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In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.","avatar":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twitter":"sahotchkiss","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["Contributor","administrator"]},{"site":"artschool","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"spark","roles":["editor"]},{"site":"checkplease","roles":["editor"]}],"headData":{"title":"Sarah Hotchkiss | KQED","description":"Senior Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/shotchkiss"},"gmeline":{"type":"authors","id":"185","meta":{"index":"authors_1716337520","id":"185","found":true},"name":"Gabe Meline","firstName":"Gabe","lastName":"Meline","slug":"gmeline","email":"gmeline@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Senior Editor, KQED Arts & Culture","bio":"Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"},"ralexandra":{"type":"authors","id":"11242","meta":{"index":"authors_1716337520","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/category/history\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13966202":{"type":"posts","id":"arts_13966202","meta":{"index":"posts_1716263798","site":"arts","id":"13966202","score":null,"sort":[1728340458000]},"guestAuthors":[],"slug":"the-book-of-george-kate-greathead-book-review-witty-novel","title":"‘The Book of George’ Is a Witty Novel in Lively Episodes Like a First-Rate TV Sitcom","publishDate":1728340458,"format":"aside","headTitle":"‘The Book of George’ Is a Witty Novel in Lively Episodes Like a First-Rate TV Sitcom | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13966209\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george.png\" alt=\"A book cover with the word George written on it four tines.\" width=\"1365\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george.png 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-1020x1495.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-768x1125.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-1048x1536.png 1048w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of George’ by Kate Greathead. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Book of George\u003c/em> is a novel of many finely crafted, often funny moments that arrive episodically as the title character grows older. At first he’s a millennial kid, then a college guy as the Twin Towers fall on 9/11.\u003c/p>\n\u003cp>In time, George — he’s given no surname — graduates and struggles over what to do with the rest of his life. Fate actually treats him pretty well. He’s an attractive, smart New Yorker; his family has some money; and he’s often quite lucky.\u003c/p>\n\u003cp>[aside postid='arts_13966153']But you wouldn’t know it from his clownish, sour, perplexed, defeatist attitude. He’s self-absorbed and self-disparaging, lovable and devilish — the list could go on.\u003c/p>\n\u003cp>The novel’s author, Kate Greathead, is a gifted storyteller who reels off dialogue filled with wit and humor so well it makes page-turning a pleasure and \u003cem>The Book of George\u003c/em> an easy read.\u003c/p>\n\u003cp>But just as the indecisive George doesn’t know where he is going in life, the reader doesn’t know where his story is going either. Getting there, in a way, is the point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George groans inwardly at the vacuous “sitcom-level banter” that comes easily to him in conversation. Greathead is deft at dishing out such dialogue, too, and chapter after chapter, as George ages and a variety of crises large and small arise, this episodic novel seems a form of first-rate TV sitcom between covers.\u003c/p>\n\u003cp>George would be glad to call it “the show about nothing,” similar to \u003cem>Seinfeld\u003c/em>. Then he would cancel it.\u003c/p>\n\u003cp>Choosing philosophy as his college major, George writes his thesis on Arthur Schopenhauer, a 19th-century philosopher often seen as deeply pessimistic, much like George himself. Greathead, in the book’s epigraph, quotes from an 1807 letter written by Johanna Schopenhauer to her 19-year-old son, Arthur, whom she says could be “a credit to human society” but is nevertheless “irritating and unbearable.”\u003c/p>\n\u003cp>George’s own mother, Ellen, couldn’t have said it better.\u003c/p>\n\u003cp>[aside postid='arts_13965937']After graduating, George eventually decides to become a writer. He starts a novel, but agonizes over the point of it. Early on, George says the book is “about a boy who grows up to be a man who is disappointed by life.” The book shifts gears over time. It’s title, finally, is \u003cem>All For Naught\u003c/em>.\u003c/p>\n\u003cp>George may be a doom-and-gloom sort, but that’s not the case for Greathead’s novel. Page after page, her writing is full of humor built around prickly sarcasm and woebegone twists in George’s life.\u003c/p>\n\u003cp>There are serious, even sad, moments, plus plot turns that give the narrative depth. The reader may begin to feel an emotional tug. Jenny, a young woman who falls in love with George, lives with him for long, often agonizing stretches. They hit midlife as the pandemic hits the country, and Jenny brings real poignancy to the story.\u003c/p>\n\u003cp>She even grasps, finally, what George is all about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of George’ by Kate Greathead is out on Oct. 8, 2024, via Henry Holt and Co.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Kate Greathead is a gifted storyteller who reels off dialogue filled with wit and humor, making her new book a page-turner.","status":"publish","parent":0,"modified":1728340458,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":563},"headData":{"title":"Book Review: ‘The Book of George’ by Kate Greathead | KQED","description":"Kate Greathead is a gifted storyteller who reels off dialogue filled with wit and humor, making her new book a page-turner.","ogTitle":"‘The Book of George’ Is a Witty Novel in Lively Episodes Like a First-Rate TV Sitcom","ogDescription":"","ogImgId":"","twTitle":"‘The Book of George’ Is a Witty Novel in Lively Episodes Like a First-Rate TV Sitcom","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘The Book of George’ by Kate Greathead%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Book of George’ Is a Witty Novel in Lively Episodes Like a First-Rate TV Sitcom","datePublished":"2024-10-07T15:34:18-07:00","dateModified":"2024-10-07T15:34:18-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Kendal Weaver, Associated Press","nprStoryId":"kqed-13966202","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966202/the-book-of-george-kate-greathead-book-review-witty-novel","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966209\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george.png\" alt=\"A book cover with the word George written on it four tines.\" width=\"1365\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george.png 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-1020x1495.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-768x1125.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-1048x1536.png 1048w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of George’ by Kate Greathead. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Book of George\u003c/em> is a novel of many finely crafted, often funny moments that arrive episodically as the title character grows older. At first he’s a millennial kid, then a college guy as the Twin Towers fall on 9/11.\u003c/p>\n\u003cp>In time, George — he’s given no surname — graduates and struggles over what to do with the rest of his life. Fate actually treats him pretty well. He’s an attractive, smart New Yorker; his family has some money; and he’s often quite lucky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966153","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But you wouldn’t know it from his clownish, sour, perplexed, defeatist attitude. He’s self-absorbed and self-disparaging, lovable and devilish — the list could go on.\u003c/p>\n\u003cp>The novel’s author, Kate Greathead, is a gifted storyteller who reels off dialogue filled with wit and humor so well it makes page-turning a pleasure and \u003cem>The Book of George\u003c/em> an easy read.\u003c/p>\n\u003cp>But just as the indecisive George doesn’t know where he is going in life, the reader doesn’t know where his story is going either. Getting there, in a way, is the point.\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>George groans inwardly at the vacuous “sitcom-level banter” that comes easily to him in conversation. Greathead is deft at dishing out such dialogue, too, and chapter after chapter, as George ages and a variety of crises large and small arise, this episodic novel seems a form of first-rate TV sitcom between covers.\u003c/p>\n\u003cp>George would be glad to call it “the show about nothing,” similar to \u003cem>Seinfeld\u003c/em>. Then he would cancel it.\u003c/p>\n\u003cp>Choosing philosophy as his college major, George writes his thesis on Arthur Schopenhauer, a 19th-century philosopher often seen as deeply pessimistic, much like George himself. Greathead, in the book’s epigraph, quotes from an 1807 letter written by Johanna Schopenhauer to her 19-year-old son, Arthur, whom she says could be “a credit to human society” but is nevertheless “irritating and unbearable.”\u003c/p>\n\u003cp>George’s own mother, Ellen, couldn’t have said it better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965937","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>After graduating, George eventually decides to become a writer. He starts a novel, but agonizes over the point of it. Early on, George says the book is “about a boy who grows up to be a man who is disappointed by life.” The book shifts gears over time. It’s title, finally, is \u003cem>All For Naught\u003c/em>.\u003c/p>\n\u003cp>George may be a doom-and-gloom sort, but that’s not the case for Greathead’s novel. Page after page, her writing is full of humor built around prickly sarcasm and woebegone twists in George’s life.\u003c/p>\n\u003cp>There are serious, even sad, moments, plus plot turns that give the narrative depth. The reader may begin to feel an emotional tug. Jenny, a young woman who falls in love with George, lives with him for long, often agonizing stretches. They hit midlife as the pandemic hits the country, and Jenny brings real poignancy to the story.\u003c/p>\n\u003cp>She even grasps, finally, what George is all about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of George’ by Kate Greathead is out on Oct. 8, 2024, via Henry Holt and Co.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966202/the-book-of-george-kate-greathead-book-review-witty-novel","authors":["byline_arts_13966202"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_5221","arts_769","arts_585"],"featImg":"arts_13966210","label":"arts_140"},"arts_13966153":{"type":"posts","id":"arts_13966153","meta":{"index":"posts_1716263798","site":"arts","id":"13966153","score":null,"sort":[1728149597000]},"guestAuthors":[],"slug":"anton-lavey-church-of-satan-doug-brod-book","title":"Excavating the Truth of Anton LaVey’s Devilish Life","publishDate":1728149597,"format":"standard","headTitle":"Excavating the Truth of Anton LaVey’s Devilish Life | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>You’d never know it these days, but for decades, 6114 California Street was one of the \u003ca href=\"https://www.churchofsatan.com/faq-the-black-house/\">most infamous addresses\u003c/a> in all of San Francisco. As the longtime headquarters of \u003ca href=\"https://www.kqed.org/news/11964949/how-the-church-of-satan-was-born-in-san-francisco\">Anton LaVey’s Church of Satan\u003c/a>, the house — painted completely black — hosted a rotating menagerie of colorful guests (including, at one point, \u003ca href=\"https://www.sfchronicle.com/oursf/article/church-satan-lavey-lion-18444967.php\">a lion\u003c/a>) visiting the sanctuary devoted to Satan.\u003c/p>\n\u003cp>In his revelatory new biography of LaVey, author Doug Brod attempts to parse fact from fiction, detailing how a Jewish boy from Chicago left an indelible dark mark on popular culture — and found himself labeled as a face of evil to many Americans.\u003c/p>\n\u003cfigure id=\"attachment_13966166\" class=\"wp-caption aligncenter\" style=\"max-width: 1734px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672.jpg\" alt=\"\" width=\"1734\" height=\"2000\" class=\"size-full wp-image-13966166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-800x923.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-1020x1176.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-768x886.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-1332x1536.jpg 1332w\" sizes=\"(max-width: 1734px) 100vw, 1734px\">\u003cfigcaption class=\"wp-caption-text\">Anton Szandor LaVey, the leader of the First Church of Satan, taps his gum-chewing 3-year-old daughter, Zeena Galatea LaVey, on the head with a sword during “baptism ceremonies” in San Francisco on May 23, 1967. A naked woman reclines on the altar during the anti-religious ceremony. \u003ccite>(Bettmann/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Relying on more than 50 interviews as well as church documents and personal correspondence, \u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/doug-brod/born-with-a-tail/9781668644690/\">Born With a Tail: The Devilish Life and Wicked Times of Anton Szandor LaVey\u003c/a>\u003c/em> (Hachette; $31) shows that while many of LaVey’s most outlandish claims were clearly lies, his brilliance at combining philosophy and outrage put him on equal standing with history’s great charlatans.\u003c/p>\n\u003cp>[aside postID='news_11964949']One part pope, nine parts P. T. Barnum, LaVey nonetheless cultivated a devoted following whose exploits regularly made headlines and late-night television appearances. But the occult trappings of LaVey’s organization belied its true intent; no one was literally worshiping Satan.\u003c/p>\n\u003cp>“The church’s idea was more like a self-empowerment group,” Brod says. “LaVey wanted people to indulge in their carnal desires. It was basically a hedonistic philosophy — some might say it was a greedy and selfish philosophy — but it was about always putting the individual first.”\u003c/p>\n\u003cfigure id=\"attachment_13966159\" class=\"wp-caption aligncenter\" style=\"max-width: 1325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC.jpg\" alt=\"\" width=\"1325\" height=\"2000\" class=\"size-full wp-image-13966159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-1018x1536.jpg 1018w\" sizes=\"(max-width: 1325px) 100vw, 1325px\">\u003cfigcaption class=\"wp-caption-text\">‘Born With a Tail: The Devilish Life and Wicked Times of Anton Szandor LaVey,’ by Doug Brod. \u003ccite>(Hachette Book Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his 368-page biography, Brod recounts the Church of Satan’s colorful history from its inception at the Black House in 1966, and the Satanic marriage ceremonies and baptisms the group publicly performed to earn early press, to the devastating backlash LaVey endured as a result of the \u003ca href=\"https://en.wikipedia.org/wiki/Satanic_panic\">Satanic Panic\u003c/a> of the 1980s and his eventual retreat from public life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ahead of \u003ca href=\"https://greenapplebooks.com/event/2024-10-08/offsite-doug-brod-jack-boulware\">an appearance on Tuesday, Oct. 8\u003c/a> at 540 Rogues in San Francisco, Brod spoke with KQED by phone to discuss LaVey’s lasting impact, what his research uncovered, and where the Church of Satan stands today.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13966161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511.jpg\" alt=\"\" width=\"2000\" height=\"1428\" class=\"size-full wp-image-13966161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton Szandor LaVey, head of the First Satanic Church, is assisted by his partner, Diane, as they go through a satanic ceremony in 1970. \u003ccite>(Bettmann/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Getting to the bottom of Anton LaVey’s life seems like a challenging task. Where did you start? Were the fact-checks previously published by journalist Lawrence Wright and LaVey’s daughters Zeena helpful?\u003c/strong>\u003c/p>\n\u003cp>One thing that was really essential for me was going into the archives of the \u003cem>San Francisco Chronicle\u003c/em> and the \u003cem>Examiner\u003c/em>, because he was in the papers constantly: on the front page, in columns, and as a news topic. He was also on local TV news programs. Contemporaneous stories are a little more trustworthy, and perhaps more reliable, then people hearing stuff secondhand 30 years later. Yes, that \u003ca href=\"https://www.rollingstone.com/culture/culture-features/anton-levey-interview-1235074429/\">Lawrence Wright piece in \u003cem>Rolling Stone\u003c/em>\u003c/a>, where he was able to debunk some of LaVey’s more outlandish claims, was essential too. I interviewed Lawrence for the book. The “\u003ca href=\"https://archive.org/details/reality-and-legend\">Legend vs. Reality\u003c/a>” piece was co-written by Zeena LaVey [now Zeena Schreck], who became estranged from her father. There was a lot of negativity surrounding that estrangement, and this piece was one of the main sources of it. There was also a very interesting book written by one of his right-hand men, Michael Aquino, who was there pretty much from the start of the Church. He wrote a 500-page account of the Church of Satan that he self-published. There’s a lot of bizarre stuff in there, because Michael Aquino was a true occult believer, while the case can be made that Anton LaVey was not. \u003c/p>\n\u003cfigure id=\"attachment_13966156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne.jpg\" alt=\"\" width=\"2000\" height=\"1351\" class=\"size-full wp-image-13966156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-1920x1297.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey on ‘The Joe Pyne Show’ in October 1967. LaVey remained unflappable against the combative interviewer. \u003ccite>(Walter Fischer / Courtesy of Alf Wahlgren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One thing that struck me about LaVey and the Church of Satan is how large they managed to appear, despite never having more than 300 members around the world at their peak. For how ingrained the Church of Satan is in today’s culture, were you surprised by how few people were involved with the organization?\u003c/strong>\u003c/p>\n\u003cp>LaVey just glommed on to a really interesting philosophy and he articulated it very, very well. People basically took from it what they wanted to take from it. Eventually, it got mixed in with the devil-worship brand of Satanism that was prevalent in the media in the ’80s, which led to the Satanic Panic, but he never really wanted that. LaVey’s thing was more of a philosophical approach to life that stressed the power of the individual and the power of people. It was very effective, and he was a very effective communicator. Even down to the way he looked, he is so associated with what we see as Satanism today, with his bald head and the Van Dyke beard and his pirate earring and arched eyebrows. There are questions about how big the organization actually was, and who knows if we’ll ever get the real numbers? I certainly couldn’t get the real numbers.\u003c/p>\n\u003cfigure id=\"attachment_13966157\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman.jpg\" alt=\"\" width=\"2000\" height=\"1325\" class=\"size-full wp-image-13966157\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-1920x1272.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">On a 1967 visit to magazine editor Forrest J. Ackerman’s ‘Ackermansion’ in Los Angeles, LaVey admired his friend’s vast collection of horror, sci-fi, and fantasy memorabilia. \u003ccite>(Walter Fischer / Courtesy of Alf Wahlgren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anton LaVey died in 1997. It’s now 2024. Do you think people are aware that a lot of what he was doing was for show, or is there still a contingent of folks who believe he was truly evil?\u003c/strong>\u003c/p>\n\u003cp>During the writing of the book, everyone I mentioned it to, at least in my circle, found it really interesting but I never heard anything especially negative. My feeling is that people do know who he actually was, and what he was actually about. Even if they don’t see him as a benign figure, they at least see him as someone who wasn’t diabolical. As I write in the book, there are cases to be made that he was indeed a bad guy in many respects, but overall, I think it was only during the time of the Satanic Panic where he was really considered to be this evil, diabolical figure. Over time, I think that’s changed.\u003c/p>\n\u003cfigure id=\"attachment_13966165\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512.jpg\" alt=\"\" width=\"1850\" height=\"2000\" class=\"size-full wp-image-13966165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512.jpg 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-1020x1103.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-768x830.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-1421x1536.jpg 1421w\" sizes=\"(max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey, founder and self-proclaimed high priest of the Church of Satan, is photographed at home in San Francisco with his pet lion on June 26, 1964. \u003ccite>(Art Frisch/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>But he did also have some garden-variety evil in him, in the form of domestic violence and animal abuse. Now that people have had a chance to reevaluate his spectacles — like \u003ca href=\"https://www.sfchronicle.com/oursf/article/church-satan-lavey-lion-18444967.php\">choosing to keep a pet lion in his home\u003c/a> — do you think we have the distance necessary to properly evaluate LaVey’s life and legacy?\u003c/strong>\u003c/p>\n\u003cp>That’s pretty much what I set out to do, but I have to say, I was helped along by an amazing discovery. While I was working on the book, I interviewed a man named Don Frew, who knew LaVey during the Satanic Panic era. He and his wife run \u003ca href=\"https://adocentynlibrary.org/\">a research center\u003c/a> in Albany, California. They have thousands of books on the occult, and on esoteric topics like UFOs and Satanism and paganism — all this stuff. Not only did Don know LaVey, he was friends with him and was able to get his hands on boxes upon boxes of original Church of Satan administrative materials, as well as correspondence between LaVey and his friends.\u003c/p>\n\u003cfigure id=\"attachment_13966158\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13966158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Doug Brod. \u003ccite>(Hachette Book Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s the status of the Church of Satan today?\u003c/strong>\u003c/p>\n\u003cp>As I write in the book, it’s no longer a clubhouse that’s centrally located in San Francisco. Now it’s more of an internet-based organization. There’s still a Church of Satan with its headquarters in Poughkeepsie, New York. It’s headed up by a married couple, Peter H. Gilmore and Peggy Nadramia, and there are still many followers. If you go on Facebook, you’ll see there are still people who really follow the LaVeyan form of Satanism, but it’s more dispersed now. It’s not so much an organized system. It’s more people doing their own thing.\u003c/p>\n\u003cp>[aside postID='pop_111144']I will say this for the Church of Satan itself: \u003ca href=\"https://www.churchofsatan.com/\">their website is really fascinating\u003c/a>. It was also a very good resource for some of the research in this book. Their X — formerly Twitter — account is \u003ca href=\"https://x.com/ChurchofSatan\">very funny and very droll\u003c/a>. They’re constantly on the defense, which is amusing, but yes, it’s still around. There are also other organizations that base themselves on the Church of Satan. There’s the \u003ca href=\"https://thesatanictemple.com/?srsltid=AfmBOorurPbZKtfu_ZLyee9NwLmRjQ5WhGsTrCuUmxchw0KB2hXbdDRW\">Satanic Temple\u003c/a>, which is more like a social justice organization. They do a lot of stuff with the First Amendment. They put up, like, \u003ca href=\"https://www.bbc.com/news/magazine-33682878\">Baphomet\u003c/a> statues alongside the Ten Commandments at various state halls. They’re a very active protest organization that’s less about following satanic tenets or satanic rules and more about using the idea of Satan worship to counter the overt Christian nationalism in this country.\u003c/p>\n\u003cfigure id=\"attachment_13966160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey in the early ’70s, when the Church of Satan founder was arguably at his most productive. \u003ccite>(Stanton and Sharon LaVey family / Courtesy of Alf Wahlgren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In terms of what this book can tell us about the times we live in now, do you see a lot of symmetry between the world LaVey lived in and the present moment?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. People are always looking for organizations where like-minded people share their ideas and philosophies. The thing that depresses me about what’s going on today is that it feels like an amped-up version of the Satanic Panic, which happened in the ’80s and really made LaVey go into retreat, because the Church of Satan was being blamed for a lot of things it had nothing to do with. But now you have QAnon and various other belief systems where everything is conspiracy theories and lies. People are being bombarded with lies, and groups are being scapegoated as a result, which feels a lot like a repeat of the Satanic Panic. That’s something that’s still going on today. It has nothing to do with LaVey, per se, but it has a lot to do with how he was seen in the ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13966164\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey, founder of the Church of Satan, rises out from a hidden corridor behind a false fireplace in his study in 1967. \u003ccite>(Bettmann/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell me about the person you’ll be chatting with on Tuesday here in San Francisco. Do they have ties to the Church of Satan as well?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://jackboulware.substack.com/\">Jack Boulware\u003c/a> will be in conversation with me, and yes! He was someone I interviewed for the book because he knew LaVey. He actually \u003ca href=\"https://jackboulware.substack.com/p/32-years-of-satan\">published a fashion shoot\u003c/a> with LaVey in a magazine called \u003cem>The Nose\u003c/em> many years ago. He was friendly with LaVey for a period, so I’m hoping he’ll share some of his stories at the event too.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Doug Brod appears in conversation with Jack Boulware on Tuesday, Oct. 8, at 540 Rogues (540 Clement St., San Francisco), presented by Green Apple Books. \u003ca href=\"https://greenapplebooks.com/event/2024-10-08/offsite-doug-brod-jack-boulware\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Church of Satan founder created a headline-grabbing persona. A new book by Doug Brod dispels its myths.","status":"publish","parent":0,"modified":1728167704,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":2030},"headData":{"title":"Excavating the Truth of Anton LaVey’s Devilish Life | KQED","description":"The Church of Satan founder created a headline-grabbing persona. A new book by Doug Brod dispels its myths.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Excavating the Truth of Anton LaVey’s Devilish Life","datePublished":"2024-10-05T10:33:17-07:00","dateModified":"2024-10-05T15:35:04-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Zack Ruskin","nprStoryId":"kqed-13966153","templateType":"standard","featuredImageType":"standard","subhead":"The Church of Satan founder created a headline-grabbing persona. A new book by Doug Brod dispels its myths.","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966153/anton-lavey-church-of-satan-doug-brod-book","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’d never know it these days, but for decades, 6114 California Street was one of the \u003ca href=\"https://www.churchofsatan.com/faq-the-black-house/\">most infamous addresses\u003c/a> in all of San Francisco. As the longtime headquarters of \u003ca href=\"https://www.kqed.org/news/11964949/how-the-church-of-satan-was-born-in-san-francisco\">Anton LaVey’s Church of Satan\u003c/a>, the house — painted completely black — hosted a rotating menagerie of colorful guests (including, at one point, \u003ca href=\"https://www.sfchronicle.com/oursf/article/church-satan-lavey-lion-18444967.php\">a lion\u003c/a>) visiting the sanctuary devoted to Satan.\u003c/p>\n\u003cp>In his revelatory new biography of LaVey, author Doug Brod attempts to parse fact from fiction, detailing how a Jewish boy from Chicago left an indelible dark mark on popular culture — and found himself labeled as a face of evil to many Americans.\u003c/p>\n\u003cfigure id=\"attachment_13966166\" class=\"wp-caption aligncenter\" style=\"max-width: 1734px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672.jpg\" alt=\"\" width=\"1734\" height=\"2000\" class=\"size-full wp-image-13966166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-800x923.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-1020x1176.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-768x886.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515036094-scaled-e1697741210672-1332x1536.jpg 1332w\" sizes=\"(max-width: 1734px) 100vw, 1734px\">\u003cfigcaption class=\"wp-caption-text\">Anton Szandor LaVey, the leader of the First Church of Satan, taps his gum-chewing 3-year-old daughter, Zeena Galatea LaVey, on the head with a sword during “baptism ceremonies” in San Francisco on May 23, 1967. A naked woman reclines on the altar during the anti-religious ceremony. \u003ccite>(Bettmann/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Relying on more than 50 interviews as well as church documents and personal correspondence, \u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/doug-brod/born-with-a-tail/9781668644690/\">Born With a Tail: The Devilish Life and Wicked Times of Anton Szandor LaVey\u003c/a>\u003c/em> (Hachette; $31) shows that while many of LaVey’s most outlandish claims were clearly lies, his brilliance at combining philosophy and outrage put him on equal standing with history’s great charlatans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11964949","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>One part pope, nine parts P. T. Barnum, LaVey nonetheless cultivated a devoted following whose exploits regularly made headlines and late-night television appearances. But the occult trappings of LaVey’s organization belied its true intent; no one was literally worshiping Satan.\u003c/p>\n\u003cp>“The church’s idea was more like a self-empowerment group,” Brod says. “LaVey wanted people to indulge in their carnal desires. It was basically a hedonistic philosophy — some might say it was a greedy and selfish philosophy — but it was about always putting the individual first.”\u003c/p>\n\u003cfigure id=\"attachment_13966159\" class=\"wp-caption aligncenter\" style=\"max-width: 1325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC.jpg\" alt=\"\" width=\"1325\" height=\"2000\" class=\"size-full wp-image-13966159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Born-with-a-Tail_HC-1018x1536.jpg 1018w\" sizes=\"(max-width: 1325px) 100vw, 1325px\">\u003cfigcaption class=\"wp-caption-text\">‘Born With a Tail: The Devilish Life and Wicked Times of Anton Szandor LaVey,’ by Doug Brod. \u003ccite>(Hachette Book Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his 368-page biography, Brod recounts the Church of Satan’s colorful history from its inception at the Black House in 1966, and the Satanic marriage ceremonies and baptisms the group publicly performed to earn early press, to the devastating backlash LaVey endured as a result of the \u003ca href=\"https://en.wikipedia.org/wiki/Satanic_panic\">Satanic Panic\u003c/a> of the 1980s and his eventual retreat from public life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ahead of \u003ca href=\"https://greenapplebooks.com/event/2024-10-08/offsite-doug-brod-jack-boulware\">an appearance on Tuesday, Oct. 8\u003c/a> at 540 Rogues in San Francisco, Brod spoke with KQED by phone to discuss LaVey’s lasting impact, what his research uncovered, and where the Church of Satan stands today.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13966161\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511.jpg\" alt=\"\" width=\"2000\" height=\"1428\" class=\"size-full wp-image-13966161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515103210-scaled-e1697737890511-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton Szandor LaVey, head of the First Satanic Church, is assisted by his partner, Diane, as they go through a satanic ceremony in 1970. \u003ccite>(Bettmann/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Getting to the bottom of Anton LaVey’s life seems like a challenging task. Where did you start? Were the fact-checks previously published by journalist Lawrence Wright and LaVey’s daughters Zeena helpful?\u003c/strong>\u003c/p>\n\u003cp>One thing that was really essential for me was going into the archives of the \u003cem>San Francisco Chronicle\u003c/em> and the \u003cem>Examiner\u003c/em>, because he was in the papers constantly: on the front page, in columns, and as a news topic. He was also on local TV news programs. Contemporaneous stories are a little more trustworthy, and perhaps more reliable, then people hearing stuff secondhand 30 years later. Yes, that \u003ca href=\"https://www.rollingstone.com/culture/culture-features/anton-levey-interview-1235074429/\">Lawrence Wright piece in \u003cem>Rolling Stone\u003c/em>\u003c/a>, where he was able to debunk some of LaVey’s more outlandish claims, was essential too. I interviewed Lawrence for the book. The “\u003ca href=\"https://archive.org/details/reality-and-legend\">Legend vs. Reality\u003c/a>” piece was co-written by Zeena LaVey [now Zeena Schreck], who became estranged from her father. There was a lot of negativity surrounding that estrangement, and this piece was one of the main sources of it. There was also a very interesting book written by one of his right-hand men, Michael Aquino, who was there pretty much from the start of the Church. He wrote a 500-page account of the Church of Satan that he self-published. There’s a lot of bizarre stuff in there, because Michael Aquino was a true occult believer, while the case can be made that Anton LaVey was not. \u003c/p>\n\u003cfigure id=\"attachment_13966156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne.jpg\" alt=\"\" width=\"2000\" height=\"1351\" class=\"size-full wp-image-13966156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8-Anton-with-Joe-Pyne-1920x1297.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey on ‘The Joe Pyne Show’ in October 1967. LaVey remained unflappable against the combative interviewer. \u003ccite>(Walter Fischer / Courtesy of Alf Wahlgren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One thing that struck me about LaVey and the Church of Satan is how large they managed to appear, despite never having more than 300 members around the world at their peak. For how ingrained the Church of Satan is in today’s culture, were you surprised by how few people were involved with the organization?\u003c/strong>\u003c/p>\n\u003cp>LaVey just glommed on to a really interesting philosophy and he articulated it very, very well. People basically took from it what they wanted to take from it. Eventually, it got mixed in with the devil-worship brand of Satanism that was prevalent in the media in the ’80s, which led to the Satanic Panic, but he never really wanted that. LaVey’s thing was more of a philosophical approach to life that stressed the power of the individual and the power of people. It was very effective, and he was a very effective communicator. Even down to the way he looked, he is so associated with what we see as Satanism today, with his bald head and the Van Dyke beard and his pirate earring and arched eyebrows. There are questions about how big the organization actually was, and who knows if we’ll ever get the real numbers? I certainly couldn’t get the real numbers.\u003c/p>\n\u003cfigure id=\"attachment_13966157\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman.jpg\" alt=\"\" width=\"2000\" height=\"1325\" class=\"size-full wp-image-13966157\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/7-Forrest-Ackerman-1920x1272.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">On a 1967 visit to magazine editor Forrest J. Ackerman’s ‘Ackermansion’ in Los Angeles, LaVey admired his friend’s vast collection of horror, sci-fi, and fantasy memorabilia. \u003ccite>(Walter Fischer / Courtesy of Alf Wahlgren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anton LaVey died in 1997. It’s now 2024. Do you think people are aware that a lot of what he was doing was for show, or is there still a contingent of folks who believe he was truly evil?\u003c/strong>\u003c/p>\n\u003cp>During the writing of the book, everyone I mentioned it to, at least in my circle, found it really interesting but I never heard anything especially negative. My feeling is that people do know who he actually was, and what he was actually about. Even if they don’t see him as a benign figure, they at least see him as someone who wasn’t diabolical. As I write in the book, there are cases to be made that he was indeed a bad guy in many respects, but overall, I think it was only during the time of the Satanic Panic where he was really considered to be this evil, diabolical figure. Over time, I think that’s changed.\u003c/p>\n\u003cfigure id=\"attachment_13966165\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512.jpg\" alt=\"\" width=\"1850\" height=\"2000\" class=\"size-full wp-image-13966165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512.jpg 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-1020x1103.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-768x830.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1310361512-1421x1536.jpg 1421w\" sizes=\"(max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey, founder and self-proclaimed high priest of the Church of Satan, is photographed at home in San Francisco with his pet lion on June 26, 1964. \u003ccite>(Art Frisch/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>But he did also have some garden-variety evil in him, in the form of domestic violence and animal abuse. Now that people have had a chance to reevaluate his spectacles — like \u003ca href=\"https://www.sfchronicle.com/oursf/article/church-satan-lavey-lion-18444967.php\">choosing to keep a pet lion in his home\u003c/a> — do you think we have the distance necessary to properly evaluate LaVey’s life and legacy?\u003c/strong>\u003c/p>\n\u003cp>That’s pretty much what I set out to do, but I have to say, I was helped along by an amazing discovery. While I was working on the book, I interviewed a man named Don Frew, who knew LaVey during the Satanic Panic era. He and his wife run \u003ca href=\"https://adocentynlibrary.org/\">a research center\u003c/a> in Albany, California. They have thousands of books on the occult, and on esoteric topics like UFOs and Satanism and paganism — all this stuff. Not only did Don know LaVey, he was friends with him and was able to get his hands on boxes upon boxes of original Church of Satan administrative materials, as well as correspondence between LaVey and his friends.\u003c/p>\n\u003cfigure id=\"attachment_13966158\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13966158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Doug-Brod-Headshot-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Doug Brod. \u003ccite>(Hachette Book Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s the status of the Church of Satan today?\u003c/strong>\u003c/p>\n\u003cp>As I write in the book, it’s no longer a clubhouse that’s centrally located in San Francisco. Now it’s more of an internet-based organization. There’s still a Church of Satan with its headquarters in Poughkeepsie, New York. It’s headed up by a married couple, Peter H. Gilmore and Peggy Nadramia, and there are still many followers. If you go on Facebook, you’ll see there are still people who really follow the LaVeyan form of Satanism, but it’s more dispersed now. It’s not so much an organized system. It’s more people doing their own thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_111144","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I will say this for the Church of Satan itself: \u003ca href=\"https://www.churchofsatan.com/\">their website is really fascinating\u003c/a>. It was also a very good resource for some of the research in this book. Their X — formerly Twitter — account is \u003ca href=\"https://x.com/ChurchofSatan\">very funny and very droll\u003c/a>. They’re constantly on the defense, which is amusing, but yes, it’s still around. There are also other organizations that base themselves on the Church of Satan. There’s the \u003ca href=\"https://thesatanictemple.com/?srsltid=AfmBOorurPbZKtfu_ZLyee9NwLmRjQ5WhGsTrCuUmxchw0KB2hXbdDRW\">Satanic Temple\u003c/a>, which is more like a social justice organization. They do a lot of stuff with the First Amendment. They put up, like, \u003ca href=\"https://www.bbc.com/news/magazine-33682878\">Baphomet\u003c/a> statues alongside the Ten Commandments at various state halls. They’re a very active protest organization that’s less about following satanic tenets or satanic rules and more about using the idea of Satan worship to counter the overt Christian nationalism in this country.\u003c/p>\n\u003cfigure id=\"attachment_13966160\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/14-Anton-in-black-cap-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey in the early ’70s, when the Church of Satan founder was arguably at his most productive. \u003ccite>(Stanton and Sharon LaVey family / Courtesy of Alf Wahlgren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In terms of what this book can tell us about the times we live in now, do you see a lot of symmetry between the world LaVey lived in and the present moment?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. People are always looking for organizations where like-minded people share their ideas and philosophies. The thing that depresses me about what’s going on today is that it feels like an amped-up version of the Satanic Panic, which happened in the ’80s and really made LaVey go into retreat, because the Church of Satan was being blamed for a lot of things it had nothing to do with. But now you have QAnon and various other belief systems where everything is conspiracy theories and lies. People are being bombarded with lies, and groups are being scapegoated as a result, which feels a lot like a repeat of the Satanic Panic. That’s something that’s still going on today. It has nothing to do with LaVey, per se, but it has a lot to do with how he was seen in the ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13966164\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-515098326-scaled-e1697741191291-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anton LaVey, founder of the Church of Satan, rises out from a hidden corridor behind a false fireplace in his study in 1967. \u003ccite>(Bettmann/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell me about the person you’ll be chatting with on Tuesday here in San Francisco. Do they have ties to the Church of Satan as well?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://jackboulware.substack.com/\">Jack Boulware\u003c/a> will be in conversation with me, and yes! He was someone I interviewed for the book because he knew LaVey. He actually \u003ca href=\"https://jackboulware.substack.com/p/32-years-of-satan\">published a fashion shoot\u003c/a> with LaVey in a magazine called \u003cem>The Nose\u003c/em> many years ago. He was friendly with LaVey for a period, so I’m hoping he’ll share some of his stories at the event too.\u003c/p>\n\u003chr>\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>Doug Brod appears in conversation with Jack Boulware on Tuesday, Oct. 8, at 540 Rogues (540 Clement St., San Francisco), presented by Green Apple Books. \u003ca href=\"https://greenapplebooks.com/event/2024-10-08/offsite-doug-brod-jack-boulware\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966153/anton-lavey-church-of-satan-doug-brod-book","authors":["byline_arts_13966153"],"categories":["arts_1","arts_73","arts_7862"],"tags":["arts_22339","arts_10278","arts_22340","arts_1146"],"featImg":"arts_13966163","label":"arts"},"arts_13966099":{"type":"posts","id":"arts_13966099","meta":{"index":"posts_1716263798","site":"arts","id":"13966099","score":null,"sort":[1728068401000]},"guestAuthors":[],"slug":"patti-smith-and-lynn-goldsmith-discuss-new-book-in-reopened-oakland-theater","title":"Patti Smith and Lynn Goldsmith Discuss New Book in Newly Reopened Theater","publishDate":1728068401,"format":"standard","headTitle":"Patti Smith and Lynn Goldsmith Discuss New Book in Newly Reopened Theater | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Without question, Robert Mappelthorpe is the photographer with which poet, writer and musician Patti Smith will always most closely be associated. As his working partner, lover and lifetime confidant, Smith beautifully chronicled their relationship in the award-winning memoir \u003cem>Just Kids\u003c/em>; Mappelthorpe, for his part, shot the now-iconic cover portrait for Smith’s debut album, \u003cem>Horses\u003c/em>. \u003c/p>\n\u003cp>[aside postID='news_12007103']Meanwhile, Smith’s relationship with photographer Lynn Goldsmith, who three years after \u003cem>Horses\u003c/em> shot the cover for Smith’s commercial breakthrough \u003cem>Easter\u003c/em>, is the subject of another book, \u003cem>Before Easter After\u003c/em> (Rizzoli; $65). Combining Goldsmith’s striking color portraits with Smith’s poetry and reflections of the era, it chronicles a secondary but no less important relationship between Smith and the camera lens.\u003c/p>\n\u003cp>On the heels of Smith’s appearance at the Hardly Strictly Bluegrass Festival in Golden Gate Park, she and Goldsmith appear Monday in a conversation moderated by KQED contributor Emma Silvers. Along with Goldsmith’s photography and the pair’s stories of a pivotal era, the night also marks the public reopening of the Calvin Simmons Theatre, located in Oakland’s historic Henry J. Kaiser Center for the Arts, after a renovation. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Patti Smith and Lynn Goldsmith appear in conversation on Monday, Oct. 7, at the Calvin Simmons Theatre in Oakland. \u003ca href=\"http://events.noisepop.com/events/2024/10/7/an-intimate-evening-with-lynn-goldsmith-and-patti-smith-in-conversation-tickets\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The poet laureate of 1970s NYC punk and prolific photographer-to-the-stars appear in conversation. ","status":"publish","parent":0,"modified":1728068913,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":227},"headData":{"title":"Patti Smith and Lynn Goldsmith Discuss New Book in Newly Reopened Theater | KQED","description":"The poet laureate of 1970s NYC punk and prolific photographer-to-the-stars appear in conversation. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Patti Smith and Lynn Goldsmith Discuss New Book in Newly Reopened Theater","datePublished":"2024-10-04T12:00:01-07:00","dateModified":"2024-10-04T12:08:33-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13966099","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13966099/patti-smith-and-lynn-goldsmith-discuss-new-book-in-reopened-oakland-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without question, Robert Mappelthorpe is the photographer with which poet, writer and musician Patti Smith will always most closely be associated. As his working partner, lover and lifetime confidant, Smith beautifully chronicled their relationship in the award-winning memoir \u003cem>Just Kids\u003c/em>; Mappelthorpe, for his part, shot the now-iconic cover portrait for Smith’s debut album, \u003cem>Horses\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_12007103","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Smith’s relationship with photographer Lynn Goldsmith, who three years after \u003cem>Horses\u003c/em> shot the cover for Smith’s commercial breakthrough \u003cem>Easter\u003c/em>, is the subject of another book, \u003cem>Before Easter After\u003c/em> (Rizzoli; $65). Combining Goldsmith’s striking color portraits with Smith’s poetry and reflections of the era, it chronicles a secondary but no less important relationship between Smith and the camera lens.\u003c/p>\n\u003cp>On the heels of Smith’s appearance at the Hardly Strictly Bluegrass Festival in Golden Gate Park, she and Goldsmith appear Monday in a conversation moderated by KQED contributor Emma Silvers. Along with Goldsmith’s photography and the pair’s stories of a pivotal era, the night also marks the public reopening of the Calvin Simmons Theatre, located in Oakland’s historic Henry J. Kaiser Center for the Arts, after a renovation. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Patti Smith and Lynn Goldsmith appear in conversation on Monday, Oct. 7, at the Calvin Simmons Theatre in Oakland. \u003ca href=\"http://events.noisepop.com/events/2024/10/7/an-intimate-evening-with-lynn-goldsmith-and-patti-smith-in-conversation-tickets\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966099/patti-smith-and-lynn-goldsmith-discuss-new-book-in-reopened-oakland-theater","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_69","arts_22313","arts_70"],"tags":["arts_7623","arts_1143","arts_822","arts_913","arts_585"],"featImg":"arts_13966104","label":"arts_140"},"arts_13965980":{"type":"posts","id":"arts_13965980","meta":{"index":"posts_1716263798","site":"arts","id":"13965980","score":null,"sort":[1727897911000]},"guestAuthors":[],"slug":"the-message-book-review-ta-nehisi-coates-senegal-south-carolina-middle-east","title":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","publishDate":1727897911,"format":"aside","headTitle":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13965984\" class=\"wp-caption aligncenter\" style=\"max-width: 1377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png\" alt=\"A book cover featuring patches of writing and torn away flyers on a wall.\" width=\"1377\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png 1377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1058x1536.png 1058w\" sizes=\"(max-width: 1377px) 100vw, 1377px\">\u003cfigcaption class=\"wp-caption-text\">‘The Message’ by Ta-Nehisi Coates. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ta-Nehisi Coates always writes with a purpose, so naming his latest collection \u003cem>The Message\u003c/em> is nothing if not on-brand. But what’s the actual message? Consisting of three pieces of non-fiction, the book is part memoir, part travelogue, and part writing primer. It covers his recent trips to Dakar, Senegal; Columbia, South Carolina; and various cities and towns in the Middle East.\u003c/p>\n\u003cp>He writes in the introduction that the essays fulfill a promise to a Howard University writing class he taught in 2022: “I bring my belated assignment … I’ve addressed these notes directly to you, though I confess that I am thinking of young writers everywhere whose task is nothing less than doing their part to save the world.”\u003c/p>\n\u003cp>[aside postid='arts_13965937']Coates features snippets of his biography in each essay, but always returns to lessons for writers, as in this reflection during his first ever visit to Africa: “There are dimensions in your words — rhythm, content, shape, feeling … The accretion of imperfect, discomfiting life must be seen and felt so that the space in your mind, gray, automatic, and square, fills with angle, color, and curve.” These pilgrimages, for him, help ground his powerful writing about race. As he reflects on his visit to Gorée Island, the place from which tens of millions of Africans departed into a lifetime of slavery, he confesses to “welling up, grieving for something, in the grips of some feeling I am still, even as I write this, struggling to name.”\u003c/p>\n\u003cp>The second essay examines racism closer to home, as Coates journeys to a South Carolina town where the school board was considering banning his 2015 book \u003cem>Between the World and Me\u003c/em> because, in part, students in an Advanced Placement English class felt “ashamed to be Caucasian” when they read it. Supporters of the teacher manage to show up in enough force to defeat the ban, but Coates sees in it the power of story. A middle-aged white teacher in Chapin, South Carolina, read his book — a letter to his teenage-son about the realities of being Black in the United States — and decided to use it as an example of how to write a persuasive essay. “We have lived under a class of people who ruled American culture with a flaming cross for so long that we regularly cease to notice the import of being ruled at all,” writes Coates.\u003c/p>\n\u003cp>The final, and longest, essay encompasses a 10-day trip Coates takes to the Middle East. Like his journey to Senegal, it’s his first time in the region, and the experience really opens his eyes. “Of all the worlds I have ever explored, I don’t think any shone so bright, so intense, so immediately as Palestine.” That’s because everywhere he looks he sees familiar signs of subjugation. The parallels between being Black in America and Palestinian in the Middle East are myriad. “The state had one message to the Palestinians within its borders … ‘You’d really be better off somewhere else,’” writes Coates. But while it’s a message Coates clearly conveys in his essay, he realizes it’s not his story to tell. “If Palestinians are to be truly seen it will be through stories woven by their own hands — not by their plunderers, not even by their comrades.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Message’ by Ta-Nehisi Coates is out now, via One World.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"‘The Message’ contains three pieces of non-fiction. It is part memoir, part travelogue and part writing primer.","status":"publish","parent":0,"modified":1727897911,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":616},"headData":{"title":"Book Review: ‘The Message‘ by Ta-Nehisi Coates | KQED","description":"‘The Message’ contains three pieces of non-fiction. It is part memoir, part travelogue and part writing primer.","ogTitle":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","ogDescription":"","ogImgId":"","twTitle":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘The Message‘ by Ta-Nehisi Coates %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","datePublished":"2024-10-02T12:38:31-07:00","dateModified":"2024-10-02T12:38:31-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Rob Merrill, Associated Press","nprStoryId":"kqed-13965980","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965980/the-message-book-review-ta-nehisi-coates-senegal-south-carolina-middle-east","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965984\" class=\"wp-caption aligncenter\" style=\"max-width: 1377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png\" alt=\"A book cover featuring patches of writing and torn away flyers on a wall.\" width=\"1377\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png 1377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1058x1536.png 1058w\" sizes=\"(max-width: 1377px) 100vw, 1377px\">\u003cfigcaption class=\"wp-caption-text\">‘The Message’ by Ta-Nehisi Coates. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ta-Nehisi Coates always writes with a purpose, so naming his latest collection \u003cem>The Message\u003c/em> is nothing if not on-brand. But what’s the actual message? Consisting of three pieces of non-fiction, the book is part memoir, part travelogue, and part writing primer. It covers his recent trips to Dakar, Senegal; Columbia, South Carolina; and various cities and towns in the Middle East.\u003c/p>\n\u003cp>He writes in the introduction that the essays fulfill a promise to a Howard University writing class he taught in 2022: “I bring my belated assignment … I’ve addressed these notes directly to you, though I confess that I am thinking of young writers everywhere whose task is nothing less than doing their part to save the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965937","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Coates features snippets of his biography in each essay, but always returns to lessons for writers, as in this reflection during his first ever visit to Africa: “There are dimensions in your words — rhythm, content, shape, feeling … The accretion of imperfect, discomfiting life must be seen and felt so that the space in your mind, gray, automatic, and square, fills with angle, color, and curve.” These pilgrimages, for him, help ground his powerful writing about race. As he reflects on his visit to Gorée Island, the place from which tens of millions of Africans departed into a lifetime of slavery, he confesses to “welling up, grieving for something, in the grips of some feeling I am still, even as I write this, struggling to name.”\u003c/p>\n\u003cp>The second essay examines racism closer to home, as Coates journeys to a South Carolina town where the school board was considering banning his 2015 book \u003cem>Between the World and Me\u003c/em> because, in part, students in an Advanced Placement English class felt “ashamed to be Caucasian” when they read it. Supporters of the teacher manage to show up in enough force to defeat the ban, but Coates sees in it the power of story. A middle-aged white teacher in Chapin, South Carolina, read his book — a letter to his teenage-son about the realities of being Black in the United States — and decided to use it as an example of how to write a persuasive essay. “We have lived under a class of people who ruled American culture with a flaming cross for so long that we regularly cease to notice the import of being ruled at all,” writes Coates.\u003c/p>\n\u003cp>The final, and longest, essay encompasses a 10-day trip Coates takes to the Middle East. Like his journey to Senegal, it’s his first time in the region, and the experience really opens his eyes. “Of all the worlds I have ever explored, I don’t think any shone so bright, so intense, so immediately as Palestine.” That’s because everywhere he looks he sees familiar signs of subjugation. The parallels between being Black in America and Palestinian in the Middle East are myriad. “The state had one message to the Palestinians within its borders … ‘You’d really be better off somewhere else,’” writes Coates. But while it’s a message Coates clearly conveys in his essay, he realizes it’s not his story to tell. “If Palestinians are to be truly seen it will be through stories woven by their own hands — not by their plunderers, not even by their comrades.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Message’ by Ta-Nehisi Coates is out now, via One World.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965980/the-message-book-review-ta-nehisi-coates-senegal-south-carolina-middle-east","authors":["byline_arts_13965980"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_21679","arts_769","arts_585"],"featImg":"arts_13965985","label":"arts_140"},"arts_13965935":{"type":"posts","id":"arts_13965935","meta":{"index":"posts_1716263798","site":"arts","id":"13965935","score":null,"sort":[1727895334000]},"guestAuthors":[],"slug":"alice-wong-san-francisco-disability-advocate-2024-macarthur-genius-grant-winners","title":"Alice Wong, SF Disability Advocate, Wins MacArthur ‘Genius Grant’","publishDate":1727895334,"format":"standard","headTitle":"Alice Wong, SF Disability Advocate, Wins MacArthur ‘Genius Grant’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco disability justice activist and beloved author \u003ca href=\"https://www.kqed.org/news/tag/alice-wong\">Alice Wong\u003c/a> has been selected to receive a MacArthur ‘genius grant.’\u003c/p>\n\u003cp>The John D. and Catherine T. MacArthur Foundation announced its 22 selections for the 2024 class of fellows yesterday and introduced Wong via a short video posted to X.\u003c/p>\n\u003cp>https://twitter.com/macfound/status/1841152664039551115\u003c/p>\n\u003cp>Wong also \u003ca href=\"https://twitter.com/SFdirewolf/status/1841166111511101524\">announced the news on X\u003c/a>, stating: “Hard to believe but I am a 2024 @macfound Fellow! I am accepting the MacArthur Fellowship amidst the genocide happening in Gaza and indiscriminate terroristic attacks in Lebanon by the state of Israel on the 76th year of their occupation of Palestine.”\u003c/p>\n\u003cp>Recipients of the grant will each receive $800,000 over five years to dedicate to their particular disciplines. MacArthur fellows are nominated by their peers and are selected by the foundation on the basis of “exceptional creativity, as demonstrated through a track record of significant achievement, and manifest promise for important future advances.” The grant is intended to enable fellows to pursue their most innovative ideas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong, the founding director of the \u003ca href=\"https://disabilityvisibilityproject.com/\">Disability Visibility Project\u003c/a>, was born with a progressive neuromuscular disability. She has worked tirelessly to draw attention to the hardships and discrimination faced by Americans living with disabilities. Wong has amplified the voices of disabled writers with two essay anthologies, 2020’s \u003cem>Disability Visibility\u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/news/11984990/alice-wongs-disability-intimacy-anthology-is-a-deep-dive-into-relationships-and-community\">\u003cem>Disability Intimacy\u003c/em>\u003c/a>. She also released a memoir, \u003cem>Year of the Tiger: An Activist’s Life\u003c/em>, in 2022.\u003c/p>\n\u003cp>[aside postid='news_11934545']After suffering a series of serious medical crises that year, \u003ca href=\"https://www.kqed.org/news/11934545/my-life-is-in-my-caregivers-hands-disability-advocate-alice-wongs-vision-for-a-new-approach-to-health-care\">Wong wrote for KQED\u003c/a>: “What I’ve known in my bones during my entire 48 years on this planet is that nothing is certain, and that we must build a world that acknowledges our interdependence with one another so no one ever falls through the cracks … I know we can transform the world if we have the political and collective will to do so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wong was the only 2024 fellow to hail from the Bay Area. Two other Californians made the list, however. Pasadena’s Joseph Parker, an evolutionary biologist working at the California Institute of Technology, and Juan Felipe Herrera, a poet, educator and writer based in Fresno.\u003c/p>\n\n","blocks":[],"excerpt":"Wong, one of this year's 22 MacArthur Foundation fellows, will receive $800,000 over five years. ","status":"publish","parent":0,"modified":1727895334,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":380},"headData":{"title":"Alice Wong, SF Disability Advocate, Wins MacArthur ‘Genius Grant’ | KQED","description":"Wong, one of this year's 22 MacArthur Foundation fellows, will receive $800,000 over five years. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Alice Wong, SF Disability Advocate, Wins MacArthur ‘Genius Grant’","datePublished":"2024-10-02T11:55:34-07:00","dateModified":"2024-10-02T11:55:34-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13965935","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13965935/alice-wong-san-francisco-disability-advocate-2024-macarthur-genius-grant-winners","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco disability justice activist and beloved author \u003ca href=\"https://www.kqed.org/news/tag/alice-wong\">Alice Wong\u003c/a> has been selected to receive a MacArthur ‘genius grant.’\u003c/p>\n\u003cp>The John D. and Catherine T. MacArthur Foundation announced its 22 selections for the 2024 class of fellows yesterday and introduced Wong via a short video posted to X.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1841152664039551115"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Wong also \u003ca href=\"https://twitter.com/SFdirewolf/status/1841166111511101524\">announced the news on X\u003c/a>, stating: “Hard to believe but I am a 2024 @macfound Fellow! I am accepting the MacArthur Fellowship amidst the genocide happening in Gaza and indiscriminate terroristic attacks in Lebanon by the state of Israel on the 76th year of their occupation of Palestine.”\u003c/p>\n\u003cp>Recipients of the grant will each receive $800,000 over five years to dedicate to their particular disciplines. MacArthur fellows are nominated by their peers and are selected by the foundation on the basis of “exceptional creativity, as demonstrated through a track record of significant achievement, and manifest promise for important future advances.” The grant is intended to enable fellows to pursue their most innovative ideas.\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>Wong, the founding director of the \u003ca href=\"https://disabilityvisibilityproject.com/\">Disability Visibility Project\u003c/a>, was born with a progressive neuromuscular disability. She has worked tirelessly to draw attention to the hardships and discrimination faced by Americans living with disabilities. Wong has amplified the voices of disabled writers with two essay anthologies, 2020’s \u003cem>Disability Visibility\u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/news/11984990/alice-wongs-disability-intimacy-anthology-is-a-deep-dive-into-relationships-and-community\">\u003cem>Disability Intimacy\u003c/em>\u003c/a>. She also released a memoir, \u003cem>Year of the Tiger: An Activist’s Life\u003c/em>, in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11934545","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>After suffering a series of serious medical crises that year, \u003ca href=\"https://www.kqed.org/news/11934545/my-life-is-in-my-caregivers-hands-disability-advocate-alice-wongs-vision-for-a-new-approach-to-health-care\">Wong wrote for KQED\u003c/a>: “What I’ve known in my bones during my entire 48 years on this planet is that nothing is certain, and that we must build a world that acknowledges our interdependence with one another so no one ever falls through the cracks … I know we can transform the world if we have the political and collective will to do so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wong was the only 2024 fellow to hail from the Bay Area. Two other Californians made the list, however. Pasadena’s Joseph Parker, an evolutionary biologist working at the California Institute of Technology, and Juan Felipe Herrera, a poet, educator and writer based in Fresno.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965935/alice-wong-san-francisco-disability-advocate-2024-macarthur-genius-grant-winners","authors":["11242"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_4459","arts_9693","arts_10278","arts_3590"],"featImg":"arts_13965940","label":"arts"},"arts_13965937":{"type":"posts","id":"arts_13965937","meta":{"index":"posts_1716263798","site":"arts","id":"13965937","score":null,"sort":[1727886553000]},"guestAuthors":[],"slug":"halloween-san-francisco-1970s-history-photos","title":"Revisit Halloween in 1970s San Francisco With This Photo Book","publishDate":1727886553,"format":"standard","headTitle":"Revisit Halloween in 1970s San Francisco With This Photo Book | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>[aside postID='arts_13962878']It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allen Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Ken Werner’s photos of long-ago parties capture the creative, raunchy and irreverent energy of the era. ","status":"publish","parent":0,"modified":1728232096,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1232},"headData":{"title":"1970s Halloween Photos Capture a Bygone San Francisco | KQED","description":"Ken Werner’s photos of long-ago parties capture the creative, raunchy and irreverent energy of the era. ","ogTitle":"Revisit Halloween in 1970s San Francisco With This Photo Book","ogDescription":"","ogImgId":"","twTitle":"Revisit Halloween in 1970s San Francisco With This Photo Book","twDescription":"","twImgId":"","socialTitle":"1970s Halloween Photos Capture a Bygone San Francisco %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Revisit Halloween in 1970s San Francisco With This Photo Book","datePublished":"2024-10-02T09:29:13-07:00","dateModified":"2024-10-06T09:28:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13965937","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13965937/halloween-san-francisco-1970s-history-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962878","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\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>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allen Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965937/halloween-san-francisco-1970s-history-photos","authors":["61"],"categories":["arts_1","arts_73","arts_7862","arts_70"],"tags":["arts_3547","arts_10342","arts_10278","arts_3226","arts_822","arts_1146","arts_1020","arts_585"],"featImg":"arts_13965953","label":"arts"},"arts_13965913":{"type":"posts","id":"arts_13965913","meta":{"index":"posts_1716263798","site":"arts","id":"13965913","score":null,"sort":[1727817485000]},"guestAuthors":[],"slug":"john-lewis-a-life-further-humanizes-a-civil-rights-giant","title":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","publishDate":1727817485,"format":"aside","headTitle":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13965918\" class=\"wp-caption aligncenter\" style=\"max-width: 1367px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png\" alt=\"A book cover featuring a black and white portrait photograph of a serious young Black man.\" width=\"1367\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-800x1170.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1020x1492.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1050x1536.png 1050w\" sizes=\"(max-width: 1367px) 100vw, 1367px\">\u003cfigcaption class=\"wp-caption-text\">‘John Lewis: A Life’ by David Greenberg. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>John Lewis: A Life\u003c/em>, David Greenberg recounts how the late Democratic congressman reacted after Republicans scored a landslide victory in the 1994 election. A staffer hoped Lewis would buoy her spirits and tell her there was a silver lining.\u003c/p>\n\u003cp>Lewis instead told her, “There is no silver lining.”\u003c/p>\n\u003cp>[aside postid='arts_13869430']Exchanges like this that reveal moments of despair and vulnerability by the seemingly eternally optimistic Lewis are partly what makes Greenberg’s biography of the Civil Rights icon so remarkable. It would have been easy to write a book that veers into hagiography for someone who became the nation’s moral authority on civil rights and a younger generation’s link to the Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Greenberg instead offers a more complete portrait of Lewis’ evolution and his political education. Greenberg conducted hundreds of interviews for the biography, including with Lewis himself, and that work shows throughout the book.\u003c/p>\n\u003cp>Greenberg sketches the familiar highlights of Lewis’ life, from a boy who preached to chickens on his family’s farm to an activist who sustained a fractured skull when he was beaten by police during the “Bloody Sunday” march that helped lead to the passage of the Voting Rights Act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also outlines Lewis’ years in the public arena, as a member of Atlanta’s city council and later as a veteran congressman revered by both Democrats and Republicans.\u003c/p>\n\u003cp>But the biography does an excellent job of giving readers the context of Lewis’ life, including rifts between him and other giants of the movement. And it provides an inside look at how Lewis honed his political skills over time, particularly advocating for the Voting Rights Act’s passage and later its reauthorization.\u003c/p>\n\u003cp>[aside postid='arts_13960144']Greenberg also recounts how Lewis was a early and vocal ally of the gay and lesbian community, advocating for their rights when even other liberal politicians kept their distance.\u003c/p>\n\u003cp>Throughout the book, Greenberg further humanizes Lewis by taking readers inside his family life including his strong relationship with his wife and details on how he spent his final days before succumbing to cancer in 2020.\u003c/p>\n\u003cp>The poem “Invictus” by William Ernest Henley plays a starring role in the biography, which describes how Lewis would recite its verses as a child and would later chant them in his office. Just like that poem, Greenberg’s riveting biography describes someone who was the captain of his soul.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘John Lewis: A Life’ by David Greenberg is released on Oct. 8, 2024, via Simon & Schuster.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"David Greenberg conducted hundreds of interviews, offering a complete portrait of Lewis’ evolution and political education.","status":"publish","parent":0,"modified":1727817485,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":453},"headData":{"title":"Book Review: ‘John Lewis: A Life’ by David Greenberg | KQED","description":"David Greenberg conducted hundreds of interviews, offering a complete portrait of Lewis’ evolution and political education.","ogTitle":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","ogDescription":"","ogImgId":"","twTitle":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘John Lewis: A Life’ by David Greenberg %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","datePublished":"2024-10-01T14:18:05-07:00","dateModified":"2024-10-01T14:18:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew DeMillo, Associated Press","nprStoryId":"kqed-13965913","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965913/john-lewis-a-life-further-humanizes-a-civil-rights-giant","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965918\" class=\"wp-caption aligncenter\" style=\"max-width: 1367px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png\" alt=\"A book cover featuring a black and white portrait photograph of a serious young Black man.\" width=\"1367\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-800x1170.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1020x1492.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1050x1536.png 1050w\" sizes=\"(max-width: 1367px) 100vw, 1367px\">\u003cfigcaption class=\"wp-caption-text\">‘John Lewis: A Life’ by David Greenberg. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>John Lewis: A Life\u003c/em>, David Greenberg recounts how the late Democratic congressman reacted after Republicans scored a landslide victory in the 1994 election. A staffer hoped Lewis would buoy her spirits and tell her there was a silver lining.\u003c/p>\n\u003cp>Lewis instead told her, “There is no silver lining.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13869430","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Exchanges like this that reveal moments of despair and vulnerability by the seemingly eternally optimistic Lewis are partly what makes Greenberg’s biography of the Civil Rights icon so remarkable. It would have been easy to write a book that veers into hagiography for someone who became the nation’s moral authority on civil rights and a younger generation’s link to the Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Greenberg instead offers a more complete portrait of Lewis’ evolution and his political education. Greenberg conducted hundreds of interviews for the biography, including with Lewis himself, and that work shows throughout the book.\u003c/p>\n\u003cp>Greenberg sketches the familiar highlights of Lewis’ life, from a boy who preached to chickens on his family’s farm to an activist who sustained a fractured skull when he was beaten by police during the “Bloody Sunday” march that helped lead to the passage of the Voting Rights Act.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also outlines Lewis’ years in the public arena, as a member of Atlanta’s city council and later as a veteran congressman revered by both Democrats and Republicans.\u003c/p>\n\u003cp>But the biography does an excellent job of giving readers the context of Lewis’ life, including rifts between him and other giants of the movement. And it provides an inside look at how Lewis honed his political skills over time, particularly advocating for the Voting Rights Act’s passage and later its reauthorization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960144","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Greenberg also recounts how Lewis was a early and vocal ally of the gay and lesbian community, advocating for their rights when even other liberal politicians kept their distance.\u003c/p>\n\u003cp>Throughout the book, Greenberg further humanizes Lewis by taking readers inside his family life including his strong relationship with his wife and details on how he spent his final days before succumbing to cancer in 2020.\u003c/p>\n\u003cp>The poem “Invictus” by William Ernest Henley plays a starring role in the biography, which describes how Lewis would recite its verses as a child and would later chant them in his office. Just like that poem, Greenberg’s riveting biography describes someone who was the captain of his soul.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘John Lewis: A Life’ by David Greenberg is released on Oct. 8, 2024, via Simon & Schuster.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965913/john-lewis-a-life-further-humanizes-a-civil-rights-giant","authors":["byline_arts_13965913"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_7862"],"tags":["arts_2733","arts_21679","arts_3650","arts_769","arts_585"],"featImg":"arts_13965919","label":"arts_140"},"arts_13965684":{"type":"posts","id":"arts_13965684","meta":{"index":"posts_1716263798","site":"arts","id":"13965684","score":null,"sort":[1727463369000]},"guestAuthors":[],"slug":"sally-rooney-new-book-intermezzo-review-novel","title":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","publishDate":1727463369,"format":"aside","headTitle":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13965685\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg\" alt=\"A book cover showing chess pieces on a board viewed from above. The shadows each piece creates resembles the outline of a person.\" width=\"978\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-800x1227.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-160x245.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-768x1178.jpeg 768w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">‘Intermezzo’ by Sally Rooney. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sally Rooney, who made such a splash with her first novel, \u003cem>Conversations with Friends, \u003c/em>back in 2017, has made it clear with each succeeding book that she is no flash in the pan. \u003cem>Intermezzo\u003c/em>, her fourth novel, is her most fully developed and moving yet.\u003c/p>\n\u003cp>It’s about two Irish brothers, 32-year-old Peter Koubek, a Dublin lawyer, and 22-year-old Ivan, a chess prodigy, and their troubled relationships with each other and the women in their lives. After their mother moved in with another man when Ivan was small, they were raised mainly by their father, an engineer who immigrated to Ireland in the 1980s from Slovakia. We meet them soon after their father’s death following years battling cancer. Both brothers, at loose ends, are struggling with the question, “Under what conditions is life endurable?”\u003c/p>\n\u003cp>[aside postid='arts_13965284']The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>[aside postid='arts_13964548']While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>[aside postid='arts_13963867']\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n","blocks":[],"excerpt":"Rooney's fourth novel is a story about learning to accept loss — a journey with a fair amount of grief and strife.","status":"publish","parent":0,"modified":1727463369,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":985},"headData":{"title":"Book Review: ‘Intermezzo’ by Sally Rooney | KQED","description":"Rooney's fourth novel is a story about learning to accept loss — a journey with a fair amount of grief and strife.","ogTitle":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","ogDescription":"","ogImgId":"","twTitle":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘Intermezzo’ by Sally Rooney %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","datePublished":"2024-09-27T11:56:09-07:00","dateModified":"2024-09-27T11:56:09-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Heller McAlpin, NPR","nprStoryId":"nx-s1-5100222","nprHtmlLink":"https://www.npr.org/2024/09/24/nx-s1-5100222/intermezzo-review-sally-rooney","nprRetrievedStory":"1","nprPubDate":"2024-09-24T10:02:29.214-04:00","nprStoryDate":"2024-09-24T10:02:29.214-04:00","nprLastModifiedDate":"2024-09-24T10:02:29.214-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965684/sally-rooney-new-book-intermezzo-review-novel","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965685\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg\" alt=\"A book cover showing chess pieces on a board viewed from above. The shadows each piece creates resembles the outline of a person.\" width=\"978\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-800x1227.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-160x245.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-768x1178.jpeg 768w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">‘Intermezzo’ by Sally Rooney. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sally Rooney, who made such a splash with her first novel, \u003cem>Conversations with Friends, \u003c/em>back in 2017, has made it clear with each succeeding book that she is no flash in the pan. \u003cem>Intermezzo\u003c/em>, her fourth novel, is her most fully developed and moving yet.\u003c/p>\n\u003cp>It’s about two Irish brothers, 32-year-old Peter Koubek, a Dublin lawyer, and 22-year-old Ivan, a chess prodigy, and their troubled relationships with each other and the women in their lives. After their mother moved in with another man when Ivan was small, they were raised mainly by their father, an engineer who immigrated to Ireland in the 1980s from Slovakia. We meet them soon after their father’s death following years battling cancer. Both brothers, at loose ends, are struggling with the question, “Under what conditions is life endurable?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965284","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\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 wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13964548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13963867","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965684/sally-rooney-new-book-intermezzo-review-novel","authors":["byline_arts_13965684"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_5221","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13965688","label":"arts_140"},"arts_13965284":{"type":"posts","id":"arts_13965284","meta":{"index":"posts_1716263798","site":"arts","id":"13965284","score":null,"sort":[1726860382000]},"guestAuthors":[],"slug":"new-murder-mystery-book-review-death-at-the-sign-of-the-rook-by-kate-atkinson","title":"A Light-Hearted Murder Mystery Weekend Turns Deadly in Kate Atkinson’s Cozy Thriller","publishDate":1726860382,"format":"aside","headTitle":"A Light-Hearted Murder Mystery Weekend Turns Deadly in Kate Atkinson’s Cozy Thriller | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13965285\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg\" alt=\"A book cover featuring an illustration of a black bird.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1020x1540.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1017x1536.jpeg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1356x2048.jpeg 1356w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Death at the Sign of the Rook’ by Kate Atkinson. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like a great city, the mystery genre is home to many different communities. There are police procedurals, locked-room teasers, hard-boiled detective yarns and the soothing small-town cozies you find on Acorn TV. One of the merrier neighborhoods is that of the meta-mystery — PBS’ \u003ca href=\"https://video.kqed.org/show/magpie-murders/\">\u003cem>Magpie Murders\u003c/em>\u003c/a> series is a great example — whose creators don’t simply tell a story. They lean into the artificiality of mysteries, highlighting and sometimes laying bare the gambits and tropes that keep us reading.\u003c/p>\n\u003cp>The latest arrival in this neighborhood is \u003cem>Death at the Sign of the Rook\u003c/em>, the sunny sixth entry in \u003ca href=\"https://www.kqed.org/arts/10136754/bragging-rights-great-lit-perfect-for-summer-reading\">Kate Atkinson\u003c/a>‘s addictive series about Jackson Brodie, a sometimes saturnine private detective with a German shepherd’s keen eye for abuse. Last time out, in \u003cem>Big Sky\u003c/em>, Brodie cracked a child molestation gang in a tale that recalled the real-life case of BBC entertainer \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/01/11/169146888/jimmy-savile-sexually-abused-hundreds-police-report-concludes\">Jimmy Savile\u003c/a>. Perhaps because that story was so grim — too nasty, really, for Atkinson’s generous style — she’s made this latest installment a lark. The book flirts with, and tweaks, Golden-Age mysteries like those of Agatha Christie.\u003c/p>\n\u003cp>[aside postid='arts_13964548']\u003cem>Death at the Sign of the Rook\u003c/em> begins with an invitation to a “Murder Mystery Weekend” at Burton Makepeace House, a Downton Abbey-like stately home in Yorkshire. There, we’re told, guests will engage in what sounds like a live-action version of the game \u003cem>Clue\u003c/em>, with actors playing all the parts. The invitation doesn’t mention that the weekend is being offered because Burton Makepeace’s owners, Lord and Lady Milton, are strapped for cash.\u003c/p>\n\u003cp>From the moment we read about a weekend devoted to solving a fake murder, we know there will be a real one. We also know that Brodie will wind up there. The question is how.\u003c/p>\n\u003cp>The answer starts with him being asked to find a painting stolen by the woman who’d been caring for his clients’ terminally ill mother. To track her down, he enlists the aid of Det. Constable Reggie Chase. She had investigated an earlier art theft at — where else? — Burton Makepeace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Atkinson loves a densely-populated story. Even as Brodie and Reggie pursue leads, the book takes us inside the heads of three other key characters, who’ve all lost something big: Simon, a village reverend, has lost his faith. Ben, an army major, lost his leg in Afghanistan, and with it his sense of purpose. And Lady Milton — whose thoughts are hilariously WASP-ish — has lost her privilege. We know that this trio will play a part in the Murder Mystery Weekend.\u003c/p>\n\u003cp>[aside postid='arts_13963133']The heart of the novel is, of course, Brodie, now in his 60s, grumpy about the changing world, but happy with his new Land Rover Defender. As the victim of an abusive father, he’s possessed of a strict code: “You were allowed to hit men — sometimes it was wrong not to — but not women, children, or dogs.” Six novels in, it’s clear that Atkinson treasures Brodie as an appealing fantasy, an ideal version of the flawed, all too human modern male, battered by experience but filled with decency and curiosity and gruff charm.\u003c/p>\n\u003cp>Of course, Atkinson also writes prize-winning literary fiction — her masterpiece is 2015’s \u003ca href=\"https://www.npr.org/2015/05/06/403127284/after-life-a-god-in-ruins-picks-up-the-epic-tale-of-the-todds\">\u003cem>A God in Ruins\u003c/em> \u003c/a>— yet she feels no need to cordon off the Brodie novels from her so-called “serious” ones. Her mysteries brim with the same warm attention to vulnerable souls, the same nifty wit — she uses parentheticals like a guillotine — and the same fascination with the world around her.\u003c/p>\n\u003cp>Indeed, Atkinson uses this latest mystery to ruminate on scads of things: politics, television programs, art theft, the horrors of war, the decline of religion, violence against women and the workings of old-fashioned mystery novels with their “bloodless plots.” Hers is not a fiction of zen astringency.\u003c/p>\n\u003cp>[aside postid='arts_13963659']On the contrary, \u003cem>Death at the Sign of the Rook\u003c/em> strews loose ends all over the Yorkshire countryside. Have I mentioned that there’s an escaped killer on the prowl? Or that a white-out blizzard is about to hit Burton Makepeace? Yet even as characters and events and ideas proliferate, Atkinson never loses sight of any of them. Her books always start out looking shaggy, but wind up being anything but.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the time we reach the Murder Mystery Weekend itself, all the book’s loose ends get woven together. And even though this novel makes fun of the classic murder mystery — with its baroque plots and too-neat solutions — Atkinson understands its delights. As everything clicks into place — and the mystery is solved — we let out a satisfied, \u003cem>Ahhh\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":"‘Death at the Sign of the Rook’ is an expansive novel that delightfully pokes fun of baroque, classic murder mysteries.","status":"publish","parent":0,"modified":1726858034,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":839},"headData":{"title":"Book Review: ‘Death at the Sign of the Rook,’ Kate Atkinson | KQED","description":"‘Death at the Sign of the Rook’ is an expansive novel that delightfully pokes fun of baroque, classic murder mysteries.","ogTitle":"A Light-Hearted Murder Mystery Weekend Turns Deadly in Kate Atkinson’s Cozy Thriller","ogDescription":"","ogImgId":"","twTitle":"A Light-Hearted Murder Mystery Weekend Turns Deadly in Kate Atkinson’s Cozy Thriller","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘Death at the Sign of the Rook,’ Kate Atkinson%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Light-Hearted Murder Mystery Weekend Turns Deadly in Kate Atkinson’s Cozy Thriller","datePublished":"2024-09-20T12:26:22-07:00","dateModified":"2024-09-20T11:47:14-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"John Powers, NPR","nprStoryId":"nx-s1-5120515","nprHtmlLink":"https://www.npr.org/2024/09/20/nx-s1-5120515/kate-atkinson-death-at-the-sign-of-the-rook-review-murder-mystery","nprRetrievedStory":"1","nprPubDate":"2024-09-20T11:54:36.381-04:00","nprStoryDate":"2024-09-20T11:54:36.381-04:00","nprLastModifiedDate":"2024-09-20T13:52:07.416-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/09/20240920_fa_02.mp3?d=326020&e=nx-s1-5120515","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965284/new-murder-mystery-book-review-death-at-the-sign-of-the-rook-by-kate-atkinson","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/09/20240920_fa_02.mp3?d=326020&e=nx-s1-5120515","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965285\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg\" alt=\"A book cover featuring an illustration of a black bird.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1020x1540.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1017x1536.jpeg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1356x2048.jpeg 1356w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Death at the Sign of the Rook’ by Kate Atkinson. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like a great city, the mystery genre is home to many different communities. There are police procedurals, locked-room teasers, hard-boiled detective yarns and the soothing small-town cozies you find on Acorn TV. One of the merrier neighborhoods is that of the meta-mystery — PBS’ \u003ca href=\"https://video.kqed.org/show/magpie-murders/\">\u003cem>Magpie Murders\u003c/em>\u003c/a> series is a great example — whose creators don’t simply tell a story. They lean into the artificiality of mysteries, highlighting and sometimes laying bare the gambits and tropes that keep us reading.\u003c/p>\n\u003cp>The latest arrival in this neighborhood is \u003cem>Death at the Sign of the Rook\u003c/em>, the sunny sixth entry in \u003ca href=\"https://www.kqed.org/arts/10136754/bragging-rights-great-lit-perfect-for-summer-reading\">Kate Atkinson\u003c/a>‘s addictive series about Jackson Brodie, a sometimes saturnine private detective with a German shepherd’s keen eye for abuse. Last time out, in \u003cem>Big Sky\u003c/em>, Brodie cracked a child molestation gang in a tale that recalled the real-life case of BBC entertainer \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/01/11/169146888/jimmy-savile-sexually-abused-hundreds-police-report-concludes\">Jimmy Savile\u003c/a>. Perhaps because that story was so grim — too nasty, really, for Atkinson’s generous style — she’s made this latest installment a lark. The book flirts with, and tweaks, Golden-Age mysteries like those of Agatha Christie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13964548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Death at the Sign of the Rook\u003c/em> begins with an invitation to a “Murder Mystery Weekend” at Burton Makepeace House, a Downton Abbey-like stately home in Yorkshire. There, we’re told, guests will engage in what sounds like a live-action version of the game \u003cem>Clue\u003c/em>, with actors playing all the parts. The invitation doesn’t mention that the weekend is being offered because Burton Makepeace’s owners, Lord and Lady Milton, are strapped for cash.\u003c/p>\n\u003cp>From the moment we read about a weekend devoted to solving a fake murder, we know there will be a real one. We also know that Brodie will wind up there. The question is how.\u003c/p>\n\u003cp>The answer starts with him being asked to find a painting stolen by the woman who’d been caring for his clients’ terminally ill mother. To track her down, he enlists the aid of Det. Constable Reggie Chase. She had investigated an earlier art theft at — where else? — Burton Makepeace.\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>Now, Atkinson loves a densely-populated story. Even as Brodie and Reggie pursue leads, the book takes us inside the heads of three other key characters, who’ve all lost something big: Simon, a village reverend, has lost his faith. Ben, an army major, lost his leg in Afghanistan, and with it his sense of purpose. And Lady Milton — whose thoughts are hilariously WASP-ish — has lost her privilege. We know that this trio will play a part in the Murder Mystery Weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13963133","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The heart of the novel is, of course, Brodie, now in his 60s, grumpy about the changing world, but happy with his new Land Rover Defender. As the victim of an abusive father, he’s possessed of a strict code: “You were allowed to hit men — sometimes it was wrong not to — but not women, children, or dogs.” Six novels in, it’s clear that Atkinson treasures Brodie as an appealing fantasy, an ideal version of the flawed, all too human modern male, battered by experience but filled with decency and curiosity and gruff charm.\u003c/p>\n\u003cp>Of course, Atkinson also writes prize-winning literary fiction — her masterpiece is 2015’s \u003ca href=\"https://www.npr.org/2015/05/06/403127284/after-life-a-god-in-ruins-picks-up-the-epic-tale-of-the-todds\">\u003cem>A God in Ruins\u003c/em> \u003c/a>— yet she feels no need to cordon off the Brodie novels from her so-called “serious” ones. Her mysteries brim with the same warm attention to vulnerable souls, the same nifty wit — she uses parentheticals like a guillotine — and the same fascination with the world around her.\u003c/p>\n\u003cp>Indeed, Atkinson uses this latest mystery to ruminate on scads of things: politics, television programs, art theft, the horrors of war, the decline of religion, violence against women and the workings of old-fashioned mystery novels with their “bloodless plots.” Hers is not a fiction of zen astringency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13963659","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>On the contrary, \u003cem>Death at the Sign of the Rook\u003c/em> strews loose ends all over the Yorkshire countryside. Have I mentioned that there’s an escaped killer on the prowl? Or that a white-out blizzard is about to hit Burton Makepeace? Yet even as characters and events and ideas proliferate, Atkinson never loses sight of any of them. Her books always start out looking shaggy, but wind up being anything but.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the time we reach the Murder Mystery Weekend itself, all the book’s loose ends get woven together. And even though this novel makes fun of the classic murder mystery — with its baroque plots and too-neat solutions — Atkinson understands its delights. As everything clicks into place — and the mystery is solved — we let out a satisfied, \u003cem>Ahhh\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965284/new-murder-mystery-book-review-death-at-the-sign-of-the-rook-by-kate-atkinson","authors":["byline_arts_13965284"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_5221","arts_10157","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13965290","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. 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