Portland Art Museum: Main Building

PAM gallery pop-ups: 4:30-6:00 p.m.
Doors for Live Wire seated show: 6:30 p.m.
Live Show: 7:00 p.m.

Live Wire Radio, the Portland-based public radio variety show, joins forces with the Portland Art Museum for an afternoon of roving performances ahead of an evening recording of the program. The event coincides with PAM’s monthly Free First Thursday and the Portland Book Festival’s expanded programming.

In the afternoon, free pop-up performances will take place throughout the Museum’s galleries giving visitors a chance to catch short live performances and storytelling while moving through the PAM spaces. Performers will include genre-blending rapper and writer Dessa, National Ambassador for Young People’s Literature and children’s author Mac Barnett, National Book Award Finalist Ed Park, and Portland comedian Mx. Dahlia Belle among others.

The evening will feature a fully seated, ticketed Live Wire taping hosted by Luke Burbank with announcer Elena Passarello, featuring a blend of interviews, comedy, and music performed live for the audience, then edited into an episode for broadcast to over 200 public radio stations nationwide.

Visitors can take in the afternoon gallery pop-ups, the evening show, or both!

Note: Admission is free to the afternoon gallery pop-ups as part of general admission on Free First Thursday at Portland Art Museum. Tickets available on the museum website.

Ticket Prices:
$40 Preferred Seats
$36 Bookfest Pass Holder Discount – Preferred Seats (10% off)
$15 General Admission Seats
$13.50 Bookfest Pass Holder Discount – General Admission (10% off)

Tarot is both deeply symbolic and highly narrative, creating a system that can inspire and guide many forms of writing. This multigenre workshop will introduce techniques for using tarot in one’s writing practice.

This is a free drop in class offered at the Portland Book Festival. ALL attendees must acquire a wristband before entering the class venue. Space is limited.

Julia Wertz reads from her new memoir Bury Me Already (It’s Nice Down Here) at Portland Art Museum in the Prints & Drawings gallery (Level 0, Room 007), paired with Mary Kay Nitchie, Jump, from the portfolio Wayzgoose.

About Bury Me Already (It’s Nice Down Here):

Raw, honest, and hilarious, Bury Me Already (It’s Nice Down Here) chronicles the joy and horror of becoming a mother during challenging times.

In this follow-up to the acclaimed memoir Impossible People—a book about getting sober and becoming a professional artist in New York City—cartoonist Julia Wertz returns home to Northern California where she reunites with her family and rekindles a relationship with an ex-boyfriend. After a surprise pregnancy and a marriage proposal, Julia settles (somewhat reluctantly) into a quiet life in a small town. But as 2020 approaches, her world, and the world at large, takes a sharp turn toward unexpected chaos. Through comic vignettes, essays, and diary doodles, Julia recounts the events of her pregnancy and its attendant body horror, a miscarriage, family trauma, marriage, a life-altering accident, and the joy and surprises of parenthood as it all unfolds against the backdrop of local wildfires and a global pandemic. The result of this unconventional collection is a heart-wrenching and hilarious story of adversity, resilience, and, ultimately, love.

Alicia Jo Rabins reads from her new memoir When We’re Born We Forget Everythingat Portland Art Museum in the Asian Art gallery (Level 1, Room 108), paired with Watanabe Sadao, Adam and Eve.

About When We’re Born We Forget Everything:

From the creator of the internationally acclaimed singer-songwriter project Girls in Trouble, a memoir following her journey from a secular Jewish childhood to becoming a modern queer woman owning ancient teachings and finding her own meanings in them, refracted through feminist interpretations of the lives of Biblical women.

As a self-described ‘90s suburban high school weirdo, Alicia Jo Rabins spent her time practicing violin and smoking cigarettes behind the mall while secretly dreaming of setting out on a spiritual quest no one around her seemed to understand. She often found herself drawn to the more ritualistic and rigorous Judaism that her parents had abandoned to assimilate and “become American.” In college, a chance meeting led her on a pilgrimage to Jerusalem to study rabbinical texts (and play bluegrass fiddle on the street for cash). But that two years of immersing herself in traditional observance was only the start of a journey full of twists and turns.

When We’re Born We Forget Everything follows Alicia’s relentless, often embarrassing, sometimes enlightening search for the sacred in everyday life as she tours America playing with a klezmer-punk band, falls in and out of love, scrapes through the initiations of motherhood, and witnesses the beauty—and danger—of mysticism. Rabins braids this personal narrative with the hidden stories of biblical women, uncovering a path of queer identity, feminist awakening, and spiritual self-invention. This lyrical, searching memoir is a meditation on longing, lineage, and what it takes to find meaning in a fractured world.

“Alicia Jo Rabins writes as if she’s in conversation with the divine itself. . . .This isn’t merely a book to be read—it’s a scripture for the searching heart, a reminder that the border between the human and the holy is, and always has been, porous.”
—Reza Aslan, author of Zealot: The Life and Times of Jesus of Nazareth

Julián Delgado Lopera reads from his new novel Pretend You’re Dead and I Carry You at Portland Art Museum in the Northwest Art gallery (Level 4, Room 402), paired with V. Maldonado, Sala Roja. Presented by the National Book Foundation.

About Pretend You’re Dead and I Carry You:

FINALIST FOR THE NATIONAL BOOK AWARD FOR FICTION

From the award-winning author of Fiebre Tropical, an electric, highly anticipated novel set in Colombia’s underground queer scene.

It is a known fact that the queens who refuse their destiny are haunted. Rejection turns itself inward, a bullet to the heart of said queen, and unleashes, per Travesti Lore, a river of curses.

Cloistered in a dreary Bogotá apartment, Ignacio’s light has dimmed, leaving his teenage daughter, Valentina, to raise herself in the wake of her mother Alma’s death. Lonely and love-starved, Valentina aches to discover the details of her mother’s drowning, and for her father to snap out of his depression. But Ignacio can’t. He spends listless afternoons smoking cigarettes in long blonde wigs, telenovelas humming in the background, haunted not only by matrimonial guilt, but by memories of a young man he once loved and betrayed.

From Ignacio’s tragic past emerges the luminous queen of Bogotá’s queer underground, Mamadora Eléctrica, the wise travesti who he first met under the silvery lights of Club Aquario when he was just a shy country boy. With Alma gone, Mamadora steps in as a mother figure to Valentina the way she once did for the girl’s father. But as an expert in Travesti Lore, she fears the worst: that Ignacio’s self-destruction may have unleashed a curse on them all.

From “a writer who is grinding their own colors” (Dwight Garner, New York Times), Pretend You’re Dead and I Carry You is a profound and richly imagined story about coming undone.

Anthony Hudson reads from his new collection of performance works Lamp Black: Plays and Other Grievances at Portland Art Museum in the American Art gallery (Level 2, Room 211), paired with Moses Soyer, Girl with a Cigarette.

Followed by book signing at The Shop at PAM.

About Lamp Black:

A major collection of performance works by artist and agitator Anthony Hudson.

Lamp Back: Plays and Other Grievances collects nearly a decade of work by Anthony Hudson, a queer Indigenous artist and agitator also known as Portland, Oregon’s premier drag clown, Carla Rossi. Whether fumbling with a lamp in a satirical takedown of land acknowledgments or confronting the history of redface in pop culture, Hudson alternates between Rossi’s cackling “ghost of white privilege” and more earnest, vulnerable confessionals as himself—all with a deep commitment to bitter humor and brutal honesty. In these performance works, a mixed-race Native boy plays a pilgrim in his kindergarten Thanksgiving pageant. A young artist recounts the racism in their favorite musical and the larger American theater system. A drag queen storytime goes disastrously wrong and calls for an exorcism with a plunger. Kate Bredeson’s unflinching introduction speaks to Hudson’s work through a cultural and historical lens and illuminates the importance of his project to filet the American Empire.

Hannah Lillith Assadi reads from her new novel Paradiso 17 at Portland Art Museum in the Northwest Art gallery (Level 4, Room 402), paired with Esther Podemski, In the Desert. Presented by the National Book Foundation.

About Paradiso 17:

FINALIST FOR THE NATIONAL BOOK AWARD
THE NEW YORK TIMES BOOK REVIEW EDITORS’ CHOICE
LONGLISTED FOR THE WOMEN’S PRIZE

The intimate, sweeping tale of one Palestinian man’s restless search for home the world over, as the pendulum of fate swings between loss and life, grief and euphoria, regret and hope.

All his life, exile has been the shadow stitched to the sole of Sufien’s shoe.

Born in Palestine on the precipice of 1948’s Nakba, Sufien is forced to leave the only home he’s ever known, the one on the hill with a beautiful blue door. This is the precise moment when time stops making sense. He spends the rest of his life propelled forward, always on the way—although in search of what, he is never quite sure. In the dusty, oil-rich desert of Kuwait, he meets his first love and decides he must leave his family. In a small Italian university town, he spends his youth wrapped up in the sweet promise of the West and the forgetful assurance of wine. When life takes him to a gritty New York, he discovers his true vocation and falls for a Jewish woman born into a wholly different world. Finally, he finds himself recalled to the wild, vast open skies of the desert, in Arizona.

Sufien’s life spans friendships lost and maintained, a stint selling leathers at a tanner’s stall, the ineffable company of cats, and the freedom of the open road, the glowing pride of fatherhood, Sufi myths, prophetic dreams, and visions of the afterlife—and always, always, no matter how far he chases joy, the sweet, treacherous song of a balcony urging him to fly, to fall, to fall. The lyrical pages of Paradiso 17 weave in and out of time and space, beginning at the end and ending at the beginning. They are haunting, haunted with grief, struck through, as Dante once wrote, with “the arrow that the bow of exile / shoots first,” and yet they throb with light—not just the light that Sufien sees as he approaches his own end, but the brilliant light of a life lived.

Like all of our dead, Sufien still speaks, the book begins. Listen, this is his story.

“With stunning intimacy, Hannah Lillith Assadi has crafted an unforgettable story about the many stunted afterlives of hyphenated belonging. In this book live some of the most complex characters I’ve read in a long time, and a deeply nuanced exploration of exile as both event and inheritance.” —Omar El Akkad, author of One Day, Everyone Will Have Always Been Against This

“Suffused with tenderness.” —The New York Times

Tina Chang reads from her new poetry collection Lion at Portland Art Museum in the Native American Art gallery (Level 2, Room 215), paired with Sara Siestreem, fastened to the rock (blood, sweat, and tears).

About Lion:

In Lion, Tina Chang mines personal and collective memory to explore safety and danger, visibility and invisibility as an Asian American woman. Throughout the collection, Chang responds to multi-hyphenate women artists, including Haena Yoo, Hồng-An Trương, Astria Suparak, and a collective whose work paid tribute to the life of Christina Yuna Lee, a young woman who was killed during the height of anti-Asian hate crimes. Responding to art across various media—text, illustration, painting, video, and sculpture—Lion sparks cross-disciplinary dialogue on Asian American perspectives, surveillance, and the myth of the model minority.

As the aftermath of the pandemic is examined, so too are the structures of bias, racism, and violence that continue. The collection’s title explores the word’s cultural history, composite Chinese iconography, and lion-centered explorations of strength and mastery. Lion traverses the closeness and distance between the racialized self the world views and the perceived self who endures and survives.

“An urgent exploration of Asian American identity from a poet with a ‘fearless imagination.’”–Tracy K. Smith, winner of the Pulitzer Prize