“My impulse is to break the windows of Starbucks, but I’d get arrested if I did that, so I make comics about people breaking the windows of Starbucks.”
Cartoonist and MacArthur Foundation “Genius” Fellowship winner Ben Katchor joins us for the first live episode of The Virtual Memories Show (in conjunction with the New York Comics & Picture-stories Symposium). Ben & host Gil Roth talk in front of — and take questions from — an audience of 50 or so about Ben’s career in cartooning, including his new book, Hand-Drying in America and Other Stories (Pantheon), which collects his monthly comic page from Metropolis magazine. During the episode, Ben even performs several of his comics. If you’d like to see the comics themselves, you can download Manumission Houses and Lossless Things.
“People ask about influences and where I get my ideas. A lot of people looked at all the stuff I looked at, and they’re doing something else. It’s not like there’s an equation, like you read Saul Bellow and you look at Poussin, and then you make my comics. It’s not an equation. It’s brute force.”
The conversation and Q&A also cover his work process (with a surprising revelation about how he draws!), how book publishing lost its identity, what he learned from working in other art forms (like musical theater), how he teaches cartooning, the allure of new technologies, his one critical audience demographic, the joy of imperfections, whether he has an ideal era for New York, what happened to his History of the Dairy Restaurant book, how fear of shame keeps him productive, how Google can help when you need to draw a Russian prostitute, what he picked up from the Yiddish humor strips he read as a child, which one book the Library of America should withdraw, and how to pronounce “Knipl”! He didn’t win a “Genius” grant for nothing!
“It’s a golden age of art comics. It didn’t exist when I started. Most bookstores wouldn’t carry a comic, or even something that looked like a comic, back then. I can’t imagine what it must be like for a young cartoonist now, when these things are taken seriously and there’s an audience for them.”
About our Guest
Ben Katchor’s picture-stories appear in Metropolis magazine. His most recent collection of monthly strips, Hand-Drying in America and Other Stories, was published in March 2013 by Pantheon Books. Up From the Stacks, his most recent music-theater collaboration with Mark Mulcahy, was commissioned in 2011 by the Cullman Center for Scholars and Writers at the New York Public Library and Lincoln Center and was performed at both venues. He is an Associate Professor at Parsons, The New School for Design in New York City. For more information, visit www.katchor.com.
Credits: This episode’s music is Big City Blues by Sun Ra and his Arkestra. The conversation was recorded in the Bark Room at The New School in NYC on a pair of AT2020 mics, feeding into a Zoom H4n recorder. Mr. Katchor’s readings and some of the questions from the audience were recorded on a second Zoom H4n. I recorded the intro and outro on a Blue Yeti USB mic into Audacity. All editing and processing was done in Garage Band. Photo by Amy Roth.
Reading, walking, looking, dancing, listening, swimming, and writing: these are the activities organizing the life of this episode’s guest, Willard Spiegelman, author of Seven Pleasures: Essays on Ordinary Happiness! We talk about his wonderful book (go read it!), his addiction to ballroom dancing, how to find joy in the day-to-day world, why he hates book clubs, what Dallas, TX is like for a secular Philadelphia Jew, how he turned me on to one of my favorite novels, who his Desert Island Poets are, how he writes about the visual arts, why the world’s great novels are lost on the young, and what it was like to attend his 50th high school reunion. (Also, Harold Bloom crops up yet again; I really gotta try to get him on the show sometime. Boy, talk about the anxiety of influence . . .)
One of the best things about doing this podcast is that I get to meet some wonderful people. In this case, meeting with Willard over two afternoons (story to come) was like making a new old friend.
About our Guest
Willard Spiegelman is the Hughes Professor of English at Southern Methodist University. He also serves as editor-in-chief of Southwest Review, the third oldest continuously published literary quarterly in America. In 2005, Willard won the PEN/Nora Magid award for literary editing. In addition to Seven Pleasures, he’s also written or edited How Poets See the World: The Art of Description in Contemporary Poetry, Wordsworth’s Heroes, Imaginative Transcripts: Selected Literary Essays, Majestic Indolence: English Romantic Poetry and the Work of Art, The Didactic Muse: Scenes of Instruction in Contemporary American Poetry, and Love, Amy: The Selected Letters of Amy Clampitt. He writes about the arts for the Wall Street Journal. Oh, and he’s quite dapper.
Credits: This episode’s music is This Charming Man by The Smiths. The conversation was recorded at Willard Spiegelman’s home in New York City, on a pair of AT2020 mics, feeding into a Zoom H4n recorder. I recorded the other material on a Blue Yeti USB mic into Audacity. All editing and processing was done in Garage Band.