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We’re excited to announce the launch of “Voices from the Hill” a podcast dedicated to showcasing the incredible talent right here in our literary backyard. As a proud member of this vibrant community, Telegraph Hill Arts & Literature believes our local authors deserve a platform to share not just their published works, but the stories behind them.
If you’re a Bay Area author interested in being on the show, we’d love to hear from you. Reach out to us at submissions@telhilit.org.
Welcome to Voices From the Hill, celebrating the vibrant literary voices of the San Francisco Bay Area. I'm your host, Jennifer Barone, along with Joseph Carboni, owner of Telegraph Hill Books. Each episode, we sit down with a local author to explore their creative process, inspirations, and the unique stories that shape our community. Today, we are joined by Bart Schneider, a Bay Area born novelist, poet, and publisher whose work is shaped by art, music, and California landscapes from San Francisco's Symphony Halls to Sonoma's Russian River. His latest historical fiction novel takes us to Paris in Giacometti's Last Ride.
Jennifer Barone:He explores Alberto Giacometti's art and relationships along with a host of famous artists in Europe, including Picasso. Bart also runs Kelly's Cove Press, supporting Northern California writers and artists. We're excited to hear about his inspirations, his ties to the Bay Area and Sonoma, and the stories behind his latest work. So let's dive in. Bart Schneider, welcome to Voices From The Hill.
Bart Schneider:Hey. Thank you so much for having me.
Jennifer Barone:We're so excited to have you here. And we're also getting ready to have you come November 8, Saturday, November 8, to present Giacometti's Last Ride in person here. So I would love to have us kick this off with a little passage maybe from your latest book.
Bart Schneider:Yeah. I was a little disappointed recently to see that Richard Linkladders, one of his new films, he's got two coming out, but one of them is about the new wave French cinema and it has a scene in which I mean, has I think it's based around the film Breathless by Godard. And I had a scene in this book in which Giacometti takes his his model, his love Caroline to see it. And, you know, in years of editing this damn book, I pulled that scene out and now he's gonna make Godard famous all over again and I wish I had that scene in there. But I do have a scene that takes place in a jazz club in Paris Mhmm.
Bart Schneider:Le Cavaux Uchette that features the pianist who wrote the score for Breathless, whose name is Marshall Marshall Solal. And I'm just reading a section from that scene. Now the musicians, a trio of dignified figures wearing well fitting suits return to the stage. There's Marshall, Caroline says pointing to the pianist. Giacometti studies the young man, a North a North African with a thick black mustache and an enviable nonchalance.
Bart Schneider:He wonders if Caroline has had an amorous relationship with the pianist and charged himself for the spark of jealousy. Beside the pianist stands standing surprisingly close like a wind bent tree is the bass violin player, a lanky Scandinavian from the looks of him. The drummer, an older man in a cowboy, in cowboy boots in a white suit adjusts his stool beside the drum kit. He's perched a distance from the others as if in exile. Giacometti wishes he had paper to draw the trio.
Bart Schneider:Without a word, the pianist launches, hunches over the keyboard and introduces a film familiar tune. Caroline whispers the song title to him, All the Things You Are. He watches the virtuosity with with which the pianist's fingers skip over the keyboard. The melody is briefly lost in the percussive force of the pianist's left hand and the cross rhythms he creates. The complex of lines seems like it's executed by four hands rather than two as the song fractures into dissonant blocks of wizardry before returning to its familiar tune fullness.
Bart Schneider:He focuses on the pianist's right hand. The crisp yet elaborate streaks of melody have the fluency of a Picasso line. Caroline bends towards him. How do you like it? She asks.
Bart Schneider:He's a wizard. He thinks of his own fingers working a tall lump of clay, a vertical keyboard and how they operate like this pianist digits independent of the mind, and yet he's envious of the pianist's facility. With just his right hand, he he can extend an unbroken line seemingly forever while his left hand provides force, keeps time, and creates a harm harmonic structure that becomes the foundation for a new shimmering city. The pianist leads the band through an hour of songs that range into wilderness before returning to safety. Giacometti watches Caroline as her eyes glisten and her supple body sways to the beat.
Bart Schneider:This music with its fierce adventure is native to her in a way he envies. He adores her. How wonderful. How he wonders, has this happened so quickly. When the trio finishes their set, Carlene leaps up and greets the pianist and brings the young man to their banquet.
Bart Schneider:He stands to greet the piano wizard. Marcel Solo, Caroline says, this is Alberto Giacometti. The pianist bows deeply and says, it is an honor to meet you, Monsieur Giacometti. I admire your work. I adored your recent exhibition at Galleria May.
Bart Schneider:But you are the virtuoso, Monsieur. My work is static compared with yours. You are the revolutionary. I'm only following a familiar script. What you accomplish with your right hand alone puts me to shame.
Bart Schneider:I wish I were able to study with you. Do you take beginners? Maybe then I could learn how to animate my figures. You make me wanna start over. Nonsense.
Bart Schneider:The pianist says, you are the master. Caroline is delighted that Marshall knows who Alberto is. As the men dive into ardent conversation, she excuses herself. With one eye, Giacometti watches Caroline slither through the crowd, clearly exhilarated by the performance and stop in front of the young man in a striped suit leaning with deliberate I can't say the word, against against the brick wall. The two are familiars.
Bart Schneider:Giacometti notices Caroline's exchange with a dandy grow agitated as the pianist responds to a query about the corollary between a painter's erasures and a musician's improvisations. I have an easier job, monsieur Giacometti. Have no need for erasures. With jazz, there are no wrong notes. He follows Giacometti's eyes across the room and observes that in order to play, he relies solely on his hands and his ears.
Bart Schneider:My eyes are unnecessary. I could be a blind man and have the same results on the piano, but you, you rely on both your hands and your eyes. Your eyes are everywhere, say Frey. Your eyes, monsieur Giacometti, are as hungry as open mouths. Exact amount, he says, as he watches the arrogant pimp wag a threatening finger at Caroline.
Jennifer Barone:Oh, I love the line, your eyes are as hungry as open mouth. I noticed a thread of, like, a subject matter coming through a lot of your work, including that passage, which is about music, but also mastery. And I was reading about how your father was a violinist for the San Francisco Symphony
Bart Schneider:Mhmm.
Jennifer Barone:And your mother was an opera singer, which to me, like both of those roles seemed like they were masters of their art, their craft. Can you talk a little bit about the importance of music and how that threads through your work?
Bart Schneider:Yeah. I think it's everything. I should correct you. My mother wasn't an opera singer. She she was a want to be. Her voice cracked early and she so she she provided the tragic figure, you know. But, you know, music was everything in my house. My father was in the symphony, but he also was in a string quartet that often came and practiced at our house with these old Germanic guys with thermos bottles of milk for their ulcers and but there was just music everywhere and I grew up kind of in rebellion to all the classical music and fell in love with jazz Mhmm. And played and still play.
Jennifer Barone:What do you play?
Bart Schneider:I play soprano sax.
Jennifer Barone:In jazz?
Bart Schneider:Yeah. Pretty amateur, but but it's it's a blast still.
Jennifer Barone:That's so wonderful.
Bart Schneider:Yeah. And I think I my first novel is called Blue Bossa, and it's about it's a a riff on or I should say a riff on the jazz trumpeter Chet Baker, and Mhmm.
Bart Schneider:I give him a new name in some different conditions. And, yeah, I really like writing about music. It's sometimes difficult to do, but I think the rhythm comes across in the writing.
Jennifer Barone:Yeah. I was gonna say that you're also you first started out as a poet and poetry, like, has such a rhythmic quality, a musical quality. It whether it rhymes or not, you know, there's a rhythm to it, almost musical. Does that come through? I was noticing or I was feeling that when you were almost reading your dialogue.
Jennifer Barone:There's, like this musical quality even to your dialogue. How do you perceive that when you're working?
Bart Schneider:I think, you know, even though I don't really write out loud, I hear it out loud somehow. Or I hear I hear the language And and I started out as a poet, but then I wrote plays for about ten years and had some produced in the Bay Area and Minnesota. But, I think that really helped me with writing dialogue because when I moved from writing plays to writing fiction, the dialogue was not the problem. It was, I had to make the scenes in descriptive ways that and somebody told me, a director that worked on one of my plays with me, you know, I think you wanna really be writing novels because you want to think more in your plays than you can do on stage. And that, you know, I every time I see that guy, was when I was living in Minnesota and he comes to readings I have or something.
Bart Schneider:I call him out and say, ah, there's Ben. You know? He he gave me the tip I needed most.
Jennifer Barone:I find that poets always write the best novels because they're able to bring that musical language into and also description, abstract description sometimes into the writing. But, yeah, can you talk a little bit about poetry and how you got into that? Because you're still you started there, but you also recently had a poetry book as well.
Bart Schneider:Yeah. You know, I I came up with that kind of You know, when you when you go back and and wonder what first made you wanna write. Mhmm. I had the ignoble experience of reading in my high school creative writing magazine. You know, all these people that were older than me, and I thought, god, I can write better than that.
Bart Schneider:That's what started me writing, you know. And and I found out I I actually could write, and I I joined a a college class with with a really fine San Francisco writer and teacher Kathleen Fraser who passed a couple years ago, but while I was still in high school, and it it was really inspired. She was really inspiring, but we we met at different people's houses all over San Francisco, and that was a revelation to me to see, you know, to kind of fall in with all these older poets and, you know, be encouraged and yeah. I think I did I I fell in love with language, I think, as much as anything. And and this sort of magic that comes from putting two or three words together and then having an idea that you wouldn't have had if you hadn't started.
Bart Schneider:You know, you have to dive into the process. And I think I discovered at a certain point, probably more by the time I was writing fiction that you creativity is like a totally renewable resource. It it it's not something you have to squeeze and hold on like it's going to go away. I mean, if if you're too protective of it or you're then you lose it. But Mhmm.
Bart Schneider:You you I I learned along the way how how to be really fluent. And with this book of poetry, came about with my good friend Chester Arnold, I I call him the the master painter of Sonoma, which he certainly is, but he's more than that. We we had lunch maybe once every week or two, and then the pandemic came, and we weren't able to do that. And we kinda hatched this idea of writing a I'd write a I'd write poems and he'd paint pictures of different food. And, you know, he'd send me a painting of oysters and I'd write an oyster poem.
Bart Schneider:I'd write a poem about gefilte fish and he actually painted Gefilte Fish. And it went back and forth till we, you know, we had a book length manuscript of poems and paintings that is the daily feast. But that the thing that really got me about that was during that awful time during the pandemic, it felt so good to be absolutely fluent. Everything was shut down, but my creativity was alive.
Jennifer Barone:Mhmm. Do you think there was an aspect aspect of like COVID era of like kind of not being allowed to go anywhere, kind of being held captive inside the house that just kind of forced you into a creative space?
Bart Schneider:I think so. Yeah. Yeah. In fact, I I wrote two I haven't really revisited them since the time, but I wrote two serial novels that I posted online like at least two chapters a week. And I, you know, I didn't know what I was I just write every day and, you know, I've since been reading a lot of Yiddish novelist Isaac Basheva Singer and realized that he published most of his novels in serial form in the Jewish Daily Forward in New York in in Yiddish and Mhmm.
Bart Schneider:He had 30,000 readers a week, you know?
Jennifer Barone:I love Yiddish words because I find that Yiddish words like sound like what they mean.
Bart Schneider:Yeah. It's kinda magic, isn't it?
Jennifer Barone:It is.
Bart Schneider:I don't
Jennifer Barone:know. I love them.
Bart Schneider:I don't know many. But
Jennifer Barone:I do because I'm from Brooklyn, New York originally. But so and you we would just hear it in conversation. But I I even if you didn't know the meaning, I felt like you can hear the Yiddish word and know kind of what it meant Yeah. Intuitively.
Bart Schneider:The mood behind Yeah. The word.
Jennifer Barone:Well, going back to the daily feast, so was that written during COVID era?
Bart Schneider:Yeah. It was it it came about just as we were starting to get out again but Mhmm. Yeah. Our favorite restaurant was like in Sonoma was closed. The Swiss Hotel was closed
Jennifer Barone:Oh, yes.
Bart Schneider:For two years or something.
Jennifer Barone:Yeah. So were you making a lot of food? Was the daily piece basically dishes that you had from your childhood and feeling with your filter fish or dishes that you were missing? What was happening with that?
Bart Schneider:Yeah. I I I mean, I do cook a lot, but and then, you know, you are never going out, so cooking more. And I think the thing about I was surprised about writing writing about food is that, I mean, you think of all things this wouldn't happen, but I found writing about food was very emotional.
Jennifer Barone:Yes.
Bart Schneider:It brought me back to childhood. It it made me think about customs and traditions and my parents a lot who are both gone and I was really surprised. I mean, writing some poems that almost sound silly. Like, I'm gonna read one that that is kind of a silly poem in a way, silly to write about such a thing, but but there was even emotion in that. This one is I'm so surprised I sent this to Chester and I thought he's never gonna paint this.
Bart Schneider:But TV dinners. It's called TV dinners. I once looked forward to them. The freezer held a selection along with chicken pot pies, quarts of lemon sherbet sherbet, crusted canisters of orange juice, and half gallons of Neapolitan ice cream. I only got such fare when my parents went out for the night and I was asked to fend for myself.
Bart Schneider:Those were the glory days, which began when I was 10. Some nights, knew exactly what I wanted, on others, I'd lined the kitchen counter with my options, fried chicken, Salisbury steak, turkey with stuffing. The vegetable medley was colorful. Minuscule die cut cubes of carrots along with peas and corn kernels beside a domain of whipped potatoes flavored with faux butter. Not to forget the delightful apple crisp.
Bart Schneider:I took particular pleasure in the way the the frozen blob came out of the oven with each item fixed in its aluminum pocket. You never had to worry about the jus from the Salisbury steak bleeding into your apple crisp. I saw this as an example of advanced science at work. The proper protocol for ingesting your TV dinner was atop a TV tray in front of the television, but I came from a family that prized its etiquette, so I sat my aluminum plate on an actual China plate and chow down at the Formica kitchen table as the red radio blared baseball.
Jennifer Barone:You have no idea how much I loved that poem. I it kinda gave me a poetry prompt, I think, which is to write about, like, a food that you wouldn't normally think is, like, pleasurable but brings some kind of pleasure. I loved it. Yeah. I think food, like you said, brings in memory, senses, culture, history.
Jennifer Barone:You can really go deep on that one subject. But I think that's part of what makes poetry important, is making finding beauty in the daily, every day. And I love that this is called the daily feast. Can you speak a little bit about that? Like as a writer, as a poet, as a playwright, all these things.
Jennifer Barone:Where are you finding beauty in unexpected places?
Bart Schneider:Well, it's everywhere, isn't it? There and and, you know, you walk down the street and you see one thing and it makes you think of another that you don't even quite know what the correlation is, but there's a reason that the other thing, you know, when when you see a mannequin in a storefront and you think of something really disparate from that, then your your mind kind of pulls them together and you see what the link is if you explore out long enough. And I like the the kind of serendipity of maybe just getting three words that work together and suddenly, okay, there's a poem coming.
Jennifer Barone:I like the juxtaposition between that too and like you said, walking down the street and maybe picking something out that maybe somebody wouldn't even necessarily take notice of or look at, so sort of seeing something unusual.
Bart Schneider:Yeah. Recently, was walking through the the rose garden in Berkeley and I saw all these dead roses. And I was I just kinda determined I was going to walk through and not ignore the roses that were in full bloom, but pay more attention to the dead ones. And that was kind of exciting and I I found myself I didn't I didn't end up with a poem that worked or anything but Yes. I might I might go backwards.
Bart Schneider:Yes. Yeah. No. They're never totally dead.
Jennifer Barone:Right? Right.
Bart Schneider:Yeah. It's like Giacometti in his studio, he had all these busts that, you know, he kept spraying water on the plaster to keep them from drying out, but he's, oh, that's worth nothing. It's then, you know, Caroline asked, if it's worth nothing, why do you keep spraying water? Oh, you never know. Might go back to it tomorrow and find a way.
Bart Schneider:But I found walking through this rose garden with all these dead roses, felt very grateful for the gardener who had left them instead of deadheading them right away. Because I got to see there is a kind of splendor when something has passed.
Jennifer Barone:Mhmm.
Bart Schneider:Which I had the kind of sad but wonderful experience of seeing my mother-in-law about a month ago, who had just died, laid out in her on her bed in a flowered dress in her home in Provence. And it felt I mean, she they they put no makeup on her. She looked kind of beautiful at 94 years old, laid out in her flower dress. And I felt like I was walking into the Dubliners or something. It was I didn't know people still did that.
Jennifer Barone:Mhmm. Yeah. Rituals around death and dying, at least in our country, seem a bit removed. But in places like France and Europe, it's still very profound those rituals and important to have
Bart Schneider:Right.
Jennifer Barone:And embraced culturally, I find.
Bart Schneider:Yeah. So this very strange experience of, you know, not being monolingual and not able to really speak French. I was there for the high mass
Jennifer Barone:Mhmm.
Bart Schneider:Burial and all the rituals rituals that that went went around around and and the enormous party. And I I I wrote three decent poems from the experience and I didn't, you know, I didn't go there to write poems, but they come out everywhere. Right?
Jennifer Barone:Mhmm. You got it. Well, as soon as they come, you gotta write. Well, I wanted to ask you a little bit about moving over to France now in terms of location for your book, Giacometti's Last Ride. How did Giacometti because you just started to talk about him.
Jennifer Barone:How did you decide upon Giacometti, like, as an inspiration and decide to wanna write a book about his life?
Bart Schneider:Well, I was, you know, truly attracted to his work. I I was even a little scared of it because it's there's a kind of monumental isolation to it and I, you know, I've wondered if it says something to about me that I fell in love with this work. But the and then I was kind of fell in love with the character I got to know as I did research and how obsessed he was with getting it right, which at first I thought was more perfection, but I think it's really his obsession with being authentic. Mhmm. And, I mean, that's that's something I really value in try in creative work is, you know, finding out where where the line sounds false, where the scene like, I told you before that I pulled out that scene of Giacometti taking his model lover to see Breathless, a booboussuf, because it felt like, oh, that's kinda canned of all films to take her to even though it was right of the period that I was writing about.
Bart Schneider:It seemed too easy. And so then, you know, you just kinda have to go through your work and see, is that a little canned? Is that would it really have been? That's, you know, that's the editing process. And Giacometti seemed like he was constantly I mean, he'd go to help set up a retrospective he was having of paintings and and sculptures that other people owned and he started painting on them, you know, and his On
Jennifer Barone:top of them?
Bart Schneider:Yeah. I mean, if there was anything he could change and he wanted to change and and, you know, his gallery owners said, you can't do that, somebody else owns
Jennifer Barone:that. Right.
Bart Schneider:But he saw something that he wanted to change and it wasn't quite right, it wasn't authentic. So I really valued that. And and then I I was really drawn to the story of Giacometti and his last model, Caroline, who he met in a brothel and fell in love with. And they had a very devoted relationship that was tangled up with pimps and all kinds of trouble and her gambling habits. But it it brought him late in his life to a new level of inspiration, I think.
Jennifer Barone:Mhmm. Can you talk a little bit about that? Because there there's others artists like Van Gogh also who had some torrid affairs and relationships that affected his work, but I think that's a theme in this book too where the romantic relationship is also like a co collaboration with the artist creating their work. Are there parallels like that in your life as well?
Bart Schneider:Well, you know, I fell in love with my now wife and I wrote some poems really quickly. And yeah. And I dedicate this book to her, to Katharine. And I think she's really a big part of this book for me because we took several trips to France and into Giacometti's hometown in Switzerland. And and she did things for me like there there's a Japanese model that appears in in the novel called Yanahara.
Bart Schneider:And Yanahara wrote a book about his time modeling for Giacometti. He wrote it in Japanese and was translated into French and she translated it for me into English. Mhmm. But when we were in Giacometti's hometown of Stampa in Switzerland, Catrin could speak enough Italian to we met several people that knew Giacometti. I mean, they were children at the time, but he was in this little town.
Bart Schneider:He was a huge legend, and he came back all the time. And so she could get stories for me. And I don't know. I really felt like the two of us took the Giacometti journey together.
Jennifer Barone:Did some of the stories wind up appearing in this book?
Bart Schneider:No. But but they informed my my sense of him as a whole. Mhmm. Yeah. There there wasn't really a place from one guy who had been a school teacher said his mother owned the cafe across the street from Giacometti's house, and he was supposed to do a drawing for school the next day, and he asked Giacometti, who was sitting in there, if he would do a drawing for him.
Bart Schneider:And Giacometti did this trees or something and the kid brought it upstairs to his to his mom and she's, ugh, this is junk. And she she tore it up.
Jennifer Barone:Wow. Little did she know.
Bart Schneider:Yeah. I didn't try to force that snoring into the world because it didn't apply, But but it was nice to know, you know, and
Jennifer Barone:Well, Chester Arnold's artwork first of all, the book, Giacometti's Last Ride is so gorgeous, the way it looks and it's printed. It has Chester's artwork going throughout. Can you tell me a little bit about Chester's process? Because this work is obviously about famous artist Giacometti. Was there, like, something special about Chester's artwork going throughout this book?
Jennifer Barone:Was he inspired by Giacometti also to pull some of that style in? Yeah. I think Chester
Bart Schneider:was is really inspired by Giacometti and well, he's he says such wonderful things here in his in his artist notes.
Jennifer Barone:His style, his creative visual style in the drawings, the paintings in here kind of has that feeling of Giacometti, like a little bit of that. Is that natural to his art or did he pull that in?
Bart Schneider:I think he really took a departure for him and he's a really good friend and he's a really fine artist and I was sensitive, tried to be sensitive about, you know, Chester, I don't want you to illustrate this because you're not an illustrator and I wouldn't presume to ask you to do that, but if you can respond to anything in here. I did ask him if he could paint a De Cheveau, which is the car on the cover of the book, and it is just such an absolutely gorgeous painting.
Jennifer Barone:It is.
Bart Schneider:But I I said, you know, if anything in here works for you and you wanna do a half a dozen images, that would be great. But he ended up doing 18 and and I think some of it draws on the fact that Giacometti was so well photographed by some of the great photographers of the time like Brassay and Cartier Bresson that, you know, there's just a world of photographs of Giacometti and his milieu in Paris of the fifties and sixties that he probably drew off some of that and I mean, they're not like paintings of photographs or anything like that, but I think some of the photographs were inspirations to him. Mhmm. And he said that, you know, he normally doesn't do work like that, but he, along the way, discovered a kind of improvisational style that he hadn't really used in a long time.
Jennifer Barone:Mhmm. It sounds like he got a little bit of inspiration from the photographs, but then he was able to really bring his own style to this this art to retain that for himself as well throughout the book. It's gorgeous, this book. I guess I want to talk a little bit also about what it's like for you. I guess we'll end here because place is so important.
Jennifer Barone:In this in this book, you're talking about the bohemian art world in Paris, but you also write about where you live in around Sonoma County. I feel like the place that you live is also an important character in a lot of in your books as well. Can you talk a little bit about what it's like to be a writer in the Bay Area?
Bart Schneider:Well, it's so physically beautiful here.
Jennifer Barone:Mhmm.
Bart Schneider:You know, we're so spoiled. I mean, I lit I opened the curtains in my bedroom in Berkeley, in our bedroom, and it's you look out into so many trees and the hills up above, and I mean, I feel happy just waking up, you know, and this is my life. And I think writing about places, sometimes writing about the choices you make, you know, that you that got you here, that I mean, even though I was born here, I came I went away, I came back here, and I haven't written as much about the place that maybe matters the most to me, which is the ocean. I I grew up up by there and the outer Richmond, but I I think maybe aligned with with writing about place, I I think what's really important to me is kind of writing physically, writing and I feel like that's how I got into Giacometti is kinda getting a sense of what he was like physically with plaster dust attached to him everywhere, and even though he was elegant and and, you know, always had a tie on, and when I could get a sense of what he might have felt like in his body walking through a Paris street, then then I felt like, okay, I can begin to write about him.
Jennifer Barone:And you, assuming also have done a lot of walking parish streets.
Bart Schneider:Yeah. Yeah. I worked on this novel for a long time. It had been like a 500 page thing and I whittled it down to this right under 200 pages. And I spent, you know, maybe four or five trips I stayed in the same around this Montparnasse area that he lived and worked in the Fourteenth.
Bart Schneider:And, yeah, it felt really special to me, very non touristy and you could feel what was left of maybe a working man's neighborhood.
Jennifer Barone:Mhmm. I love Shakespeare and Company bookstore over in Paris, which is a sister store to City Lights over there. Right. Is that one of your did you check out that book store over I've been there.
Bart Schneider:It's a lovely place to sit if you're Yeah. You're there when it's not too filled with tourists.
Jennifer Barone:Yes. I think I've heard also that they house writers every now and again. I don't know if they're doing that still, but they used to have a room upstairs where you can hang out and sleep overnight and write.
Bart Schneider:Yeah. Maybe maybe Henry Miller spent a night or two there.
Jennifer Barone:Well, it's been such a pleasure to talk to you.
Bart Schneider:Oh.
Jennifer Barone:And this book, Giacometti's Last Ride is gorgeous as is The Daily Feast book of poetry. Yeah. I thank you so much Bart Schneider, for sharing your words.
Bart Schneider:Thank you for having me. This has been fun.
Jennifer Barone:This has been wonderful and sharing your journey as a writer. Come check out Bart Schneider and Olga Zilberbourg presenting Giacometti's last ride on Saturday, October sorry, November 8 at 06:30PM at Telegraph Hill Books, Saturday, November 8. For listeners who'd like to learn more about Bartschneider and his work, you can visit kelly's covepress.com or find him on Substack, bart schneider dot substack dot com, and find his books at your local independent bookstores including Telegraph Hill books. Thank you so much, Bart.
Bart Schneider:Thank you.
Jennifer Barone:What a pleasure. This podcast is brought to you by Telegraph Hill Arts and Literature. If you enjoyed today's episode, please follow, subscribe, and leave us a review. Visit tellhighlit.org to find out about our local events such as author talks, writing workshops, and more. Consider making a donation to support our public programs.
Jennifer Barone:If you are a Bay Area author interested in being on the show, we'd love to hear from you. Reach out to us at submissions@tellhighlit.org. Thanks again for tuning in. I'm Jennifer Barone along with Joseph Carboni at Telegraph Hill Arts and Literature. And this has been Voices from the Hill.
Jennifer Barone:Until next time, keep reading, keep writing, stay inspired, and come visit us at Telegraph Hill Books in North Beach, San Francisco.