-lab-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956215/jen-liu-ghost-world-slash-the-lab-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_70"],"tags":["arts_5391","arts_879","arts_10278","arts_769","arts_585","arts_901"],"featImg":"arts_13956234","label":"arts_140"},"arts_13956128":{"type":"posts","id":"arts_13956128","meta":{"index":"posts_1591205157","site":"arts","id":"13956128","score":null,"sort":[1713390986000]},"guestAuthors":[],"slug":"best-mysteries-and-thriller-novels-spring-2024","title":"5 New Mysteries and Thrillers for Your Nightstand This Spring","publishDate":1713390986,"format":"standard","headTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13956050']As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>[aside postid='arts_13955903']Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>[aside postid='arts_13955214']Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>[aside postid='arts_13955156']Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","status":"publish","parent":0,"modified":1713390986,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1583},"headData":{"title":"Best New Mystery and Thriller Novels for Spring 2024 | KQED","description":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","ogTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","ogDescription":"","ogImgId":"","twTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","twDescription":"","twImgId":"","socialTitle":"Best New Mystery and Thriller Novels for Spring 2024%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 New Mysteries and Thrillers for Your Nightstand This Spring","datePublished":"2024-04-17T21:56:26.000Z","dateModified":"2024-04-17T21:56:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Bethanne Patrick","nprImageAgency":"NPR","nprStoryId":"1239716585","nprApiLink":"http://api.npr.org/query?id=1239716585&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/17/1239716585/5-new-mysteries-and-thrillers-spring-2024-reading-list-recommendations?ft=nprml&f=1239716585","nprRetrievedStory":"1","nprPubDate":"Wed, 17 Apr 2024 11:29:00 -0400","nprStoryDate":"Wed, 17 Apr 2024 10:49:00 -0400","nprLastModifiedDate":"Wed, 17 Apr 2024 11:29:14 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956050","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\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>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955903","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955214","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955156","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\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>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","authors":["byline_arts_13956128"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_5221","arts_769","arts_585","arts_11718"],"affiliates":["arts_137"],"featImg":"arts_13956129","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. 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