“It’s fun for me to find stories that haven’t been told and tell them for the first time.”
Author Ben Yagoda joins the show to talk about teaching journalism, 40 years (!) of writing language columns, the influence of Harry Potter own his students, the history of the memoir, the mystery of why the “Great American Songbook” withered after WWII, his hatred of the term “creative nonfiction”, the invasion of Britishisms into American English, our shared history in the Make-Believe Ballroom, the challenges of watching sporting events on tape delay, and more! (Also, I talk a little about the refugee-ban protests of the past weekend.) Give it a listen! And go buy The B Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song!
About our Guest
Ben Yagoda recently retired from teaching English, journalism and writing at the University of Delaware, and is the author, coauthor or editor of nine books. He has written about language, writing and other topics for Slate.com, the New York Times Book Review and Magazine, The American Scholar, Rolling Stone, Esquire, and many other publications. He contributes to Lingua Franca, a Chronicle of Higher Education blog about language and writing and Draft, a New York Times blog about the art of writing. His personal blog is Not One-Off Britishisms. He is on Twitter as @byagoda. He lives in Swarthmore, PA.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Mr. Yagoda’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 Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of Mr. Yagoda by me. It’s on my instagram, along with a double-selfie of us.
“In Fantastika, the metaphor tends to move to the literal. In a naturalistic novel, the literal tends to move into a metaphor.”
John Clute, winner of multiple Hugo Awards and World Fantasy Awards, joins the show to talk about the history of science fiction, its market-based ghettoization and eventual superseding of realist fiction, the advantages of reaching one’s 70s and what it means to live after one’s time, his bar-coding model of identity and interaction and the loss of prestige, why the loss of streetcars explains so much about our time, and more! Give it a listen!
“I’m kind of addicted to aftermath as a description of a particular kind of literature, of art, of music. . . . I think Bob Dylan is the greatest aftermath singer-songwriter who ever lived.”
John also talks pretty extensively about Kazuo Ishiguro’s new novel, The Buried Giant and how most critics got it wrong, his own obsession with ‘aftermath culture,’ the clash of temporal personalities and atemporal idiots, and the history of the Encyclopedia of Science Fiction, which he co-edited with David Langord (and others). Plus, I get to break the news about the establishment of the Clute Science Fiction Library at Telluride!
“In an age of chaos, in which recognitions are fleeting, it seems to be manifestly interesting to work out how stories are being told so that they stay in the mind long enough to remember them.”
We talk about some books and movies in this episode. Here’s a list of ’em (Note: if I ever go to a Patreon crowdfunding model for the show, this is the first thing that goes subscriber-only):
- The Buried Giant – Kazuo Ishiguro
- The Remains of the Day – Kazuo Ishiguro
- Never Let Me Go – Kazuo Ishiguro
- Appleseed – John Clute
- The Encyclopedia of Science Fiction
- Who Framed Roger Rabbit?
- Seven Samurai (The Criterion Collection)
- Elizabeth Hand
- John Crowley/Scott Edelman
- Michael Dirda 1, 2, and 3
- Theodora Goss, Valya Dudycz Lupescu, and Nancy Hightower
- Paul Di Filippo
About our Guest
Via John Clute’s entry from the Encyclopedia of Science Fiction:
(1940- ) Canadian novelist and sf critic, in the UK from 1969; married to Judith Clute from 1964. He has been the partner of Elizabeth Hand since 1996. His first professional publication, a long sf-tinged poem called “Carcajou Lament”, appeared in Triquarterly for Winter 1960 (i.e. in 1959), though he only began publishing sf proper with “A Man Must Die” in New Worlds for November 1966, where much of his earlier criticism also appeared. This criticism, despite some studiously flamboyant obscurities, remains essentially practical, and has appeared mostly in the form of reviews, many of which first appeared in The Magazine of Fantasy and Science Fiction, Foundation, Washington Post, Omni, Times Literary Supplement, New York Times, New York Review of Science Fiction, Interzone, Los Angeles Times, Observer, Science Fiction Weekly (see Online Magazines), the Independent, Strange Horizons and elsewhere. He has written two regular review columns: Excessive Candour for Science Fiction Weekly between 1997 and 2009; and Scores, intermittently in The Infinite Matrix 2001-2003, regularly in Interzone between 2005 and 2008, and in Strange Horizons from 2010. Selections from this work, almost always revised, have been assembled in Strokes: Essays and Reviews 1966-1986 (coll 1988), Look at the Evidence: Essays and Reviews (coll dated 1995 but 1996), Scores: Reviews 1993-2003 (coll 2003), Canary Fever: Reviews (coll 2009) and Stay (coll 2014). An ongoing project to construct models of story “moves” in the literatures of the fantastic is represented by a set of connected motif entries in The Encyclopedia of Fantasy (1997) with John Grant [see The Encyclopedia of Fantasy under links below] and in The Darkening Garden: A Short Lexicon of Horror (2006), as well as in Fustian (2006 chap) with Jason Van Hollander, a long interview focused on these issues. In later essays – like “Fantastika in the World Storm” (Spring 2008 Foundation) and “Physics for Amnesia” (October 2008 The New York Review of Science Fiction), both assembled in revised form with other essays as Pardon This Intrusion: Fantastika in the World Storm (coll 2011) – he has suggested that a central task for Fantastika in the twenty-first century is to dissolve the cultural Amnesia that has arguably consumed the Western world since World War Two (see Horror in SF; Postmodernism and SF). Primarily for his critical work, he received a Pilgrim Award in 1994, the IAFA Award as Distinguished Guest Scholar in 1999, and a Solstice Award (see SFWA Grand Master Award) in 2012.
In 1960 Clute was Associate Editor of Collage, an ill fated Chicago-based Slick magazine which in its two issues did manage to publish early work by Harlan Ellison and R A Lafferty. He served as Reviews Editor of Foundation 1980-1990, and was a founder of Interzone in 1982; he remained Advisory Editor of that magazine until 2004, and then contributed the column mentioned above. He was the Associate Editor of the first edition of The Encyclopedia of Science Fiction (1979; vt The Science Fiction Encyclopedia 1979), which won a Hugo award, and was co-editor of the much-expanded second edition The Encyclopedia of Science Fiction (1993; rev 1995; further rev vt Grolier Science Fiction: The Multimedia Encyclopedia of Science Fiction 1995 CD-ROM; further rev 1999), for which he shared 1994 Hugo and Locus awards with Peter Nicholls. Though Clute and Nicholls were listed as editors, the book was in fact written mostly by them and Associate Editor Brian Stableford. The current third edition, again much expanded as The Encyclopedia of Science Fiction (online from 2011) edited by John Clute and David Langford with Peter Nicholls serving as Editor Emeritus and Graham Sleight as Managing Editor, has similarly been written in the main by its editors and Contributing Editors; it won a Hugo as Best Related Work in 2012. Science Fiction: The Illustrated Encyclopedia (1995), which he wrote solo and for which he also received a Hugo in 1996, is a companion to sf, not in any way connected to the encyclopedias listed above. The Encyclopedia of Fantasy (1997) with John Grant, for which both editors shared a 1998 Hugo, deals with fantasy within a frame broadly compatible with that governing this Encyclopedia, which is its elder sibling.
Over his career, Clute has published several sf stories and two novels: The Disinheriting Party (in New Worlds Quarterly 5, anth 1973, ed Michael Moorcock; exp 1977), which is Equipoisal with the fantastic, but demurs into rationalizations at the end; and Appleseed (2001), which is a Space Opera with an anti-Religion bias. The Made Minds (AIs) who dominate much of the action manifest themselves throughout as Avatars allied to a Forerunner mentor in support of all surviving humans, who are shunned because of the sexual (see Sex) odour they emit; but as they are genetically deaf to god (see Communications; Gods and Demons), the galaxy-wide diaspora of Homo sapiens has created a Pariah Elite destined to become central combatants in the coming universal War against the Entropy-generating deity, as proclaimed for the first time in the book’s Slingshot Ending. [JC]
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald. The conversation was recorded at the Boston Marriott Burlington during Readercon 2015 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. Bio photo of Mr. Clute by me; no credit for the upper photo.
“I have a private test for whether I’m an individual person or whether I’m part of the culture: I go to the supermarket and I look at the supermarket weeklies, and if I recognize the names, then I’m not a person, I’m a product of collective culture.”
Professor Edward Mendelson joins the show to talk about his new book, Moral Agents: Eight Twentieth-Century American Writers (New York Review Books), which profiles Lionel Triling, Dwight Macdonald, Alfred Kazin, William Maxwell, Saul Bellow, Norman Mailer, WH Auden, Frank O’Hara. We discuss the role of individuals in mass culture, the intellectual’s temptation to be a leader, the outdated figure of the Beloved Professor, Orwell’s misinterpretation of Auden, the writer he was terrified to meet, the failures of identity politics, the purpose of Columbia University’s Core Curriculum, his lack of nostalgia for the era of public intellectuals, the way certain books need a year off from teaching in order to recharge, and more. Give it a listen!
“All these writers were tempted by the way they were taken seriously.”
We also talk about why he hates one of my favorite novels, why he agrees with my take on Achilles’ uncanniness in the Iliad, why professors think students are getting dumber year after year, how the economic collapse of the ’70s led to improved colleges across the country, why he thinks Stoner is a study in self-pity, and more! Go listen!
About our Guest
At Columbia since 1981, Professor Edward Mendelson has also taught at Yale and Harvard. A recipient of American Council of Learned Societies, NEH, and Guggenheim fellowships, he is chiefly interested in 19th-and 20th-century literature, formal and social aspects of poetry and narrative, and biographical criticism. He is Auden’s literary executor; his book Later Auden (1999) is a sequel to his Early Auden (1981). His book, The Things That Matter: What Seven Classic Novels Have to Say About the Stages of Life, was published by Pantheon in 2006. His new book is Moral Agents: Eight Twentieth-Century American Writers, from New York Review Books. He has edited a volume of essays on Thomas Pynchon and, with Michael Seidel, Homer to Brecht: The European Epic & Dramatic Traditions. He has prepared editions of novels by Hardy, Bennett, Meredith, Wells, and Trollope, the first five volumes of a complete edition of Auden, and selections of Auden’s poems and prose. His essays and reviews have appeared in the New York Review of Books, London Review of Books, TLS, the New York Times Book Review, and many other journals and collections, and he wrote an introduction for a new edition of Gravity’s Rainbow. He has also written about computers, music, and the visual arts. He is a Fellow of the Royal Society of Literature and was the first Isabel Dalhousie Fellow at the Institute for Advanced Studies in the Humanities at the University of Edinburgh.
Credits: This episode’s music is Homesickness by Tsegue-Maryam Guebrou. The conversation was recorded at Mr. Mendelson’s office 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. Mendelson by me.
“Being in a wheelchair didn’t change me; it just made things harder to do.”
From the Flora-Bama to Vietnam, Claudia Young has sprinted through life. We got together to talk about running songwriting workshops in Nashville, redesigning the menu for the hippest bar in Cleveland, living in the Chelsea Hotel as a teen, and being confined to a wheelchair for the past 35 years. We also talk about food-blogging, southeast Asia’s pull on her, the place she regrets she’ll never visit, what she’s reading, and getting the sear on a scallop! It’s a fascinating conversation, so give it a listen!
About our Guest
Claudia Young used to blog at CookEatFret. She should probably get back to that.
Credits: This episode’s music is The Wheel by Roseann Cash. The conversation was recorded 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. Young by me, photo of both of us by Amy Roth.
“Artistically, LA’s a disaster. It’s full of amazing stories. But as a city, it’s not a city. Nobody but bus-drivers see the whole place.”
Singer-songwriter, musician, inventor, dad, reader, and writer David Baerwald joins the show to talk about the ups and downs of his career in the music biz, his crazy family history, the perils of grafting personalities onto up-and-coming musicians, and why he doesn’t trust happiness. We also talk about the Watchmen-like trail of destruction that followed Sheryl Crow’s breakthrough album, why the drug business is notoriously filled with short-tempered people, how being a script analyst for a movie studio taught him how to write a song, and why he’s a firm believer in the notion that to tell a big story, you have to tell a small one.
“You just want to do something decent when you make a record, but then it becomes a whole thing. It becomes an industry, and you’re always on display and people are tearing you apart psychologically, and you just feel like a buffoon.”
We also get into the difference between writing poems and writing songs, the writers who inspired his work on the David + David album, Boomtown, 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)
About our Guest
David Baerwald was one half of David + David (along with David Ricketts), a band whose one album, Boomtown, scored a gold record. They split up and Baerwald put out several solo records — Bedtime Stories, Triage and Here Comes The New Folk Underground — between 1990 and 2002. He’s written songs for plenty of acts you know, and he wrote many of the songs on Sheryl Crow’s breakthrough album, 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 IMDB page lists many of his songwriting credits, including Come What May, the love song for Moulin Rouge, which was nominated for a Golden Globe award. He also wrote Supermodel, for the movie Clueless, which proves he’s not ALL grim and gloomy.
Credits: This episode’s music is Welcome to the Boomtown (David + David), Colette (David Baerwald), If (David Baerwald), and Heroes (David + David). The conversation was recorded in Mr. Baerwald’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 Mr. Baerwald by me.