Category Podcasts

Episode 124 – Don’t Fall

Virtual Memories Show #124:
Jonathan David Kranz – Don’t Fall

“I feel some frustration with contemporary literary fiction: there’s stuff that’s well written without really being good writing. Lovely prose, but stories that feel flat and empty.”

brotherssea Jonathan David Kranz joins the show to talk about his new novel, Our Brothers at the Bottom of the Bottom of the Sea (Henry Holt). We talk about what makes the Jersey Shore different from any other seaside amusement region, what he learned while writing for the YA category, the value of Grub Street writing courses vs. an MFA, and more! Give it a listen!

“New Jersey has two urban centers: New York and Philadelphia. And what they have in common is that neither one is in New Jersey.”

We also compare our New Jerseys (I go on at length; sorry), then talk about his history with the Society for Industrial Archeology, what it’s like to celebrate 20 years as a freelance commercial copywriter (and it is cause to celebrate), what he had to unlearn from that career in order to write fiction, and what it was like when he came face to face with the Jungian nature of Tilly the clown.

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

On his blogTillie, Jonathan David Kranz writes, “I was born on an island, Manhattan, but grew up in New Jersey, where I did not go to the beach as often as I would have liked. I studied painting in college (Rutgers), then framed pictures, installed kitchen cabinets, and worked as a backstage theater go-fer before pursuing my MFA in creative writing. True to form, I bummed around again—this time with a family in tow, making my living as a marketing copywriter—before a vacation in Ocean City gave me the inspiration for my first novel, Our Brothers at the Bottom of the Bottom of the Sea. Today, I live with family (and an annoying little dog) in a suburb north of Boston.”

Credits: This episode’s music is 4th of July by Lori Carson. The conversation was recorded at the Virtual Memories Studio on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro.

Episode 123 – The Hidden Wish of Words

Virtual Memories Show #123:
Langdon Hammer – The Hidden Wish of Words

“What I really cared about most, what drew me, was the relationship between lives and work, between how we live and what we do, and what we do with it. And that’s one of James Merrill’s major subjects.”

merrillcoverLangdon Hammer, Chair of the Yale English department, joins the show to talk about his new biography, James Merrill: Life and Art (Knopf) (and one of the best books I’ve read this year). We discuss Merrill’s allure as a poet and the alchemy that allowed him to turn base wealth into artistic gold. He also talks about learning the art of literary biography on the fly, the challenge of recreating Merrill’s life in Greece, Merrill’s silence over AIDS, how we can understand the Ouija board-derived poems of Merrill’s masterwork, and more! Give it a listen!

“Alchemy is a theme in Merrill’s writing. How is he going to make his own gold, how is he going to transform the lead of his father’s money into a higher value?”

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We also learn about Langdon’s decades at Yale and how students have changed during his time there, what the globalization of English poetry means for the form, why he considers The Book of Ephraim to be James Merrill’s greatest poem, and the farthest he traveled to research the book.

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About our Guest

Langdon Hammer is chair of the English Department at Yale and the poetry editor of The American Scholar. His books include Hart Crane and Allen Tate: Janus-Faced Modernism and, as editor for the Library of America, Hart Crane: Complete Poems and Selected Letters and May Swenson: Collected Poems. His lectures on modern poetry are available free online at Yale Open Courses. There’s a more extensive bio at JamesMerrillWeb, if you’d like to check that out.

Credits: This episode’s music is Lust for Life by Iggy Pop. The conversation was recorded at Prof. Hammer’s office at Yale on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro.

Episode 122 – A Muse Apart

Virtual Memories Show #122:
Jonathan Galassi – A Muse Apart

“The literary writer still needs someone to have a dialogue with, to help shape their book, understand it and make it as presentable to the world as possible.”

51xxp01m9xL._SY344_BO1,204,203,200_FSG president Jonathan Galassi has been a literary editor and publisher for more than four decades, so how did that experience prepare him for publishing his first novel? Find out in this week’s show, as we talk with Mr. Galassi about Muse (Knopf)! We talk about his history (and future) in publishing, how he wound up a publisher-hybrid of Roger Straus and James Laughlin, how he learned to shut off his editor-self in order to get in touch with writer-self, why he took the challenge of writing a character’s world-changing poetry, and more. Give it a listen!

“The most important thing an editor has is taste. And how do you get taste? By reading a lot of books, and coming to understand what makes them good. Having a visceral love or detestation is important.”

jonathan_galassi_535We also talk about Muse‘s affectionate satire of the New York publishing world (okay: he calls it a “revenge fantasy” in our conversation), why he enjoys the rough-and-tumble aspects of the biz, the degree to which authors’ expectations have changed over the decades, the degree to which publishing relies on luck, the best training for an editor, our favorite Philip Roth novels, the value of big advances, where he falls on MFA vs. NYC, why the better literary writers should shouldn’t self-publish, and whether it was a taboo for him to venture into fiction writing after spending so many years editing fiction writers. (Photo: Yvonne Albinowski/New York Observer)

“You go into publishing because you love literature, and you end up reading a lot of crap.”

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

Jonathan Galassi is a lifelong veteran of the publishing world and the author of three collections of poetry, Morning Run, North Street and Other Poems and Left-handed, as well as translations of the Italian poets Eugenio Montale and Giacomo Leopardi. He has served as a senior editor at Houghton Mifflin, and as executive editor and later president of Farrar, Straus & Giroux. In 2008 he received the Maxwell E. Perkins Award, which recognizes an editor, publisher, or agent who “has discovered, nurtured and championed writers of fiction in the U.S.” A former Guggenheim Fellow and poetry editor of the Paris Review, he also writes for the New York Review of Books and other publications. He lives in New York City. His new novel is Muse.

Credits: This episode’s music is Caçada by Bebel Gilberto. The conversation was recorded at Mr. Galassi’s office at FSG on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Galassi by Yvonne Albinowski/New York Observer.

Episode 121 – The Limits of Love

Virtual Memories Show:
Christie Watson – The Limits of Love

“I wanted to explore the idea in this novel that despite love, some families simply cannot survive.”

women-kings-260x388British author Christie Watson joins the show to talk about her new novel Where Women Are Kings (Other Press). We talk about the process of adoption, her history with Nigeria (and why she loves its literary scene), the trick of balancing cultural differences and societal norms, and how she became a published writer in her 30s, after years of planning her book tour outfits. We also discuss the growth of writing programs in the UK, choosing her secondary school on whether they required uniforms, and her take on New York vs. London. Give it a listen!

“When you write a book, it’s going to be sitting next to Salman Rushdie’s book on the shelf, so by the time you publish, you have to be at the top of your game.”

Enjoy the conversation!18202859605_ac210bf763_z Then check out the archives for more great episodes! You might like:

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About our Guest

Christie Watson is a British novelist. Her novels, Tiny Sunbirds, Far Away, and Where Women Are Kings have been widely translated. Christie won the Costa First Novel Award, the Waverton Good Read Award and was named Red Magazine’s Hot Woman of the Year (Creative).

Credits: This episode’s music is Will My Mother Know Me There? by The Carter Family. The conversation was recorded at the Other Press offices on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Ms. Watson by me.

Episode 120 – Laboratory of Imagination

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Virtual Memories Show:
Lorenzo Mattotti – Laboratory of Imagination

“In my work, I always try to arrive at a new level of capacity. To do that, you must be ready spiritually. When I arrive at that level, there is a fear. You have to break your knowledge to arrive at that level.”

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Lorenzo Mattotti is one of my favorite artists (and cartoonists and illustrators), so it was a thrill to sit down to record with him during Toronto Comic Arts Festival! We talked about his newest book, Hansel and Gretel, how a trip to Patagonia led to a new phase of his art, and why he decided to become a cartoonist instead of a painter (while making his rep in fashion illustration). Give it a listen!

“I’m always curious to look back at my early work, because sometimes I’m so depressed and so lost that I need to go back and say, ‘Look at this! You were able to do that! Go on!’ And sometimes I look at my work and think it was another person who did that.”

coloricataWe talk about the interaction between his comics, paintings, and commercial illustration work, the thread of transformation myths in his comics, how he’s learned to improvise after mastering a controlled style, why he prefers working with writers over writing stories by himself, what fashion taught him about technique and glamour, his “poor parents'” reaction to his comics, his need to find new artistic challenges, how he does those amazing New Yorker covers, who he’s reading, and more!

“[Pinocchio] became a laboratory of imagination. I see how I can return to it year after year and make new interpretations of it.”

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

Lorenzo Mattotti17502664291_0d8121a8c7_z is a highly sought-after illustrator (with frequent appearances in and on The New Yorker) and acclaimed graphic novelist. His books include Fires, Murmur, Works, Pinocchio, Dr. Jekyll & Mr. Hyde, Stigmata, The Raven (with Lou Reed), The Crackle of the Frost, and his newest book, Hansel and Gretel (with Neil Gaiman). In addition to his comics and illustration work, Lorenzo Mattotti is a highly respected multi-disciplinary artist, from reinterpreting reinterpreting the models of the most famous fashion designers for “Vanity” magazine, to designing the title sequences for the film “Eros” by Wong Kar-wai, to directing an animated version of his work in the animation anthology “Fears of the Dark.” He lives in Paris, France with his wife Rina and their two children. His wife owns and runs Galerie Martel.

Credits: This episode’s music is Optical Sound by Human Expression. The conversation was recorded at the Toronto Marriott Bloor Yorkville on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Mattotti by me.

Episode 119 – Paid in Full

Virtual Memories Show:
Chester Brown – Paid In Full

“Before I did I Never Liked You I would think about those high school bullies and I would get angry about them. After doing that book, I was no longer angry. I was able to put them in context and see them as just kids. . . . I think you do see things in your life differently when you’re forced to sit down and write it out and draw it out.”

17812419456_051ab31366_zChester Brown has carved a singular path in the cartooning world, starting more than 30 years ago with his groundbreaking mini-comic, Yummy Fur. We got together during the Toronto Comic Arts Festival to talk about the evolution of his work, the response to his 2011 book, Paying for It: A Comic-Strip Memoir About Being a John, the many reasons sex workers love him, the perfect Venn diagram of his next book, how he learned to abandon the negative aspects of religion and embrace the good stuff, and more! Give it a listen!

“Ultimately I think we should be working to do away with government as much as possible, and if that means we can do away with government completely, that’d be great. I’m just sure we can get that far.”

More importantly, this episode features the Paying For It Players! Past pod-guest Nina Bunjevac joins Chester to perform a segment from Paying for It! This may be the funniest thing that’s ever happened on the Virtual Memories Show; of course, it wasn’t my idea. If we’re lucky, this was a once-in-a-lifetime experience!

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Enjoy the conversation and the performance! Then check out the archives for more great episodes! You might like:

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About our Guest

Chester Brown is best known for two non-fiction graphic novels, Louis Riel: A Comic-Strip Biography (2003) and Paying for It: A Comic-Strip Memoir About Being a John (2011). The former won widespread critical acclaim for its compelling, meticulously researched portrayal of Riel, the charismatic nineteenth century Métis leader, a crucial figure in Canadian history. The book won Harvey Awards for Best Writer and Best Graphic Album and was featured on Quill and Quire‘s list of the five best Canadian non-fiction books of the year, as well as The Globe and Mail‘s list of the 100 best books of the year. Paying for It was also cited by The Globe and Mail as one of the best books of the year.

Chester Brown was born in Montreal, Canada, in May 1960, and grew up in a nearby suburb . At nineteen he moved to Toronto where, in 1983, he began self-publishing his work in photocopied mini-comics under the title Yummy Fur. Those pamphlets attracted the attention of comic book publishers and, in 1986, he began began writing and drawing for the Toronto-based Vortex Comics. The first Vortex issue of Yummy Fur sold well and Brown quit his day job and began working full time as a cartoonist. In the pages of Yummy Fur he serialized a bleakly humorous story called Ed the Happy Clown, which was published as a graphic novel in 1989. It went on to become a cult classic and established his reputation as a prominent cartoonist.

In 1991, Chester signed with the new comic book company Drawn & Quarterly. His The Playboy was released the next year. That was followed by I Never Liked You (1994), an elegant, widely respected memoir about his adolescence. Four years later, his shorter pieces were collected in The Little Man: Short Strips, 1980-1995, which covers his transition from surrealism to autobiographical work.

During the course of his research for Louis Riel, Brown became interested in property rights and libertarianism. In the 2008 and 2011 federal elections, he ran for Parliament as a member of the Libertarian Party of Canada in the downtown Toronto riding of Trinity-Spadina. He lost to incumbent Olivia Chow.

Credits: This episode’s music is Love Will Tear Us Apart by Joy Division. The conversation was recorded at the Toronto Marriott Bloor Yorkville on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photos of Mr. Brown and Ms. Bunjevac by me.

Episode 118 – Table Talk

Virtual Memories Show LIVE:
Timur Vermes, Gavriel Rosenfeld and Liesl Schillinger – Table Talk

“[Reading Mein Kampf] I expected to find something totally crazy and full of poison, so disgusting you couldn’t stand reading it. And what I found was something you could bear: sometimes pragmatic, sometimes logical. I was expecting a “wrong Hitler”, as most people in Germany would expect: a monster, yelling at the reader. Not someone it would be easy to follow. That’s what I found out: it was easy to go along with him.”

look-whos-backcIs it okay to make fun of Hitler? On May 6, 2015, the Goethe-Institut New York and the German Book Office brought in Timur Vermes, Gavriel Rosenfeld and Liesl Schillinger to discuss “Satirical Representations of Hitler in Contemporary Culture,” and they invited me to moderate the panel! Timur Vermes’ new satiric novel, Look Who’s Back (Maclehose Press), imagines Hitler mysteriously awakening in modern Berlin and trying to make sense of the world since 1945, and prompts us to explore what it means to laugh at Hitler (and laugh with him)! Give it a listen!

“If you have too many funny Hitlers, you don’t think there’s anything to be afraid of.”

The panel discusses whether Germany will ever be “normal”, the perils of using Hitler as the symbol of anything we don’t like, whether it’s okay for some ethnic groups (okay, Jews) to make fun of Hitler but not for other ethnic groups to do so, what Timur Vermes learned in the process of writing a novel in Hitler’s voice, whether Mein Kampf should be published freely in Germany, and more!

From left: me, Timur Vermes, Gavriel Rosenfeld, Liesl Schillinger.
Photo © Goethe-Institut New York / Jacobia Dahm

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guests

The son of a German mother and a Hungarian father who fled that country in 1956. Timur Vermes was born in Nuremberg in 1967. He studied history and politics and went on to become a journalist. He was written for the Abendzeitung and the Cologne Express and worked for various magazines. He has ghostwritten several books since 2009. Look Who’s Back (Maclehose Press) is his first novel. It has been translated into 42 languages and a film version will be released in Germany this fall.

Liesl Schillinger is a New York–based critic, translator, and moderator. She grew up in Midwestern college towns, studied comparative literature at Yale, worked at The New Yorker for more than a decade and became a regular critic for The New York Times Book Review in 2004. Her articles and essays have appeared in The New Yorker, The New York Times, New York, The New Republic, The Washington Post, Vogue, Foreign Policy, The London Independent on Sunday, and many other publications. Her recent translations include the novels Every Day, Every Hour, by Natasa Dragnic, and The Lady of the Camellias, by Alexandre Dumas, fils. Wordbirds: An Irreverent Lexicon for the 21st Century, came out in 2013.

Gavriel D. Rosenfeld is Professor of History and Director of the Undergraduate Program in Judaic Studies at Fairfield University. He received his B.A. in History and Judaic Studies from Brown University in 1989 and his Ph.D. in History from UCLA in 1996. His area of specialization is the history and memory of Nazi Germany and the Holocaust. He has written a wide range of books, including the newly released monograph, Hi Hitler!: How the Nazi Past is Being Normalized in Contemporary Culture (Cambridge, UK: Cambridge University Press, 2015) and the forthcoming edited collection, “If Only We Had Died in Egypt!” What Ifs of Jewish History From Abraham to Zionism (Cambridge, UK: Cambridge University Press, 2015). He has also written numerous articles, is a frequent contributor to the Forward newspaper, and runs the blog, The Counterfactual History Review.

Credits: This episode’s music is O Just Suppose by Ute Lemper. The conversation was recorded at the Goethe-Institut New York on what looked like wireless Shure M-58s. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of the panel © Goethe-Institut New York / Jacobia Dahm.

Episode 117 – Vernissage

Virtual Memories Show:
Jonah Kinigstein – Vernissage

“Everybody was looking for the next van Gogh . . . so that opened up the space for anybody who put two sticks together to be a sculptor, or two dabs of paint on a canvas to be a painter: ‘Don’t miss him! This man is a genius!’ You’re not going to catch the next van Gogh by just throwing everything on a wall.”

Jonah Kinigstein is having a moment . . . at 92! The painter and cartoonist has published his first collection, The Emperor’s New Clothes: The Tower of Babel in the “Art” World (FU Press) and had an exhibition of his work at the Society of Illustrators in the past few months, and he’s just getting warmed up! We met at his studio to talk about the abysmal and unredeemable state of modern art, and why he elected to stay in the representative mode of painting despite the allure and rewards of conceptual art. He also talks about a near-century of New York City, his glory years in Paris and Rome, his disenchantment with the National Academy, and more! Give it a listen!

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“Here I was, studying anatomy . . . and there’s a man who’s dripping on the floor! I’ve got a lot of drippings on the floor; I think I’ll put them up!”

Jonah’s got plenty of venom to spare for artists like Pollock, de Kooning, and Hirst, but also talks about his great artistic influences, his reasons for pasting angry anti-modern-art cartoons on the walls in SoHo, why he paints on wood instead of canvas, and making a living designing department store windows and point-of-sale whiskey displays. It’s a fascinating life, and I’m glad we had the chance to talk! You can check out my photos from Jonah’s studio, including several of his panels, over here.

Jonah in the studio

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

Born in 1923 in Coney Island, Jonah’s early influences were discovered during visits to the Metropolitan Museum- “When I really saw the old masters, it blew my mind, of course.” He attended Cooper Union for a year before he was drafted into the Army, serving from 1942 – 1945. Soon after, Jonah moved to Paris where he spent time at the Académie de la Grande Chaumière, conversing with other aspiring artists, exchanging ideas, exhibiting his work, seeing established artists, and generally soaking up a fertile creative environment. He exhibited in several shows including the Salon D’Automne, Salon de Mai, and the Salon des Moins de Trente Ans, and had one-man shows in the Galerie Breteau and Les Impressions D’Art. After Paris, Jonah moved to Rome on a Fulbright Scholarship and studied at the La Schola Di Belles Artes. After a year, he returned to the U.S. and exhibited his paintings at the Downtown Gallery in Manhattan. Like so many painters, he was unable to make a living solely from painting, so he worked in the commercial art world and did freelance illustration and design. Throughout this time, Jonah’s commitment to his own art never wavered, and he continued to paint and occasionally exhibit.

Credits: This episode’s music is Sous Le Ciel De Paris by Edith Piaf. The conversation was recorded at Mr. Kinigstein’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Kinigstein by me.

Episode 116 – Magic City

Virtual Memories Show:
Thane Rosenbaum – Magic City

“I’m starting to think that the essays, the fiction, the long non-fiction are all coming from the same place, tapping the same resources, the same human experience, the same fears: all the things that built me, built me to write all of those things, not just one piece of it.”

sweetcoverThane Rosenbaum rejoins the show to talk about his new novel, How Sweet It Is!, the debut book from the new publisher Mandel Vilar Press! We talk about Thane’s family history from the concentration camps to ’70s Miami, his path to becoming a novelist and human rights lawyer, the relative lunacy of First and Second Amendment absolutists, the allure of print, growing up in a city without a bookstore, the fate of European Jewry, and more! Give it a listen!

“There’s a marketplace of ideas, and there’s a marketplace of assholes. It turns out they’re different marketplaces.”

We also talk about balancing fiction, non-fiction and op-ed pieces, what brought Isaac Bashevis Singer to Miami, the days when publishing was a way of life, the ways the “slippery slope” argument prevents people from taking righteous positions, why I should interview Ayaan Hirsi Ali, and more! Go listen!

Return of the Thane!

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About our Guest

Thane Rosenbaum is an essayist, law professor, and author of the novels, How Sweet It Is!, The Stranger Within Sarah Stein, The Golems of Gotham, Second Hand Smoke, and Elijah Visible. His articles, reviews and essays appear frequently in the New York Times, Wall Street Journal, Washington Post, Haaretz, Huffington Post and Daily Beast, among other national publications. He moderates an annual series of discussions on culture, world events and politics at the 92nd Street Y called The Talk Show. He is a Senior Fellow at New York University School of Law where he directs the Forum on Law, Culture & Society. He is the author of Payback: The Case for Revenge and The Myth of Moral Justice: Why Our Legal System Fails to Do What’s Right. He is the editor of the anthology, Law Lit: From Atticus Finch to the Practice: A Collection of Great Writing About the Law. His forthcoming book is entitled The High Cost of Free Speech: Rethinking the First Amendment.

Credits: This episode’s music is Goin’ Back to Florida by Lightnin’ Hopkins. The conversation was recorded at Mr. Rosenbaum’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Rosenbaum by me.

Laughs with Hitler

Life takes you in some funny directions. I never thought I’d have to register as a lobbyist with the U.S. Congress, but that happened last month. I also never thought I’d be asked to moderate a panel on Satirical Depictions of Hitler in Contemporary Culture, but here we are! (I will admit to a lifelong phobia of being exposed as a fraud by Hitler, so hey.) On May 6, at the Goethe-Institut in NYC (30 Irving Place), I’ll be the moderator for this:

Satirical Depictions of Hitler in Contemporary Culture

Together with the German Book Office, the Goethe-Institut New York hosts a panel discussion that examines representations of Adolf Hitler in contemporary western culture, ranging from feature films and advertising campaigns to political caricatures and polemics. The focus of the debate will be on Germany, where the critical memory culture that was set in place in the 1960s has recently been eroded by more satirical approaches to the Nazi past that have their origin in the Anglo-American context and the comedies of figures such as Charlie Chaplin and Ernst Lubitsch. Timur Vermes‘ bestseller Look Who’s Back (2012, English translation, MacLehose 2013), which imagines Hitler returning to life in present-day Berlin is the latest example of this shift in German memory and what appears to be a collective desire for a normalized relationship to the country’s troubled past. The author will be in conversation with New York Times book critic and author Liesl Schillinger; and Gavriel D. Rosenfeld, a professor of history at Fairfield University and author of Hi Hitler!: How the Nazi Past is Being Normalized in Contemporary Culture (2015). The panel will be moderated by Gil Roth, host of The Virtual Memories Show Podcast.

The event is free and begins at 6:30 on May 6 at the Goethe-Institut: 30 Irving Place, New York, NY 10003. For more info, you can call 212-439-8700 or e-mail info@newyork.goethe.org.

And no goose-stepping!

(If you’re new to my show, visit the archives to learn more!)

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