“I’ve never felt so happy, but I’ve never felt so mortal.”
Poet Rachel Hadas returns to the show to talk about her new books, Talking To The Dead (Spuyten Duyvil Press), and Questions in the Vestibule (Northwestern University Press). It’s been two years since we last talked (over here), so I had plenty of questions for her. How did she rebuild her life after losing her husband to early onset dementia? How did she wind up pals with James Merrill (and what’s her take on his Ouija poems)? What do we lose and gain in the act of translation? And how did she become a love poet after spending her career writing elegies? Listen in to find out!
“It’s like Forster said, there’s a sense that the great poets are sitting at a table, synchronically all writing at the same time.”
You should check out this extra material from our conversation: Backdrop: Merrill in Stonington, a video essay Rachel made with her husband, Shalom Gorewitz, and The Art of Empathy: Celebrating Literature in Translation, a collection of essays commissioned by the National Endowment for the Arts. Also, here’s the blog post I wrote about translating Tolstoy.
“I’m at a point in my career where I feel fortunate to be able to publish what I’m writing.”
Also, if you want to find out who she’s reading nowadays and get a list of the books we talked about, join our Patreon and become a monthly contributor to The Virtual Memories Show! At the end of February, the new episode of our patron-only podcast, Fear of a Square Planet, will go up with a bonus segment about who Rachel’s reading lately and why.
About our Guest
Rachel Hadas’s book of selected prose pieces, Talking To The Dead, was published by Spuyten Duyvil Press in 2015. Her new book of poems, Questions in the Vestibule, is forthcoming (April 2016) from Northwestern University Press, which will also publish her verse translations of Euripides’ dramas Iphigenia in Aulis and Iphigenia Among the Taurians. The author of a score of books of poetry, essays, and translations, Hadas is Board of Governors Professor of English at Rutgers University-Newark. She and her husband, artist Shalom Gorewitz, have been working on marrying poetry and video; some of their collaborative work, including a piece about James Merrill, can be seen at www.rachelandshalomshow.com.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at Ms. Hadas’ 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. All photos of Ms. Hadas by Shalom Gorewitz.
“I wanted to be a writer since I knew that I couldn’t be a detective.”
We close out the summer of 2015 with a great summer novel, Orient (Harper) by Christopher Bollen! We talk about his new book, the difference between a “smart murder mystery” and a “literary thriller,” the perils of Male First Novel Syndrome (as evinced in Lightning People: A Novel), the challenges of writing about Long Island, how his years at Interview magazine honed his ear for dialogue, his fascination with rootlessness, why it’s too easy to parody the contemporary art scene, and more! Give it a listen!
“Remember how you could totally judge a stranger by what they were reading? Now we’ve totally lost that cue, thanks to e-books.”
We also talk about Christopher’s impending 40th birthday, his reverse mid-life crisis, “kids today,” the people he now realizes he should’ve been nervous about interviewing when he was young, the allure of detective stories, why childhood bookish shut-ins have great skin when they get older, how I once nearly blew up a shopping mall back in my high school years, and whether the actual inhabitants of Orient were peeved about his new novel.
“You don’t interview Fran Lebowitz; it’s more like you’re her audience.”
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):
- Orient: A Novel – Christopher Bollen
- Lightning People: A Novel – Christopher Bollen
- The Flamethrowers – Rachel Kushner
- The Secret Parts of Fortune: Three Decades of Intense Investigations and Edgy Enthusiasms – Ron Rosenbaum
- The Great Gatsby – F. Scott Fitzgerald
- Tender Is the Night – F. Scott Fitzgerald
- Plum Island – Nelson DeMille
- Less Than Zero – Bret Easton Ellls
- Browsings: A Year of Reading, Collecting, and Living with Books – Michael Dirda
- The Beach – Alex Garland
- Women in Love – DH Lawrence
About our Guest
Christopher Bollen is a writer who lives in New York City. He regularly writes about art, literature, and culture. His first novel, Lightning People, was published in 2011. His second novel, Orient, was published by Harper in May 2015. He is currently the Editor at Large at Interview Magazine.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, which seems to have become our unofficial theme song (I’ll ask DB if it’s okay to make it official). The conversation was recorded at Mr. Bollen’s apartment 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. Bollen by Danko Steiner; not-as-good photo by me.
“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.”
Langdon 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?”
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.
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.
“I think people are experiencing a lot of things in America that they just don’t have the words for. If I’m going to run around and wave this POET flag, then my job is to jump into the difficult situations and try to put them into words.”
Charles Bivona‘s business card reads, “Poet, Writer, Professor,” but he’s a lot more than that. Over the course of an hour, we talked about what it means to be known as NJPoet, his theory on the transmissibility of PTSD (based on the first-hand evidence of his father’s Vietnam War trauma being visited on his family), the value of building a massive Twitter network, the lessons of growing up poor, how Walt Whitman saved him on one of the worst days of his life, the virtues of a gift economy, and why getting bumped out of academia for blogging may have been the best thing for him.
“I think the core of my project is asking you, ‘What do you think your children think about what you’re doing right now?'”
We also discuss the role of poetry in America today and the poets who saved him in his youth, why he doesn’t publish poetry online, whether Twitter is more like The Matrix or The Watchmen, how his responses to Occupy Wall Street and Hurricane Sandy elevated his online presence, and why it’s important not to put yourself in an ideological cocoon.
“If you relax your ego, and say, ‘I’m here as a student and a teacher,’ you’ll get a lot out of social media.”
- Ron Slate
- Fred Kaplan
- Rachel Hadas
- Zach Martin
- Lynne Sharon Schwartz
- plus, read my tribute to Chuck’s best friend, Sang Lee!
About our Guest
Charles Bivona would tell you that he’s just trying to help his creative friends figure out ways to reach their goals, to help them in any way he can—writing letters, Twitter endorsements, all-out social media campaigns, word-of-mouth networking. Whatever helps. Otherwise, he’s reading, tweeting, listening to alternative news media, producing blog posts, and writing the first of hopefully several Kindle books and paperback poetry collections.
If you push him to be more philosophical, to talk more specifically about the social media strategy that built his audience, he frames his work as a Zen Buddhist approach to engagement based on mindfulness and honesty. With this in mind, he’s gathered an artistic social network that simmers with creativity, compassion, and humor. The writing itself, the poetic prose on his website, is also clearly informed by a Buddhist literary theory, rooted in practical teaching, mindfulness, and a vivid social reporting.
“It’s more of a life philosophy and a daily practice than a marketing plan,” Charles often says. “I’m using the web to make an attempt at Buddhist Right Livelihood, to try to make a living as a working poet in the United States.”
Credits: This episode’s music is Ladder of Success by Ted Hawkins. The conversation was recorded at Charles’ home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Charles Bivona and me by Luz Costa. Photo of Charles and Luz Costa by me.
“There’s this misconception that something born of the imagination is less true. It’s more true, if you do it right.”
Lori Carson joins us to talk about her debut novel, The Original 1982 (published by William Morrow, an imprint of Harper Collins). Lori’s one of my all-time favorite musicians, so the conversation also covers her singer-songwriter career and her time with the Golden Palominos, where she recorded two phenomenal albums, This Is How It Feels and Pure. It’s a really fun talk about the blurring of fact and fiction, the differences between songwriting and prose-writing (and album vs. book launches), how the music industry changed over the course of her career, her favorite authors and the books that sustained her through her first novel, why she made this life-jump from music to books, and more!
“Many people get to a point where they say, ‘I’ve done this all my life; what’s next?'”
(And there’s a book launch at The Corner Bookstore on Madison and 93rd St. in New York City on Thursday, May 30, starting at 6 pm.! If you’re in the area, check it out! Also, here’s a video of her reading the book’s prologue.)
About our Guest
Lori Carson is a critically acclaimed singer/songwriter whose albums include Shelter, Where It Goes, Everything I Touch Runs Wild, Stars and Another Year. A former member of the seminal band Golden Palominos, she has contributed to the soundtracks of Bernardo Bertolucci’s Stealing Beauty, Kathryn Bigelow’s Strange Days, Keith Gordon’s Waking the Dead, and others. The Original 1982 is her first novel.
Credits: This episode’s music is Little Suicides, Souvenir, and Stars by Lori Carson and/or Golden Palominos. The conversation was recorded at the Harper Collins offices (thanks, Leah!) on a pair of Blue enCORE 100, feeding into a Zoom H4n recorder. 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 Lauren Cook (thanks, Lauren!). There are a few more pix of us up at the Virtual Memories Show flickr set.