“I have this one focus in my life, which is that this world isn’t real. There are much more interesting right behind it or in it and sometimes you can glimpse them. Those are the most interesting things. That’s what my work has always been about.”
The great cartoonist Jim Woodring joins the show to talk about comics, surrealism, Vedanta, the principle of fluorescence, and why he may be the reincarnation of Herbert E. Crowley! While he was in town for his first solo gallery show, Jim and I met up to talk about his conception of the universe, how his FRANK comics have and haven’t evolved in 20+ years, how art can convey the existence of something it can’t show, why it’s easier to express the grotesque than the beautiful, why younger cartoonists may be lacking the bitter, competitive drive of past generations, and why I think the Prado is a second-rate museum! Give it a listen!
“I always felt in my post-adolescence that, as soon as I figured out how to say what I wanted to say, there would be some people who would respond to it. I never doubted that people would find the work interesting if I could only produce it properly.”
Bonus: I’ve got BIG NEWS about booking an upcoming guest! It’s in the intro.
About our Guest
Jim Woodring was born in Los Angeles in 1952 and enjoyed a childhood made lively by an assortment of mental and psychological quirks including paroniria, paranoia, paracusia, apparitions, hallucinations and other species of psychological and neurological malfunction among the snakes and tarantulas of the San Gabriel mountains.
He eventually grew up to be an inquisitive bearlike man who has enjoyed three exciting careers: garbage collector, merry-go-round-operator and cartoonist. A self-taught artist, his first published works documented the disorienting hell of his salad days in an “illustrated autojournal” called JIM. This work was published by Fantagraphics Books and was recently collected in a single edition called JIM.
He is best known for his wordless comics series depicting the follies of his character Frank, a generic cartoon anthropomorph whose adventures careen wildly from sweet to appalling. A decade’s worth of these stories was collected in The Frank Book in 2004. The 2010 Frank story Weathercraft won The Stranger’s Genius Award and was a finalist for the Los Angeles Times Book Prize for that year. Woodring has published two more FRANK books, Congress of the Animals, and Fran.
Woodring is also known for his anecdotal charcoal drawings (a selection of which was collected in Seeing Things in 2005), and the sculptures, vinyl figures, fabrics and gallery installations that have been made from his designs. His multimedia collaborations with the musician Bill Frisell won them a United States Artists Fellowship in 2006. He lives in Seattle with his family and residual phenomena.
Credits: This episode’s music is Forest Veil by Lisa Gerrard. 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 Mr. Woodring by me, photo of art by Jim Woodring.
To celebrate the publication of Middle C, the new novel by literary legend William Gass, I sat down with writer Greg Gerke, who interviewed Gass for Tin House literary magazine. We talked about Gass’ position in the postmodern literary tradition (as it were), what Greg learned over the course of reading much of Gass’ writings and interviewing The Great Man, what it’s like to construct a literary monument to horror, which authors Greg discovered through Gass’ essays over the years, how you can’t judge a man by his (roommate’s) bookshelf, why Gass holds self-publishing in disdain, and how one can build a powerful literary career by putting Sound Before Story.
About our Guest
Greg Gerke‘s fiction and non-fiction have appeared in Tin House, The Kenyon Review Online, Denver Quarterly, and Mississippi Review. He’s the author of the short story collection, There’s Something Wrong with Sven. You can read his work and find links to his criticism at greggerke.com and Big Other.
Credits: This episode’s music is Life’s a Gas by T-Rex. The conversation was recorded at Greg Gerke’s apartment in New York City, on a pair of AT2020 mics, feeding into a Zoom H4n recorder. I recorded the other material on a Samson Meteor Mic USB Studio Microphone into Audacity. All editing and processing was done in Garage Band.