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.

Podcast: The Consolation of Poetry

 

Virtual Memories – season 4 episode 3 – The Consolation of Poetry

“Poetry chose me at an early age. I think it was connected to the fact that poetry is emotional, pretty, and short.”

Rachel Hadas, author of Strange Relation: A Memoir of Marriage, Dementia and Poetry (Paul Dry Books), lost her husband to early onset dementia. We talk about how poetry — hers and others’ — gave her solace during this years-long process. We also talk about poetry is a way for the poet to both release and identify emotions, why it was easier to publish collections of poetry in the 1980s and 1990s, the benefits of poetry memorization, and why the Furies looked the other way when Agamemnon sacrificed his daughter Iphigenia.

“Writing helps us to live through something and then it helps us remember it, if we want to.”

BONUS: You get to hear me record an intro after 35 hours with no sleep, and find out about the huge, life-changing thing I did last week!

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

Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!

About our Guest

Rachel Hadas studied classics at Harvard, poetry at Johns Hopkins, and comparative literature at Princeton. Between college and graduate school she spent four years in Greece, an experience that surfaces variously in much of her work. Since 1981 she has taught in the English Department of the Newark (NJ) campus of Rutgers University, and has also taught courses in literature and writing at Columbia and Princeton, as well as serving on the poetry faculty of the Sewanee Writers’ Conference and the West Chester Poetry Conference. She has received a Guggenheim Fellowship in Poetry, an Ingram Merrill Foundation grant in poetry, and an award in literature from the American Academy and Institute of Arts and Letters. Rachel Hadas is the author of many books of poetry, prose, and translations. Most recently, she her memoir about her husband’s illness, Strange Relation, was published by Paul Dry Books (2011) and a new book of her poems, The Golden Road, was published by Northwestern University Press (2012).

Credits: This episode’s music is Strange Conversation by Ted Hawkins. The conversation was recorded at the home of Ms. Hadas on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded in a hotel room in London on the same gear. Processing was done in Audacity and Garage Band. Photo of Rachel Hadas by me.

Podcast: A Place To Rest

Emily Raboteau tours the Promised Land on the Virtual Memories Show

Virtual Memories – season 4 episode 2 – A Place To Rest

“We reach for stories to be able to take risks.”

Emily Raboteau, author of Searching for Zion: The Quest for Home in the African Diaspora (Atlantic Monthly Press), joins the Virtual Memories Show to show to talk about the many notions of “home” for black people. Along the way, we talk about the many notions of what constitutes a black person. As Ms. Raboteau discovered in the travels chronicled in her book — encompassing Israel, Jamaica, Ethiopia, Ghana and America’s deep south — there are a lot of ideas about who’s black and what blackness means.

“As my husband told me, ‘You can’t valorize the oppressed just because they were oppressed. It doesn’t make them saintly; more often than not, it makes them want to step on someone else to elevate themselves.'”

We also talk about churchgoing in New York City, what it’s like to travel to Antarctica, why the story of Exodus is so pivotal in the black American experience, why Jewish book reviewers thought she was pulling a bait-and-switch, why she chose to explore her black roots instead of her white ones for this book, what motherhood means, and what it was like to give a talk about faith on behalf of Bobby McFerrin.

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

Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!

About our Guest

Emily Raboteau is the author of a novel, The Professor’s Daughter (Henry Holt, Picador), and a work of creative nonfiction, Searching for Zion: The Quest for Home in the African Diaspora (Grove/Atlantic), named one of the “Best Books of 2013” by The Huffington Post and the grand prize winner of the New York Book Festival. She recently visited Antarctica and Cuba to research her next novel, Endurance, about a shipbuilder and his autistic son. Her fiction and essays have been widely published and anthologized in Best American Short Stories, Best American Non-required Reading, Tin House, The Oxford American, The Guardian, Guernica, The Believer and elsewhere. Honors include a Pushcart Prize, The Chicago Tribune’s Nelson Algren Award, and fellowships from the National Endowment for the Arts, the New York Foundation for the Arts, the Christopher Isherwood Foundation and the Howard Foundation. An avid world traveler, she resides in New York City and teaches creative writing in Harlem at City College, once known as “the poor man’s Harvard.”

Credits: This episode’s music is Promised Land by Johnnie Allan. The conversation was recorded at the home of a friend of Emily’s on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded at home on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Emily Raboteau by me.

The Pod-Kit

Someone asked me recently for a breakdown of what equipment I use to record my Virtual Memories Show podcasts. At home, I use a Blue Yeti USB microphone with a Blue Universal pop filter. It feeds into my Mac Mini and I do the audio capture in Audacity, because I had trouble the one time I tried doing audio capture in Garage Band and never went back to figure out what I was doing wrong.

The setup for recording my interviews is a little more involved. I don’t do interviews via Skype/phone, because I prefer being face to face with my conversant. Here’s what’s in my “studio in a bag:”

podkit2

My primary recorder is a Zoom H4N with a 16 gb Class 10 SD card and plug-in power. The base of the H4N has XLR connections, which allow me to hook up two Blue enCORE 200 Phantom Powered Active Dynamic microphones, via a pair of 3 ft. XLR cables. The 200s were recommended to me by my podfather, Marc Maron, via Twitter. I tried to go cheap and use Blue enCORE 100 mics, but the signal wasn’t very good (the 200s use phantom power, while the 100s are passive). At one point, an instructor at Tekserve suggested I use AT2020 Side Address Cardioid Condenser Studio mics. I did, but they picked up too much noise and I found their signal to be a little strong/fuzzy, even when I adjusted the recording levels on the H4N

After a few months using the AT2020s, I visited B&H Photo in NYC and did test recordings with the enCORE 200 alongside my 100s and AT2020s. The 200 gave a much warmer sound than the 100, while being less all-recording than the AT2020. (I should note that the AT2020 is a condenser mic and that means it’s intended to pick up a wider sound; that is, it’s a feature, not a bug, but it’s just not as good for the more intimate setting of this podcast.) B&H had the 200s on sale for $120, which was $30 cheaper than Amazon, so I bought them there. The price is back up to $149 now. B&H was so helpful that, if the prices had been the same, I would have gone through them (except on Shabbat).

I always keep a backup recorder on hand for interviews. I use a Zoom H2n with a 16 gb Class 10 SD card. The H2n has a little stand that’s pictured beside it. I can’t find the power adapter for the H2n, so I usually bring along a pair of spare AA rechargeable Eneloop batteries. I’ve never had to resort to the backup. (Actually, I did need to resort to it once, when the H4n inexplicably failed to record a podcast, but that was the one time the batteries died in the H2n. . . .)

A pair of Musician’s Gear Tripod Desk Mic Stand with Clips from Guitar Center are pretty compact and suffice to position the mics. In fact, the staff at my local Guitar Center stores — we have three pretty close to my office and home — have been pretty helpful with suggestions and advice (less for the engineering, more for the technical stuff regarding cables, stands, etc.).

The microphone clips come with the microphones, but they need a thread adaptor to connect to the tripod stands. I leave the adaptors screwed into the stands, but sometimes I connect the clips too tightly and they take the adaptors off with them. I like to leave them connected to the tripods because that way I know where they are, so I also bring along pliers, in case the clips won’t come free.

Everything (including the Canon PowerShot S95 I used to take this pic) fits in an Occidental Leather 6512 Machinist’s Bag. I usually pack some spare business cards in there, along with the aforementioned spare batteries, and maybe an SD card reader if I’m traveling and want to get the audio file transferred to my laptop right away. I could also connect the H4N to a laptop via a USB cable, but I prefer to pop the card out to get the file.

Next time: how to line up guests!

Now go listen to some of my podcasts!