Posts Tagged ‘Guns N’ Roses’
December 5, 2014 | by Meg Lemke
I met Julia Wertz at a slightly rundown family diner she’d recommended deep in Greenpoint, Brooklyn. We drank coffee and ate waffles (hers, covered in bacon) and whole-wheat pancakes (mine, covered in syrup). We’d talked briefly before, but always amid the clamor of comics conventions, where Wertz hustles hard to sell her books but does not relish being on display. Yet she has been putting her life online for nearly a decade. Her new omnibus collection, Museum of Mistakes, brings together three volumes of her autobiographical Web series called Fart Party, written between 2005 and 2010; miscellanea, such as hate mail and guest sketches; and a handful of previously unpublished stories, including one that delves into her past and how children process grief.
As the cartoonist Tom Hart has noted, Wertz “makes self-destruction charming.” In comics gloriously full of curses and insider jokes, she catalogs love found and lost, family dysfunction, and a risky cross-country move; she suffers low-wage service jobs and the publishing industry’s rush after indie comics darlings. Though Wertz’s frustration is often palpable (she occasionally imagines pulling people who annoy her limb from limb), she employs a kind of innocent visual style—her figures are wide-eyed and jaunty—and she’s adept at developing a sense of intimacy between the reader and her antisocial persona on the page. In other words, she lets you in, then flips you off.
Wertz has published two graphic memoirs since most of the comics in Museum of Mistakes first appeared: Drinking at the Movies (2010) and The Infinite Wait and Other Stories (2012). The latter is partly concerned with her diagnosis with Lupus and the horrors of navigating the health care system as an uninsured artist. She also recently chronicled her journey to sobriety in an essay for Narratively about comedy, depression, and addiction. A few years ago, she began documenting her urban-exploring exploits, posting haunting photographs of modern ruins on her site Adventure Bible School.
This fall, Wertz made a much-anticipated return to publishing new online comics that, as Gary Panter puts it, “look cute and nice, but they aren’t.”
You’re back to making daily diary comics after a two-year break. Why have you started again—and why did you stop?
I stopped because I was sick of myself. I completed the The Infinite Wait in only six months by drawing autobio comics sixteen hours a day. And before that, I had drawn comics every day, nonstop, for six years.
Eleanor Davis took a year after she finished How to Be Happy where she said, I’m only going to draw what I want to draw, when I want to—not what I need to for work, not what I think I should be working on. I used her example as justification, but I would have stopped anyway. I had planned to take a two-week break, and then, two years later, I was just ready to start again. I had remembered why I liked drawing comics.
February 14, 2014 | by The Paris Review
“As usual, the love plot is the least convincing aspect of the book,” said my friend, handing me a crumbling, loved-to-death copy of Barbara Pym’s last novel, A Few Green Leaves. It is not clear to me which part my friend found unconvincing—the growing attraction between the meek, widowed rector Tom and the awkward anthropologist Emma, or the obstacles to their match. (E.g.: Tom’s dreary sister, a visit from Emma’s old flame Graham, or the Oxfordshire village full of aging gossips who have nothing better to do than monitor the hand-delivery of casseroles to local bachelors.) At any rate, I bought the whole thing, and I believed that Emma did, too. As Pym’s narrator observes, “Even the most cynical and sophisticated woman is not, at times, altogether out of sympathy with the ideas of the romantic novelist.” —Lorin Stein
The weather yesterday was awful; this incessant wintry-mix business has got to stop. It has me thinking about Russian poems set during the siege of Leningrad, and last night my brain produced one of the most incredible jump shots since 2001: A Space Odyssey—from Boris Pasternak to Guns N’ Roses. The former has a poem that begins “February. Get ink and weep! / To write and write of February / like bursting into sobs, with thundering / slush burning in black spring.” Naturally, that led to “So never mind the darkness / We still can find a way / ’Cause nothin’ lasts forever / Even cold November rain.” The latter seems somehow right today—it’s a song, after all, about the vagaries of love. In fact, the classic Guns N’ Roses catalogue is brimming with Valentine’s Day–appropriate songs: charged lyrics for lovers (“Said, woman, take it slow / And it’ll work itself out fine / All we need is just a little patience”) and the lovelorn (“To think the one you love / could hurt you now / Is a little hard to believe / But everybody darlin’ sometimes / Bites the hand that feeds”). —Nicole Rudick
Some advice: Run, do not walk, to your love’s home. Take her by the hand and recite this Restoration-era poem about premature ejaculation: “The Imperfect Enjoyment,” by John Wilmot, the Earl of Rochester, a legendary libertine who slept his way around the Royal Court and succumbed, at age thirty-three, to venereal disease. Here, in words as lewd and depraved as anything uttered in 2014, he recounts one of his less inspiring performances. Making love, he can’t quite contain himself, and “In liquid raptures I dissolve all o’er, / Melt into sperm, and spend at every pore.” His lady unsatisfied, he finds himself unable to get it up again, and lambasts his errant penis. “Worst part of me, and henceforth hated most, / Through all the town a common fucking-post.” If that doesn’t make her swoon, gents, nothing will. —Dan Piepenbring
When Dan asked us to recommend love-themed staff picks, I was all set to talk about one of my favorite films, the 1945 Powell-Pressburger classic I Know Where I’m Going! Then I saw it described by Vanity Fair as “a cult among poetic bluestockings” and my enthusiasm dimmed somewhat. But it deserves whatever following it has—incidentally, Pauline Kael and Martin Scorsese are in the cult, too—and I can’t think of a more romantic movie than this tale of a willful young woman stranded in the Scottish Hebrides. (When I describe it like that, I can see why the poetic bluestockings are so excited, but don’t let that put you off!) —Sadie Stein Read More »
March 27, 2012 | by Emily Witt
Reading the poetry of Michael Robbins is kind of like driving around the parkways and frontage roads of America’s suburbs. His poems have a Best Buy, a Red Lobster, a Kinko’s, a Pizza Hut, and a Guitar Center; they reference the slogans of Christian billboards and the bumper stickers of hippies; they offer the choice between Safeway and Whole Foods and between the corporate classic-rock station, the corporate urban-music station, and All Things Considered. The poems are heavy with concern for the elephants, the whales, and the freedom of Tibet. They have a Rhianna song stuck in their heads.
Among poets, Robbins follows in the footsteps of Frederick Seidel and Paul Muldoon in writing about contemporary life using more traditional poetic forms and rhyme. He also references and sometimes even quotes Philip Larkin, John Berryman, Theodore Roethke, Wordsworth, and others. But Robbins is more playful and less grandiloquent than his sometimes-grim forefathers: after reading his first book, Alien vs. Predator, the two things I kept thinking of were not poetry at all, but rather the short stories of George Saunders and the video art of Ryan Trecartin. As Saunders did with marketing jargon and Trecartin with reality television, Robbins congeals his suburban idyll, transforming its vacant vernacular into unsettling poignancy. And sometimes it’s even funny.
I reached Robbins by phone in Hattiesburg, Mississippi. We spoke the day after Rick Santorum’s victory in that state’s Republican primary.
Where are you working right now?
I’m a visiting poet at the University of Southern Mississippi in Hattiesburg, which is where I’m staying and just waiting until I get out of this city.
You don’t like it?
The people are great at the university, my students are great, but Hattiesburg is … it’s just like if you opened a university in a Taco Bell, basically. It’s just the ugliest place I’ve ever seen in my life. Read More »
October 18, 2010 | by John Jeremiah Sullivan
Five years ago GQ assigned me to write about Axl Rose, who was mounting a “final comeback” with his Chinese Democracy, release of which had already been postponed by more than a decade. The album title was meant as a punch line. Q: When will Guns N’ Roses come out with something new? A: When there’s democracy in China. That stage in the singer’s career turned out to be neither a comeback (few people liked the record, and nobody played it much) nor final—a minute ago I ran his name through Google News and found he’s hard at work being Axl, showing up hours late to shows, getting pelted with bottles, making bizarre requests on tour riders (black napkins, Grolsch beer, honey in “bear-shaped tubes”).
The story was, by turns, fun and frustrating to report. I followed the band around Europe for a while, feeding cigarettes to the band members’ model girlfriends and failing to secure face time with “Ax.” His manager back then was a real specimen. Before one show, in Spain, I sat at a coffee table with this person, struggling to explain how it might help justify the seven thousand words we were about to expend on the band if the front man would speak to me for a few seconds. I think at one point I actually said, “Give me thirty seconds.” Axl had by then become, as he remains, sealed off from the press to an almost Michael Jackson level. The manager kept pausing to answer cellphone calls from Elton John. “Well, that’s because they don't know Tea for the Tillerman,” he said into the phone at one point, referring to the classic Cat Stevens record. What were he and Sir Elton talking about? I still wonder sometimes. He told me that, if we would agree to put Axl on the cover, “maybe we could talk about an interview.” I couldn't figure out how to say, in any non-offensive way, that GQ covers are typically reserved for extremely conventionally good-looking people in the midst of a career peak, such as Axl once was but hadn't been in a very long time. I let it drop. Axl broke with the manager soon thereafter, passive-aggressively blaming him in an “Open Letter to Fans” for the failure of Chinese Democracy. Thinking back, I feel sympathy with the manager. What I read as superciliousness was probably professional trauma. He was the devil’s own PR man.
The most memorable trip I made in connection with Axl was to Lafayette, Indiana, where he grew up. I drove there hoping to track down his oldest childhood friend, a man named Dana, who’d never been interviewed. Dana turned out not surprisingly to be a very reclusive person, and although he did eventually meet with me, it took several days to coax him out. I spent them inventing little research projects. I visited the public library and found old yearbook pictures of Axl. I photographed the church where he sang in the choir. And lastly, on the morning of the day when Dana finally called me back, I went to the local police station. Did they have any records on Axl? No, they didn’t think so. Really? That seemed impossible. Would they mind checking under his many Indiana names? William Bruce Rose Jr.? William Bruce Bailey? Bill Bailey? W. Rose? A friendly lady officer agreed to help me out. Read More »