Podcast: Window, Pain

Tova Mirvis on The Virtual Memories Show

Virtual Memories – season 4 episode 12 – Window, Pain

“I set up a scenario where all of my characters were unhappy in one way or another, and they were all watching other people, as opposed to looking inward at their own lives. I didn’t know what people do about that. I was writing a realistic novel, but part of me believed that no one actually acts on their unhappiness.”

Tova Mirvis joins The Virtual Memories Show to talk about her brand-new novel, Visible City and how she learned to act on her unhappiness, as well as the lifelong advice she got from Mary Gordon, the ways that writing a book is like building a stained-glass window, why being an orthodox Jew in Memphis wasn’t just like Designing Women with better wigs, and the advantages of being offline for a week when the New York Times publishes your op-ed about getting divorced. Give it a listen!

“Orthodox Judaism and southern culture meld beautifully. In the south, there’s a way we do things and a way we don’t do things. And it’s the same in orthodox Judaism. They’re both very well-structured worlds. I grew up as a sort of cocktail of those two worlds.”

We also talk about how one person’s urge to freedom is another person’s betrayal, why Visible City took her 10 years to write, what you can discover about yourself in your 40s and what you can leave behind, and the varieties of religious experience (ours, not William James’). BONUS! You also get my essay/monologue about Jews & Geordies!

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

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About our Guest

Tova Mirvis is the author of three novels, Visible City, The Outside World and The Ladies Auxiliary, which was a national bestseller. Her essays have appeared in various anthologies and newspapers including The New York Times Book Review, The Boston Globe Magazine, Commentary, Good Housekeeping, and Poets and Writers, and her fiction has been broadcast on National Public Radio. She has been a Scholar in Residence at the Hadassah-Brandeis Institute at Brandeis University, and Visiting Scholar at The Brandeis Women’s Studies Research Center. She lives in Newton, MA with her three children.

Credits: This episode’s music is NYC USA by Serge Gainsbourg. The conversation was recorded at the Houghton Mifflin Harcourt offices on a pair of Blue enCORE 200 microphones, feeding into a Zoom H4n recorder. The intro and monologue were recorded on the same setup in a hotel in Columbus, OH. Processing was done in Audacity and Garage Band. Photo of Ms. Mirvis by me.

Podcast: Stick and Move

Sarah Deming on The Virtual Memories Show

Virtual Memories – season 4 episode 11 – Stick and Move

“Claressa Shields was the first boxer who showed me that women can be artists in the ring, like men. It was kind of like the first time I read Virginia Woolf.”

Essayist, boxer, novelist, chef and more, Sarah Deming joins The Virtual Memories Show to talk about yoga’s role as a gateway drug into boxing, winning a Golden Gloves tournament, the joys of watching a great fighter, her literary idols, the miracle of Bernard Hopkins’ longevity, and how she found her soul.

“I really like the people who write about boxing with empathy. There’s a lot of subtly disrespectful boxing writing. I think it’s essentially because of the threat the intellectual feels from the athlete, and I think racism underlies it, too.”

We also talk about the spiteful inspiration for her first novel, the thread connecting boxers and adult film stars, the magic in the mundane, and why it’s almost impossible to write something boring about sex or a fight! Give it a listen! (And check out these wonderful essays Sarah wrote about skydiving and vodka-peddling!)

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

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About our Guest

Sarah Deming is the author of the children’s novel Iris, Messenger (Harcourt, 2007) about the Greek gods in suburbia. Her essays have appeared in the Threepenny Review, the Huffington Post, and WNYC.com. In 2013, she won a Pushcart Prize and was listed as notable in Best American Essays. Sarah has ghostwritten two erotic novels and assisted on ultramarathoner Scott Jurek’s memoir Eat and Run. She was a writer/researcher for CNBC’s boxing coverage of the 2012 Olympics. Before becoming a writer, Sarah was a Golden Gloves boxing champion, chef, and yoga teacher. She volunteers as a strength/conditioning coach for young boxers at the Atlas Cops & Kids Gym in Brooklyn and teaches yoga at New York Health and Racquet Club.

Credits: This episode’s music is Brainy by The National. The conversation was recorded at Ms. Deming’s home on a pair of Blue enCORE 200 microphones, feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Ms. Deming by me.

Podcast: The Stars Have Anemia

Maya Stein talks about creativity on The Virtual Memories Show (2/2)

Virtual Memories – season 4 episode 10 – The Stars Have Anemia

“There’s a sort of romance in riding a bicycle across the country. It’s something that some people would fantasize about, and when they saw me ride into their town, it brought them back to their own dreams, their own wishes about what they wanted to fill their life with.”

Maya Stein is a poet, a teacher, a photographer, and more. We sat down in her restored trailer, M.A.U.D.E. (Mobile Art Unit Designed for Everyone), to talk about her life as an artist, how she built an audience for her work over the years with her 10-Line Tuesdays, how she got the idea to ride a bicycle (towing a typewriter, folding table and folding chair) from Massachusetts to Wisconsin, and how she got that Type Rider journey funded on Kickstarter.

“I think about ‘making a living’ as ‘making a life’. I don’t think about money being the driving force behind the decisions I make as a writer or artist.”

We also talk about writing prompts, her new initiative to build Little Free Libraries via Type Rider II, and her epiphany in Elkhart, Indiana. And you get to hear my theory on how the internet makes us all normal (except for the crazy people)! Give it a listen!

Maya Stein talks about creativity on The Virtual Memories Show (1/2)

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

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About our Guest

Maya Stein is a Ninja poet, writing guide, and creative adventuress. Among her latest escapades are a 1,200-mile bicycle journey with a typewriter, a cross-country poetry trip, a French crepe stand at a Massachusetts farmers market, a relocation from San Francisco to suburban New Jersey and most recently, a collaboration — Food for the Soul Train — turning a vintage trailer into a mobile creative workshop space. (She also ran a catering business for six years and specialized in hors d’oeuvres and the finer points of napkin folding.) Her favorite body part is her left hand, as it has gifted her with the ability to sink a nearly invincible hook shot, peel a whole apple without a break, and transcribe the poems living in her heart. You can learn more about Maya’s adventures at www.mayastein.com.

Credits: This episode’s music is Typewriter (Tip Tip Tip) by Kisore Kumar & Asha Bhosle. The conversation was recorded at M.A.U.D.E on a pair of Blue enCORE 200 microphones, feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. There was a space heater going, so I used a noise removal filter in Audacity. Photo of Ms. Stein (solo) by me, and photo of Ms. Stein and me by Amy Roth.

Podcast: Semper Fido

Sheila Keenan and Nathan Fox talk Dogs of War on The Virtual Memories Show

Virtual Memories – season 4 episode 9 – Semper Fido

“We move through a human-centric world as if that is reality, but we’re surrounded by other species, and their species is centric to their world. I’m interested in how that works, not in humanizing other animals.”

In honor of K-9 Veterans Day, our guests are Sheila Keenan and Nathan Fox, the writer and the artist behind Dogs of War, a YA graphic novel about dogs on the battlefield. We talk about their collaborative process and how it developed over the course of this project, as well as the challenges of writing about war for a YA audience, how the trajectory of dog use parallels the development of military technology, and the ways that our empathy for animals can help us better understand the cost of conflict.

“I want the power of time and imagination that resides in the white space between panels.”

Also, find out about their circuitous paths to comics, the alchemy of a writer’s vision interpreted by an artist, why Nathan launched an MFA program at the School of Visual Arts, and how Sheila’s husband wooed her with a page of Love & Rockets!

Praise for Dogs of War

  • Starred reviews in Publishers Weekly, School Library Journal, and The Bulletin of the Center for Childrens’ Books
  • School LIbrary Journal Top Ten Graphic Novels
  • YALSA Top Ten Great Graphic Novels (Young Adult Library Services Association, a division of ALA/American Library Association)
  • ALA Quick Picks for Reluctant Young Adult Readers

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

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About our Guests

Sheila Keenan is an established author of books for young people, including As The Crow Flies, a picture book she did in collaboration with her husband artist Kevin Duggan, and Animals in the House: A History of Pets and People. Dogs of War is her first graphic novel.

Nathan Fox was born in 1975 in Washington D.C. Raised from the age of five on the suburban outskirts of Houston, an early addiction to cartoons, commercials and video games led to a lifelong exploration of Narrative Art and the over-stimulation associated with his generation. In the hopes of making such an addiction his full time job, Nathan left Texas for Missouri, where he attended the Kansas City Art Institute. After graduating in 1997, Nathan pursued Illustration from Milwaukee, WI for the next two years with little result. Frustrated with pursuing editorial illustration and working as an offset pressman, he and his wife moved to New York City in 2000 where Nathan attended The School of Visual Arts (SVA) Illustration As Visual Essay Graduate Program. His work has appeared in The New York Times Newspaper and Magazine, Interview, The New Yorker, Rolling Stone, Wired, ESPN Magazine, Print, Entertainment Weekly, Mother Jones, Spin, Mad Magazine, MTV Store Windows and Tshirts, Burton US Open 2009, Instant Winner and REAL Skateboards, DC Comics, Vertigo, Dark Horse Comics, Marvel and many other publications and mediums. In 2011, Nathan designed the curriculum for a new low-residency graduate program in visual storytelling and is now chair of SVA’s MFA Visual Narrative program.

Credits: This episode’s music is Atomic Dog by Parliament. The conversation was recorded at Mr. Fox’s office at the School of Visual Arts on a Blue enCORE 200 microphone (for me) and an Audio-Technica AT2020 Cardioid Condenser microphone (for them), feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Fox and Ms. Keenan by me.

In a Perfect World

Last Friday was my final day at my job. I quit it to launch a new business (sorta; it’s complicated).

The last time I was unemployed was 1995. I was 24, finished grad school in May, moved back to NJ, and started looking for a gig. I pored over the local papers’ and New York Times’ help wanted ads (this is 1995, remember), looking for writer, copy editor, and other writing-related jobs.

I had some interviews that didn’t work out. At one, I explained to the publishers of a massive, multi-volume hotel/resort guide for travel agents that they should be working to create a digital version that would be accessible via CD-ROM (it was 1995, so the idea of having all that stuff on a website was still nascent), and updatable more often than the print schedule permitted. They were looking for a “wordsmith.” I didn’t get that job.

In another interview, I was asked, “In a perfect world, what would you be doing?”

I thought it was diplomatic of me to say, “In a perfect world, my girlfriend would have a high-paying job and I’d be free to work on my fiction,” because my real answer was, “In a perfect world, I’d have heat vision and be able to destroy my enemies with a glance.” I didn’t get that job.

Another place told me that the starting pay was $18,000; that meant I was likely going to lose money just commuting back and forth to NYC for that one. They didn’t offer me the job.

During the months of unemployment, as my savings ran down (I was living in my old house, and my dad was covering the mortgage, so I wasn’t as desperate as a lot of people), I read The Recognitions, the 956-page first novel by William Gaddis. It had been recommended to me over the years in college by people who took my Pynchon poseurism as a genuine sign of literary connoisseurship.

I don’t know how much I got out of The Recognitions in 1995. My mind was faster back then, but I wasn’t as smart as I am now; that is to say, I knew so much less when time and swiftness were on my side.

By October, I cashed in a $250 savings bond given to me as a baby or something. It was the last of my assets. A week later, I finished Gaddis’ book. One day after that I was offered a job as an assistant editor for two business-to-business magazines. I went on to another company 17 months later, worked on more trade magazines, and got to launch my own in 1999, where I stayed until this past Friday.

On my podcast a few weeks ago, I mentioned a passage from The Recognitions that always stuck with me, except it didn’t stick with me well enough to remember it exactly. One of my listeners e-mailed to let me know where the passage is, so I opened that book up again to check it out. The line doesn’t say much by itself — Now, what if there was no gold? — but it implies the absence of God by pondering the use of alchemy in a goldless age (or the point of art in an age without genius). I backed up around 10 pages to the beginning of that section, and found myself getting drawn back into that immense, artful, postmodern cosmos of a book.

Gaddis published The Recognitions in 1955, at the age of 32. It wasn’t a critical or financial success, and he worked in corporate gigs for 20 more years until publishing his second novel. That one, J R, won the National Book Award and he was pretty much able to write full-time after that, thanks to grants and awards.

Tomorrow will be the first day that I’m not employed in almost 19 years. I have some paying gigs that’ll help me get by until I can afford to pay myself. No need to cash in the last savings bond — or take a loan from my 401(k) — yet. Startup costs will be hairy, but I’m confident I can make it work.

I’m tempted to take up The Recognitions again, to read it from a 43-year-old perspective. But I’m afraid that I won’t get my first big business win until the day after I finish it, and who knows how long that’ll take this time around?

Podcast: The Realm of the Possible

Bean Gilsdorf talks art on The Virtual Memories Show

Virtual Memories – season 4 episode 6 – The Realm of the Possible

“Being an artist and talking about being an artist is a lot about trying to suss out your audience: how much do they know about art, how much do they care, is a casual question, or are they deeply invested in the answer?”

How did Bean Gilsdorf go from studying linguistics to becoming an artist, critic and curator? While in NYC for the opening of her three-person show, Dead Ringer, Bean joined us to talk about making the decision to be an artist, building a career without mass-marketing her art, escaping the tautology of process, the value of getting an MFA, the most asked question at her Help Desk column at the Daily Serving, the difference between the fictional and the imaginary, and more!

“I want to be the kind of artist who amuses myself. . . . I reserve the right to have the last laugh.”

We also talk about her current work — including her Borgesian Exhibition That Might Exist (in Portland), and the Bean Gilsdorf Living History Museum (in San Francisco), which has transformed her apartment into the world’s smallest living history museum — as well as her process of understanding her audience(s), her discovery that sometimes the problem is you and not your materials, and how she reconciles all of her past selves and muses over her future ones.

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

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About our Guest

Bean Gilsdorf is an artist and writer. Her recent art projects compare systems of history that appear as both individual accounts and as unified public narratives. Her performances explore history through appropriation and improvisation, while more material works — objects, videos, and installations — investigate archived historical records by manipulating images from mass-market history books. Her projects have been supported by grants from the Puffin Foundation and the NW Film Center of the Portland Art Museum, and included in exhibitions at the Wattis Institute for Contemporary Arts, the American Textile History Museum, and the Holter Museum of Art, as well as exhibition spaces in Poland, England, Italy, China, and South Africa. She is the Managing Editor of Daily Serving, an international publication for the contemporary fine arts, and her critical writing and interviews have also been published in online and print magazines such as Textile: the Journal of Cloth and Culture, Fiberarts Magazine (2007-2011), and Art Practical. Bean received her MFA from the California College of the Arts in 2011 and was a 2011-2012 Fellowship Resident at the Headlands Center for the Arts. She currently lives in San Francisco, where she operates the Bean Gilsdorf Living History Museum.

Credits: This episode’s music is Blues for Art by Chick Corea. The conversation was recorded at the home of friends of Bean in Brooklyn on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Bean Gilsdorf by A. Discenza.

No better time

Today’s the 11th anniversary of the first post of Virtual Memories. I usually forget my blogiversary, because my life’s gotten way too hectic. In recent years, it’s been a matter of work, reading, podcasting, and being a good husband and dogfather. Not much time to write, and not a lot of time to think.

Last night, I confirmed a podcast session with D.G. Myers, a professor, writer and critic who will be dead within 18 months from prostate cancer. We’re planning to get together in late March or early April, to talk about books, the academy, and mortality. I’ve interviewed guests in their mid-80s, but never someone who clearly sees the terminus up ahead. I don’t know why he’s consenting to do this; if I was in his boat, I’d be a gibbering wreck or I’d be bungee-jumping in New Zealand (again).

Of course, we’re all in his boat. I’m sure he’s making the best of the time he has left. (Myers just tweeted, “I don’t understand why people are so afraid of death. The day after, they won’t remember a thing.”)

I’m in the middle of trying to change my life. I’m about to leave the job I’ve had for almost 15 years — and the company where I’ve worked for nearly 17 years — so I can start a related business. I might be the only knucklehead who’s quitting a secure job for the great unknown in this job market, but there it is. This new gig might mean I spend a lot more time in D.C., so perhaps I’ll get to writing on train rides, even if I’m a lot older than David Gates was when he wrote Jernigan in legal pads on the LIRR.

When the “farewell to Gil” issue of my magazine comes out next month, I imagine I’ll hear from readers who enjoyed my work, my editorials, our conversations at conferences over the years. E-mails to that effect have already trickled in as the news of my departure has started to spread.

As gratifying as those notes are, it’s here at Virtual Memories that I’ve been trying to build something — in text and in my podcasts — that’ll outlast me. Thanks for sticking around.

Podcast: Feeling Gravett’s Pull

Virtual Memories – season 4 episode 5 – Feeling Gravett’s Pull

“Comics is a medium that isn’t going to go away. It may just now finally be coming into its own in the 21st century. In this internet era, there’s something very special about what comics do, no matter how much they get warped and changed by technology.”

More than 30 years after taking on the role of British comics’ Man at the Crossroads, Paul Gravett remains at the center of the global comics scene. We had an in-depth conversation about the growth of comics as an art form, the surprise of seeing local manga in Algeria, why he considers himself less of a comics historian or curator than a comics activist, how it feels to have been the first publisher of some of the finest cartoonists of our time, and why he should be called Paul “Mission To Explain” Gravett. Give it a listen!

“I’m probably slightly insane for wanting to go on looking and searching and questioning and provoking myself, trying to find stuff that doesn’t give me what I know already.”

Along the way, Paul and I also talk about his new book, Comics Art (Yale University Press), the new exhibition he’s curating for the British Library, Comics Unmasked: Art & Anarchy in the UK, the history of comics and his history within it, and the way virtually every lifelong comics reader’s home winds up resembling an episode of Hoarders. Paul Gravett is  one of comics’ finest ambassadors, and it was a pleasure to talk with him during my recent UK trip. (Oh, and here’s a link to that Richard McGuire comic we effuse about!)

Paul Gravett Talks Comics Art on The Virtual Memories Show

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

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About our Guest

Paul Gravett is a London-based freelance journalist, curator, lecturer, writer and broadcaster, who has worked in comics publishing and promotion since 1981. Under the Escape Publishing imprint, he co-published Violent Cases in 1987, the first collaboration between Neil Gaiman and Dave McKean, three volumes of Eddie Campbell’s Alec between 1984 and 1986, and London’s Dark in 1988 by James Robinson and Paul Johnson. Since 2003, Paul has been the director of Comica, the London International Comics Festival. His very extensive bio can be found at his website.

Credits: This episode’s music is The Boy With the Jigsaw Puzzle Fingers by Karl Hyde. The conversation was recorded at the Hilton London Euston on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Paul Gravett by me.