Podcast: You Can’t Get There From Here

The Virtual Memories Show visits The Fifty-First State with Lisa Borders

Virtual Memories – season 3 episode 28 –
You Can’t Get There From Here

“The physical landscape of south Jersey is one of the most beautiful places on earth. . . . And it’s juxtaposed with rusted-out trailers and collapsing shacks that people are still living in. There are a lot of extremes thrown together in that area. . . . It’s almost easier to explain south Jersey to people who aren’t from New Jersey than those who are.”

Lisa Borders joins the show to talk about her new novel, The Fifty-First State! It’s a fine book about mismatched half-siblings brought together by calamity, set in an area of New Jersey overlooked by most everyone but its residents. Lisa and I have a fun conversation about her work and influences, how her science background informs her writing process (she’s a part-time cytotechnologist), why form has to rise from story, how to teach novel-writing, why she stands by Jonathan Franzen’s novels, how a Michael Cunningham short story changed her life, and whether southern NJ should secede and become America’s fifty-first state.

“I don’t get why NaNoWriMo is in November. It’s Thanksgiving, it’s a short month: why not January? November is a bad, crazy month for me.”

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

Lisa Borders grew up in central and southern New Jersey. She is the author of two novels, The Fifty-First State (Engine Books) and Cloud Cuckoo Land (River City Publishing), chosen by Pat Conroy as the winner of River City Publishing’s Fred Bonnie Award in 2002. Cloud Cuckoo Land received fiction honors in the 2003 Massachusetts Book Awards, and was a finalist for the ForeWord Book of the Year and the Independent Publisher (IPPY) awards. Lisa’s short stories have appeared in Kalliope, Washington Square, Black Warrior Review, Painted Bride Quarterly, Newport Review and other journals, and her essay, “Enchanted Night,” was published in Don’t You Forget About Me: Contemporary Writers on the Films of John Hughes (Simon & Schuster, 2007). She has received grants from the Massachusetts Cultural Council, the Somerville Arts Council and the Pennsylvania Council on the Arts, and fellowships at the Millay Colony, Virginia Center for the Creative Arts, Hedgebrook and the Blue Mountain Center. She wrote a really entertaining essay about her (one-sided) love affair with Michael Stipe.

Credits: This episode’s music is What If We Give It Away by R.E.M. The conversation was recorded at the Virtual Memories Estate 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. Photos of Lisa Borders by me.

Podcast: Sex, Crime, and Other Arbitrary Genre Labels

Maxim Jakubowski on the Virtual Memories Show (2/2)

Virtual Memories – season 3 episode 27 –
Sex, Crime, and Other Arbitrary Genre Labels

“The emotions are what interest me in writing erotica, rather than the hydraulics. . . . Essex House showed me that you could write erotica without pandering to the lowest common denominator”

Maxim Jakubowski has had an amazing multi-decade, multi-genre career as a writer, editor, translator and publisher. During Book Expo America in New York, we sat down to talk about how he feels about being The King of the Erotic Thriller, the silliness of genre labels, the perils of having a bad book habit (but not a “bad-book habit”), the story of publishing the first The Mammoth Book of Erotica, how e-books have amplified Sturgeon’s Law, how he managed to make a killing off the 50 Shades of Grey phenomenon, and more!

“As a publisher, you have to accept that it’s a business. And genre was always accepted as solid, an area where you don’t lose money: crime, fantasy, science fiction, horror, thrillers.”

Maxim Jakubowski on the Virtual Memories Show (1/2)

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

Maxim Jakubowski worked for many years in book publishing as an editor (including titles by William Golding, Peter Ackroyd, Oliver Stone, Michael Moorcock, Peter Ustinov, Jim Thompson, David Goodis, Paul Ableman, Sophie Grigson, Marc Behm, and Cornell Woolrich) and launched the Murder One Bookshop, which he owned and ran for over 20 years. He now writes, edits and translates full-time in London. He was born in London and educated in France, and his books have been translated into many languages. From an early age, he was always fascinated by popular culture and his writing and editing has criss-crossed all areas, from science fiction & fantasy to thrillers and, inevitably, erotica.

He conceived one of the genre’s first major contemporary anthologies, The Mammoth Book of Erotica, which has been followed by 18 more volumes, as well as four books devoted to erotic photography. In addition to more than 80 collections in other genres, Maxim has also edited the Sex in the City series, and run the Eros Plus and Neon lists, alongside such crime imprints as Black Box Thrillers, Blue Murder and Maxcrime.

Credits: This episode’s music is Song for Bob by Nick Cave and Warren Ellis. The conversation was recorded in Mr. Jakubowski’s hotel room in Manhattan 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. Photos of Maxim Jakubowski by me.

Podcast: The Land of the Big Sulk

Hooman Majd on The Virtual Memories Show

Virtual Memories – season 3 episode 25 – The Land of the Big Sulk

“Most people [in Iran] don’t want to see an out-and-out revolution. They don’t want to see the chaos that comes with it. Particularly after the Arab Spring. People want change, a better life. If it has to be Islamic-tinted, then so be it, for now.”

Writer and journalist Hooman Majd was born in Iran in 1957, but lived his life abroad, first because of his father’s career as a diplomat and then because of the Islamic Revolution in 1979. In 2011, when U.S-Iran relations were near an all-time low, Hooman, his Wisconsin-born wife, and their 8-month-old son moved to Teheran for a year. That experience has resulted in Hooman’s new book, The Ministry of Guidance Invites You to Not Stay: An American Family in Iran, out this week from Doubleday Books.

“There are 80 million people in Iran, and they have the same wants and desires that we do. There are people we’re going to disagree with on an ideological basis, and there are people we’re going to agree with. And they’re suffering under sanctions. It’s not to say that the Iranian leadership is without fault. But the people who are suffering . . . are the people.”

We talked about Hooman’s fascinating book, his family’s experience with Iran’s culture, the significance of Iran’s nuclear program, how its nationalism can trump religion and vice versa, why Iranians hate Great Britain much more than they hate the U.S., what he missed most during his year in Iran, whether it’s possible for a state to achieve modernity without being a liberal democracy, why he doesn’t plan on writing another Iran book, the growth of Islamic sectarianism and the possibility of another revolution in Iran, how its leaders may be taking baby steps in coming to terms with Israel (and why he thinks the two countries should be BFFs), whether there’s a Farsi word for “sprezzatura”, and Iran’s other unconventional weapon: The Big Sulk.

“There’s a recognition that this system, the way that it is right now, cannot endure forever. It has to undergo some change, some reforms. Whether they’re fast and drastic or slow is another question.”

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

Hooman Majd had a long career in the entertainment business before devoting himself to writing and journalism full-time. He worked at Island Records and Polygram Records for many years, with a diverse group of artists, and was head of film and music at Palm Pictures, where he produced The Cup and James Toback’s Black and White. He has published three books on Iran, The Ayatollah Begs to Differ: The Paradox of Modern Iran (2008), The Ayatollahs’ Democracy: An Iranian Challenge (2010) and The Ministry of Guidance Invites You to Not Stay: An American Family in Iran (2013). He has written for GQ, Newsweek, The New York Times, The New Yorker, The New Republic, The Financial Times, Foreign Policy, Foreign Affairs, Politico, The New York Observer, Interview, The Daily Beast, and Salon, among others. He has also published short fiction in literary journals such as Guernica, The American Scholar, and Bald Ego. He lives in New York City and travels regularly back to Iran. He is a natty dresser.

Credits: This episode’s music is The Girl from Ipanema by Amy Winehouse. The conversation was recorded in Mr. Majd’s home in Brooklyn on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded in my home on a Blue Yeti USB microphone. Processing was done in Audacity and Garage Band. Photo of Hooman Majd by me.

Podcast: The Show Must Go On

The Virtual Memories Show Must Go On, with Roger Langridge!

Virtual Memories – season 3 episode 24 – The Show Must Go On

“We have to decide what sort of comics industry we want before we decide what sort of books we’re going to work on.”

Roger Langridge has become the best all-ages cartoonist in the business, despite (or because of) starting out in a “mature readers” indy-comics environment. He joins the Virtual Memories Show to talk about how he found that niche, his work on (and love of) The Muppets, Popeye, and Dr. Who, the responsibility of helping attract the next generation of comics readers, his lifetime love of vaudeville, his upbringing in New Zealand, how he learned to write his own stories, how he accidentally became a pioneer in webcomics, why he decided not to work with Marvel or DC anymore, and the one character from one of those companies that he’d love to work on. It’s a delightful conversation with one of the nicest guys in comics!

“I kept entering competitions to draw Popeye, and the prize was always the Robert Altman Popeye film, so I saw it about six times.”

Bonus: Here’s a piece I wrote about his amazing comic from the 1990s, Zoot!)

Rogerpopeye

“I’m not capable of drawing on model to save my life. I try my best to do that, but it always comes out looking like me.”

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

Subscribe to The Virtual Memories Show on iTunes, and follow us on Twitter, Facebook, Tumblr, and RSS!

About our Guest

Roger Langridge has been producing comics for more than 25 years. Most recently, he has written and drawn Snarked!, Popeye, The Muppet Show and Thor: The Mighty Avenger. In collaboration with his brother Andrew, he drew Zoot! and Art D’Ecco, and his great solo work is the NCS, Ignatz, Eisner and Harvey Award-nominated comic book Fred the Clown. He recently (late 2011 is recent, right?) published The Show Must Go On, a collection of 20 years of his strips. He currently lives in London with his wife Sylvie, their two children and a box of his own hair.

Credits: This episode’s music is Mahna Mahna by Piero Umiliani. The conversation was recorded at the Bethesda North Marriott during SPX 2013 on a pair of Blue enCORE 200 mics feeding into a Zoom H4n recorder. The intro and outro were recorded in my home office on a Blue Yeti USB microphone. File-splitting is done on a Mac Mini using Audacity. All editing and processing were done in Garage Band. Photo by me.

Podcast: Wine, Women, and Novel-Writing

Charles Blackstone on The Virtual Memories Show

Virtual Memories – season 3 episode 23 – Wine, Women, and Novel-Writing

“Restaurants follow the opposite direction of stories: they’re like finding a book of blank pages and trying to come up with something to fill the space. That’s not how it goes with stories.”

Charles Blackstone, managing editor of Bookslut, joins us to talk about his new novel, Vintage Attraction, out this week from Pegasus Books! We recorded in Chicago last April, so he wasn’t in full book-publicity mode, and I hadn’t read the book. Instead, our conversation veers all over the place, covering his descent into post-grad career madness, the problems with getting mired in literary theory, what he does at Bookslut, how he deals with the sheer volume of books published every day, Chicago’s restaurant culture, the similarities between deconstruction and molecular gastronomy, and how to master the party-throwing art of taking a guest’s coat while handing them a beverage.

But we really do talk about Vintage Attraction (which has great blurbs from Jay McInerney and Gary Shteyngart)! I promise!

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

Charles Blackstone is the managing editor of Bookslut, as well as the co-editor of the literary anthology The Art of Friction: Where (Non)Fictions Come Together (University of Texas Press, 2008) and the author of the novel, The Week You Weren’t Here (Dzanc and Low Fidelity Press, 2005). His short fiction has appeared in Esquire‘s Napkin Fiction Project (the piece was also selected for the &NOW Awards: The Best Innovative Fiction anthology), Lewis University’s Jet Fuel Review, and the University of Maine’s Stolen Island. His short plays have been produced by Victory Gardens and Lifeline Theaters. He is married to Master Sommelier and television personality Alpana Singh. He currently is a ghostwriter, coach, and editor for clients at all stages of the publication process in private practice. He and his wife live with their pug, Haruki Murakami, in downtown Chicago. His new novel is Vintage Attraction.

Credits: This episode’s music is Graceless by The National. The conversation was recorded at the Hyatt Regency in Chicago on a pair of AT2020 cardioid condenser mics feeding into a Zoom H4n recorder. The intro and outro were recorded in the InterCity Hotel in Frankfurt on a Samson Meteor USB Studio mic. File-splitting was done in Audacity and all editing and processing was done in Garage Band on a Macbook Air. Photo of Charles Blackstone by me.

Podcast: The Least Insane of Cartoonists

Virtual Memories – season 3 episode 22 –
Pete Bagge: The Least Insane of Cartoonists

“I was asking not to be taken seriously, but I was also getting annoyed that I wasn’t being taken seriously.”

WrebPeter Bagge, the comics legend behind Hate!, Neat Stuff, Apocalypse Nerd and Everybody is Stupid Except for Me, joins us to talk about his new book, Woman Rebel: The Margaret Sanger Story. We have a great conversation about why he chose to write about the founder of Planned Parenthood, how he made the shift from fiction to nonfiction comics, who his favorite “pre-feminist feminists” are, why he decided to stick with comic books over paperback books (and why he came around on the latter), what the strangest sketchbook request he ever received is, and how he feels about being a comics convention prostitute.

We also talk about how he never got a word of approval from his dad or his editor, how his libertarian politics got him ostracized after the 2008 election (and how some people seem to be coming around on that), why he doesn’t draw elbows, and what it felt like to be considered the “least insane of cartoonists” by R. Crumb.

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

Peter Bagge‘s newest book is Woman Rebel: The Margaret Sanger Story. He is best known for the 1990s comic book series Hate!, which followed the exploits of slacker ne’er-do-well Buddy Bradley (collected vols. 1, 2, and 3). He is a contributor to Reason magazine, which led to the collection Everybody Is Stupid Except For Me, and Other Acute Observations, and his work has appeared in Weirdo (where he served as managing editor), The Stranger, New York Press, Entertainment Weekly, Details, Seattle Weekly, Screw, and more. He is also the author of Peter Bagge’s Other Stuff, Reset, Apocalypse Nerd, Other Lives, and Bat Boy: The Weekly World News Comic Strips, among other works.

Credits: This episode’s music is Hateful Notebook by the Descendents. The conversation was recorded at the Bethesda North Marriott during SPX 2013 on a pair of Blue enCORE 200 mics feeding into a Zoom H4n recorder. The intro and outro were recorded in my home office on a Blue Yeti USB microphone. File-splitting is done on a Mac Mini using Audacity. All editing and processing was done in Garage Band. Photo by me.

Podcast: The Guy Who Drew the Liver Spots

Drew Friedman & Brisket on The Virtual Memories Show

Virtual Memories – season 3 episode 21 –
The Guy Who Drew the Liver Spots

“I don’t like drawing young people, attractive people. I used to get assigned drawings of the cast of ‘Friends’ for Entertainment Weekly, and it was painful. I would finish a drawing of Jennifer Aniston, and to reward myself, I’d draw Shecky Greene.”

It’s the Vermeer of the Borscht Belt! Drew Friedman, the great painter, cartoonist, chronicler of modern fame (and infamy), and Howard Stern’s favorite artist, invited me out to 2nd Ave. Deli in NYC one Saturday morning to record a conversation about art, leaving New York, show biz, R. Crumb, Joe Franklin, Tor Johnson, the Friars Club, Howard Stern, Abe Vigoda, the gallery show commemorating his books on Old Jewish Comedians, and his upcoming book of portraits on comic-book legends (as in ‘artists, writers and publishers’). We also talk about how Harry Einstein died during a roast for Lucy and Desi, trade Gilbert Gottfried stories, discuss the state of the illustration market, explore why he used stippling effects and why he stopped, and more. This one’s a lot of fun. Go listen!

“There’s a theory about why there were so many Jewish comedians: the smile behind the pain, the haunted smile. I don’t buy into it. I think they’re all just a bunch of hams. They like to be up there, telling jokes, being funny, and meeting women.”

by Jay Ruttenberg Photo of Drew Friedman and Jerry Lewis courtesy of Jay Ruttenberg

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

Drew Friedman is an award-winning illustrator, cartoonist and painter. His work has appeared in Raw, Weirdo, SPY, National Lampoon, Snarf, The New York Times, MAD, The New Yorker, BLAB!, The New York Observer, The Wall Street Journal, HONK!, Rolling Stone, Field & Stream, TIME, The Village Voice, Entertainment Weekly, and more. His comics and illustrations have been collected in several volumes, the latest, Too Soon?, published by Fantagraphics in 2010. His collection of portraits, Drew Friedman’s Sideshow Freaks, was published by Blast books in 2011. He has published three collections of paintings of Old Jewish Comedians (1, 2 and 3), but none of Old Episcopal Comedians. He also raises champion beagles with his wife, K. Bidus. You can find his full bio and buy his art at his fine art prints site and you really should read his blog.

Credits: This episode’s music is Dinner Music for a Pack of Hungry Cannibals by Raymond Scott. The conversation was recorded at the 2nd Ave. Deli in Manhattan on a Zoom H4n recorder. The intro and outro were recorded in my home office on a Blue Yeti USB microphone. File-splitting is done on a Mac Mini using Audacity. All editing and processing was done in Garage Band. Photo by a waiter at 2nd Ave. Deli.

Podcast: Slipping the Noose of the Topical

Phillip Lopate on The Virtual Memories Show (2/2)

Virtual Memories – season 3 episode 20 –
Slipping the Noose of the Topical

“When you start out writing, you think, ‘Maybe I’ll become one of the great writers, like Dostoevsky or Goethe, Tolstoy.’ Then you quickly realize that that’s never going to happen. But I’ve been writing now for close to 50 years, and I’ve never really had writer’s block. I think success has been esteem in this particular world of the essay and nonfiction. When I go to conferences for the Association of Writing Programs, I’m treated like a demigod. But when I’m in the real world, I’m anonymous.”

Phillip Lopate, the finest personal essayist of our time, joins us to talk about finding his voice, the difference between memoir and essay, teaching students to use the self to fetch the world, why blogs remind him of Sei Shonagon’s pillow books, what’s too personal for a personal essay, and more!

“I had learned from the great essayists — Montaigne and Hazlitt and Lamb — that it wasn’t so much the subject matter as it was the voice and the display of consciousness that was intriguing. If you liked the essayist, you would read anything that they wrote.”

We discuss his five-decade-plus-long career (spanning 20 books and collections, including 2013’s Portrait Inside My Head and To Show and to Tell), the author who started him on his path, his balance between writing fiction and essays, how readers read and misread his work, his methods for fusing the personal and the critical, why students should read some of his essays before taking his classes, whether he considered going Hollywood, why and how he assembled The Art of the Personal Essay anthology, and who his favorite New York Met is. (I was surprised by his answer to that last one.)

“An editor once told me, ‘Phillip, your idea of a perfect assignment is one where you never have to leave the house.'”

Phillip Lopate on The Virtual Memories Show (1/2)

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

Phillip Lopate is the author of numerous collections of personal and critical essays, including Bachelorhood, Notes on Sontag, Portrait of My Body, Against Joie de Vivre, and Waterfront: A Journey Around Manhattan,, as well as several novels and novellas, and three poetry collections, and has edited several anthologies, including The Art of the Personal Essay and Writing New York. His essays, fiction, poetry, film and architectural criticism have appeared in The Best American Short Stories, The Best American Essays, several Pushcart Prize annuals, The Paris Review, Harper’s, Vogue, Esquire, Film Comment, Threepenny Review, Double Take, New York Times, Harvard Educational Review, Preservation, Cite, 7 Days, Metropolis, Conde Nast Traveler, and many other periodicals and anthologies. He is the director of the nonfiction graduate program at Columbia University, where he also teaches writing. His two most recent books are the personal essay collection Portrait Inside My Head and To Show and to Tell: The Craft of Literary Nonfiction.

Credits: This episode’s music is Sometimes The Truth Is All You Get by The Low and Sweet Orchestra. The conversation was recorded at Mr. Lopate’s home in Brooklyn on a pair of Blue enCORE 200 mics feeding into a Zoom H4n recorder. The intro and outro were recorded in my home office on a Blue Yeti USB microphone. File-splitting is done on a Mac Mini using Audacity. All editing and processing was done in Garage Band. Top photo by me. Bottom photo by Cheryl Cipriani.