Virtual Memories Show: Nina Bunjevac –
Time’s Bomb
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“Fatherland is really about who my father was, getting to understand him, and also an attempt to explain how politics can tear a family apart, just like they tore apart the people of Yugoslavia in the 1990s.”
Nina Bunjevac‘s new book, Fatherland
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“When I got to Canada when I was 16, I saw an issue of Raw, and that pretty much did it.”
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About our Guest
Nina Bunjevac started her art training in Yugoslavia, at the Djordje Krstic School for Applied Arts; in 1990 she moved to Toronto, Canada, where she continued her studies in art at the Art Centre of Central Technical School; in 1997 she graduated from OCAD in the Drawing and Painting department. Formerly a painter, a sculptor and an art teacher, Nina found her calling in sequential arts, a form that seemed to naturally evolve out of the narrative component in her sculpture installation work. Pen and ink became her medium of choice.
Nina’s comics have appeared in a number of local and international publications: Komikaze (Croatia), Black (Italy), GIUDA (Italy), Stripburger (Slovenia), Zone 5300 (Netherlands), Stripolis (Serbia), ArtReview (UK), Asiatroma/Le Dernier Cri (France), Broken Pencil, Exile, Taddle Creek (Canada) and Mineshaft (USA). Her debut collection of comics, Heartless
Fatherland: A Family History
Photo of Nina Bunjevac by David Hawe.
Credits: This episode’s music is Bomba by King Africa (I make no apologies). The conversation was recorded at the Marriott Bloor in Toronto on a Zoom H2n
(Yale University Press). It’s a fascinating work about the books and plays that influenced one of the 20th century’s greatest statesmen, drawing connections from Churchill’s literary interests (and aspirations) to his policy decisions. Prof. Rose tells us about the most surprising literary influence he discovered, Churchill’s roots in Victorian melodrama, his love of the coup de theatre, his no-brow approach to art, how Hitler was like a photo-negative of Churchill, and why a politician like him would never survive in today’s party-line system.
won the Longman-History Today Historical Book of the Year Prize, the American Philosophical Society Jacques Barzun Prize in Cultural History, the British Council Prize of the North American Conference on British Studies, the SHARP Book History Prize, and the New Jersey Council for the Humanities Book Prize. It was shortlisted for the Duff Cooper Award and the British Academy Book Prize, and named a Book of the Year by the Economist magazine. His other publications include 
, 
, and 
(with Simon Eliot). His latest book is 
feeding into my brand-new 
digital recorder. The intro and outro were recorded on a 
(Da Capo Press)! We talk Hitler, the meaning(s) of evil, determinism and free will, Hitler-as-artist vs. Hitler-as-suicide-bomber, “degenerate art,” the tendency to blame Jews for their misfortune, his search for the “Higgs Boson” of Hitler, and how internet culture has warped the meaning of Hitler in the 16 years since Ron’s book was first published.
, 
, 
, and he edited 
. You can find him on twitter at 
, and why he thinks Thomas Pynchon understood things about the world that people are only now coming to grips with. (BONUS: I clean up some loose ends from last week’s podcast with Merrill Markoe)
, 
and 
— between 1990 and 2002. He’s written songs for plenty of acts you know, and he wrote many of the songs on 
, which is a story he gets into in our conversation. He’s also done a lot of work in movies and TV, both scoring music and writing songs. David’s 
(Other Press). We discuss the arc of Zweig’s exile, why Zweig remains important to our age (both in his writing and in his character), how he lost his belief in the power of bildung, the fleetingness of fame and the accident of survival, the role of education in changing political dynamics, the contemporary revival of Viennese culture, the reason why Zweig fled New York City, and more!
and 
. He lives in New York City.
. The intro and outro were recorded on 
(Drawn & Quarterly)! We talk about the book, which offers a semifictional version of Mimi’s life in art school and working at a legendarily kooky diner in Oakland, CA in the late 1970’s. We also cover her life in New York in the early 1980’s, how she met her One True Love at a puppet show, the big break she got from a paper described as “The Village Voice for the Upper East Side,” the difficulties of balancing mom-hood with art, the variety of ways she was screwed over by book publishers, her fixation on the Patty Hearst kidnapping, what she hopes young people get out of Over Easy‘s rendition of its era, and more! (It’s kinda hard to believe we got to all that in less than 40 minutes!) 
, a work of literary scholarship. He has been a critic and literary historian for nearly a quarter of a century at Texas A&M and Ohio State universities, and was formerly the fiction critic for Commentary. He has written for Jewish Ideas Daily, the New York Times Book Review, the Weekly Standard, Philosophy and Literature, the Sewanee Review, First Things, the Daily Beast, the Barnes & Noble Review, the Journal of the History of Ideas, American Literary History, and other journals. He is working on a memoir, Life on Planet Cancer, and lives in Columbus, OH, with his wife Naomi and their four children: Dov, Saul, Isaac, and Miriam (“Mimi”). He writes at 
(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.
(Henry Holt, Picador), and a work of creative nonfiction, 
. 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 stuck with comic books over paperback books for too long, what the strangest sketchbook request he ever received is, and why R. Crumb considered him the least insane of cartoonists. (10/15/13) – 
as a guest-gift (I try to do that for all the guests). I mentioned Visconti’s film version of it, which starred Burt Lancaster, and Bagge told me that Lancaster stars in his favorite movie, along with Tony Curtis: 
. I’d never seen it before, so I grabbed it on Netflix and WOW is it an amazing flick.
and how it reflects the nation’s perception of the military, how he was inspired by Bill Clinton (but didn’t reckon with survivor bias), why he’d like to write a novel about his experiences at war, what books meant the most to him during his years in the service, the difference between motivation and volition, and why war is like a self-licking ice cream cone.