“In my work, I always try to arrive at a new level of capacity. To do that, you must be ready spiritually. When I arrive at that level, there is a fear. You have to break your knowledge to arrive at that level.”
Lorenzo Mattotti is one of my favorite artists (and cartoonists and illustrators), so it was a thrill to sit down to record with him during Toronto Comic Arts Festival! We talked about his newest book, Hansel and Gretel, how a trip to Patagonia led to a new phase of his art, and why he decided to become a cartoonist instead of a painter (while making his rep in fashion illustration). Give it a listen!
“I’m always curious to look back at my early work, because sometimes I’m so depressed and so lost that I need to go back and say, ‘Look at this! You were able to do that! Go on!’ And sometimes I look at my work and think it was another person who did that.”
We talk about the interaction between his comics, paintings, and commercial illustration work, the thread of transformation myths in his comics, how he’s learned to improvise after mastering a controlled style, why he prefers working with writers over writing stories by himself, what fashion taught him about technique and glamour, his “poor parents'” reaction to his comics, his need to find new artistic challenges, how he does those amazing New Yorker covers, who he’s reading, and more!
“[Pinocchio] became a laboratory of imagination. I see how I can return to it year after year and make new interpretations of it.”
About our Guest
Lorenzo Mattotti is a highly sought-after illustrator (with frequent appearances in and on The New Yorker) and acclaimed graphic novelist. His books include Fires, Murmur, Works, Pinocchio, Dr. Jekyll & Mr. Hyde, Stigmata, The Raven (with Lou Reed), The Crackle of the Frost, and his newest book, Hansel and Gretel (with Neil Gaiman). In addition to his comics and illustration work, Lorenzo Mattotti is a highly respected multi-disciplinary artist, from reinterpreting reinterpreting the models of the most famous fashion designers for “Vanity” magazine, to designing the title sequences for the film “Eros” by Wong Kar-wai, to directing an animated version of his work in the animation anthology “Fears of the Dark.” He lives in Paris, France with his wife Rina and their two children. His wife owns and runs Galerie Martel.
Credits: This episode’s music is Optical Sound by Human Expression. The conversation was recorded at the Toronto Marriott Bloor Yorkville 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. Mattotti by me.
“We were taught with the idea that these books meant something, that it was something vital to your life, that if you read these books you could understand what was going on around you better than you could if you didn’t. I don’t know if anyone’s doing that now.”
Time to wrap up our August book critics miniseries! Following our conversations with Michael Dirda and Jessa Crispin, we have Frank Wilson, who’s been reviewing books for FIFTY YEARS. Frank, who launched the Books, Inq. blog in 2005, talks about the changes in book culture over that half-century, the marvel of Tolstoy, his picks for most underrated and most overrated authors, the perils of using big-name writers as book reviewers, and more!
“I think that blogging has wiped out the book reviewing business but it does wonders for the literary business.”
We also talk about his life as a Catholic Taoist, the similarities of poetry and religion, whether Catholics can write good novels, the biggest gap in his literary background, when it’s okay to break the rules of Haiku (and other forms), and why he thinks Willa Cather is truly the Great American Novelist!
About our Guest
Frank Wilson is celebrating his 50th year of book reviewing. His reviews have appeared in a number of newspapers and magazines, but mainly the Philadelphia Inquirer, where he served as book editor until 2008. In 2005, he launched Books, Inq.: The Epilogue, a blog about books and publishing. He has an entertaining bio over here.
Credits: This episode’s music is Sinner’s Prayer by Ray Charles (see, because of Frank’s Catholicism and belief in the fallenness of — oh, never mind). The conversation was recorded at Mr. Wilson’s home in Philadelphia on a pair of Blue enCORE 200 microphones feeding into a brand-new Zoom H5 digital recorder. The intro and outro were also recorded on that equipment, in a room at the Courtyard Marriott in Creve Coeur, MO. Processing was done in Audacity and Garage Band. Photo of Mr. Wilson by me.
“I like that we live in an age that’s increasingly curious about this dark side, and not merely in terms of its pure darkness, but of how seemingly ordinary or normal people can commit atrocities.”
Daniel Levine joins us to talk about his debut novel, HYDE, an inventive and gorgeous retelling of The Strange Case of Dr. Jekyll and Mr. Hyde. It’s a fun conversation about our public and private selves, the ways we define evil, the mechanics of storytelling, the luck of human evolution, and more! Give it a listen!
“Art and torture occupy opposite ends of the same spectrum. Art is the attempt at beauty on a superfluous level . . . while torture is pain taken to an almost artistic, a musical level.”
About our Guest
Daniel Levine studied English Literature and Creative Writing at Brown University and received his MFA in Fiction Writing from the University of Florida. He has taught composition and creative writing at high schools and universities, including the University of Florida, Montclair State University, and Metropolitan State College of Denver. Originally from New Jersey, he now lives in Colorado. Hyde is his first novel.
Credits: This episode’s music is Dr. Jekyll by Miles Davis. (It was either that or Dr. Heckle & Mr. Jive by Men at Work.) The conversation was recorded at Daniel Levine’s childhood 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 Daniel Levine by me.
It’s time for a two-part mega-podcast! I visited the 24th annual Readercon, conference on literary fantasy & science fiction (or “imaginative literature,” as it’s known) in Burlington, MA in July, and came back with a ton of interviews! Readercon is a fantastic (ha-ha) event, with great programming, a good booksellers’ hall, and lots of fun conversation; you should make a point of attending it if your tastes run toward the authors who come up in this and the following episode.
I (not-so-wisely) conducted five interviews in one day so, rather than make a 3-hour episode, I decided to split them up between boys and girls. This time around you get interviews with authors John Crowley and Scott Edelman!
“The big books I’ve written have never had a genre at all. They were certain kinds of fictional possibilities that interested and intrigued me and that I wanted to try to achieve. I wouldn’t say there’s an awful lot in Little, Big that’s realistic, but there’s plenty that was based on my daily experiences of life in New York City.”
John Crowley is the author of Little, Big (or, The Fairies’ Parliament), which I consider one of the greatest novels of the 20th century. I’d known about it for a long time, but only read it a few years ago, after learning that my wife has been re-reading it every year or two since it came out in paperback in 1983 or thereabouts. You should go read it now or wait for the deluxe edition from Incunabula Press! (He’s also written other amazing books, like the Aegypt cycle, Engine Summer, and more.)
I talked with Mr. Crowley about readers’ devotion Little, Big, the problems he faced in writing it and how surmounting them opened the doors to his subsequent books, how the fantasy genre developed during the course of his career, what his favorite imaginary books are, why I felt unprepared for our conversation despite having read six of his novels, and what it was like to write copy for Maidenform bras when he was starting out.
“One of the most amazing things about writing to me is that, even though you’ve read, and heard, and seen thousands of stories, when you sit down to write one, you have no idea how to begin!”
Even if you haven’t read Little, Big, you’ll find this a fascinating conversation about the writing process, literary reputation, and what it means to tell a story!
“You have to write the things you love. They have to be extremely important to you, to give you that tingle when you read them. Because if you’re not moved by it, I don’t see how anyone else is going to be moved by it. . . .”
Then I talk with Scott Edelman, a longtime writer, editor and Con-goer, about his zombie-fiction, being an editor at Marvel Comics in the 1970s, his storytelling tips and his pros and cons of workshops, whether he pays attention to literary markets, what Readercon means to him, and what it was like to move from one side of the convention table to the other.
“Why zombies? Because zombies are the closest we’ll ever see to what we’ll really become. Because there’ll be that day when we’re all walking husks without memory.”
- Theodora Goss, Valya Dudycz Lupescue and Nancy Hightower (Readeron part 2)
- Paul Di Filippo
- Michael Dirda
- Craig Gidney
- Kyle Cassidy
About our Guests
John Crowley lives in the hills above the Connecticut River in northern Massachusetts with his wife and twin daughters. He is the author of Little, Big, the four-volume Aegypt cycle, The Translator, Novelties & Souvenirs, Lord Byron’s Novel, and Four Freedoms. You can find out more about the special anniversary edition of Little, Big here.
Scott Edelman has published more than 75 short stories in magazines such as Postscripts, The Twilight Zone, Absolute Magnitude, Science Fiction Review and Fantasy Book, and in anthologies such as The Solaris Book of New Science Fiction, Crossroads, MetaHorror, Once Upon a Galaxy, Moon Shots, Mars Probes, Forbidden Planets. His poetry has appeared in Asimov’s, Amazing, Dreams and Nightmares, and others. What Will Come After, a collection of his zombie fiction, and What We Still Talk About, a collection of his science fiction stories, were both published in 2010. He has been a Stoker Award finalist five times, in the categories of both Short Story and Long Fiction. He is the editor of Blastr at the Syfy Channel. You can find more about him at his site.
Credits: This episode’s music is Fairy Tales by Style Council. Both conversations were recorded in a room at the Burlington Marriott on a pair of Blue enCORE 200 mics feeding into a Zoom H4n recorder. I recorded the intro and outro on a Blue Yeti into my Mac Mini, at my Ikeahack standing desk. File-splitting is done on a Mac Mini using Audacity. All editing and processing was done in Garage Band. Photos by me.