October 6, 2014 At Work Amusing Myself: An Interview with Bob Neuwirth By Gary Lippman Photo: Larry Bercow In Just Kids, Patti Smith calls the painter and singer-songwriter Bob Neuwirth “a catalyst for action,” and she should know—it was Neuwirth, “trusted confidant to many of the great minds of his generation,” who urged her to write her first song. In a recent interview with Smith, Neil Young said that Neuwirth is “almost a Biblical figure … It’s just amazing that this guy has been shadowing through all these artistic communities.” Down the decades, Neuwirth, now seventy-five, has made the scene in Cambridge, Massachusetts, Berkeley, Paris, Nashville, Santa Monica, and Austin, stopping in at the fabled festivals of Newport, Monterey, and Woodstock and associating along the way with Janis Joplin, Lou Reed, the Coen Brothers, Brice Marden, T Bone Burnett, Joan Baez, Shel Silverstein, Elvis Costello, Sam Shepard, Kris Kristofferson, Larry Poons, The Band, and The Band’s former front man, Bob Dylan. In Chronicles: Volume One, Dylan recalled the decades when he and Neuwirth were especially close: “Like Kerouac had immortalized Neal Cassady in On the Road, somebody should have immortalized Neuwirth … If ever there was a renaissance man leaping in and out of things, he would have to be it.” For someone on the receiving end of such high praise from the famous, though, Neuwirth has a rather low view of fame itself. “Being famous is a full-time job,” he told me over lunch recently in the West Village. “You can get more done being anonymous. I know how people can get famous, but they have to want to do that … It has to tickle the G-spot of their minds, because being anonymous is so much more powerful. You can get so much more done if you’re not worried about fame and fortune. You can get a lot done.” Since he came out of Akron, Ohio, in the early sixties, Neuwirth has focused primarily on painting, but he’s equally as well known for his music. He cowrote Joplin’s song “Mercedes Benz”; put out five mostly excellent solo records (including Last Day on Earth, a collaboration with John Cale); appeared as Dylan’s running buddy in D.A. Pennebaker’s 1967 documentary, Don’t Look Back; had his songs recorded by the likes of Jerry Lee Lewis, Roger McGuinn, and Peter Case; and worked with everyone from the Welsh filmmaker Sara Sugarman to rockabilly legend Rosie Flores. Later this month, Neuwirth and his small band will join the journalist David Felton for “Stories and Songs” at Manhattan’s Dixon Place on October 15 and at McCabe’s Guitar Shop in Santa Monica on October 19. We spoke about these upcoming shows, among many other diversions. What can the audience expect from “Stories and Songs”? I’m interested in the living-room, intimate atmosphere of it. The whole point is, what happens when somebody shows up in a performance space without a preset agenda and has to bring something to the table, much in the way Keith Jarrett approaches a concert in which he doesn’t know what the first note is going to be? It’s almost unbelievable to hear his Koln Concert and think that Jarrett just cleared his mind before he walked onto that stage—it’s sublime. That’s our ideal. It’s 95 percent improv—aside from a couple of anchor songs, touchstones that I can rely on if things get too hideous. Has that backfired? Do you ever get scorched by embarrassment? Daily. On or off the stage. I’m scorched by embarrassment every time I look in the mirror. Especially when I’m trying on a bathing suit. Read More
October 3, 2014 At Work Nothing Happened: An Interview with Joseph O’Neill By Jonathan Lee Photo courtesy of the author The narrator of Joseph O’Neill’s new novel, The Dog, decides to move to Dubai. Transitional places make more sense to him than those in which “everything has been built and all that remains is the business of being in buildings.” He sees his own life, in the aftermath of a recently disintegrated relationship, as somehow “posthumous” and shameful. And meanwhile his legal training, instead of arming his intellect, merely alerts him to the inadequacies of the language he’s forced to use. “Lost in a fantastic vigilance of ambiguity, obscurity, and import,” caged in by the feeling that “the very project of making sense [is] being mocked,” he drafts endless disclaimers and other corporate documents that he only slenderly understands. His new apartment tower is called The Situation. His preferred spa is called Unique. But even recreation is an exercise in compromise—“there’s more than one Unique.” Javier Marías, paraphrasing Faulkner, once told an interviewer that “when you strike a match in a dark wilderness it is not in order to see anything better lighted, but just in order to see how much more darkness there is around.” The Dog isn’t much interested in bright epiphanies. Instead it shows the extent of one man’s ignorance—his helplessness in a foreign world. The evocative sentences that helped to win O’Neill’s previous novel, Netherland, the 2009 PEN/ Faulkner Award and a wide readership, are largely absent here. With its deadpan existentialism and playful corporate-speak, The Dog is perhaps closer to a book like Joseph Heller’s Something Happened. It is bleakly, unexpectedly funny. I met O’Neill in Manhattan on an afternoon in mid-September. We talked about the fact that Netherland “very nearly didn’t get published at all,” the relationship between his work and that of Louis C.K., and why he is “deeply uninterested in the chattiness you get in so many contemporary novels.” It’s been mentioned by various reviewers that The Dog is a very different book to Netherland, at least in its tone. What sort of sentences did you find yourself looking for as you sat down to write, and what kinds of sentences did you find yourself striking out? Generally, I want sentences that are both conscientious and surprising. For me, plot happens most of all at the level of the sentence. As I reader, I want to start a sentence and then be surprised by what happens to it, or intelligently happens. To be surprised by the conscientious movement of emotion and attention over the course of the sentence. I used to write poetry, and I think good poetry does that—captures a movement of intelligence. Still more generally, I want a verbal landscape that’s unusual—that I haven’t read a million times before, and that isn’t easily replicable in other forms. This approach animated the writing of Netherland. In The Dog, my main character is a theorist—he is disposed toward theorizing and rationalizing, as well as to deep emotion, and is only occasionally given to recollection. To my mind, this makes him a comically urgent character—a man who is constantly caught short by this thoughts, who constantly needs to take a mental leak. That being the case, it wouldn’t have made sense to reuse the highly particular, contemplative voice of Netherland. I’m not interested in writing stuff that’s indistinguishable from other stuff. I’m trying to avoid that deathly sense that here’s something you’ve read before, but with different characters, or with one situation replaced with another. I’m also deeply uninterested in the chattiness you get in so many contemporary novels. Read More
October 1, 2014 At Work Everybody Knows Me: An Interview with Walter Matthau By Aram Saroyan Matthau would be ninety-four today. The poet Aram Saroyan, his stepson, spoke to him in 1974 about the vagaries of fame. Matthau, left, with Maureen Stapleton and Jack Lemmon in a 1974 production of Juno and the Paycock at Los Angeles’s Mark Taper Forum. Photo courtesy of the author This interview took place at the kitchen table in the Matthau household in Pacific Palisades between two and three thirty in the morning on Monday, December 17, 1974. I was staying overnight in the guesthouse and had returned a short time earlier from a concert in Century City when I happened to catch Walter up and in a talking mood. I’d known him since I was fourteen and he was thirty-seven, a well-established Broadway actor with a string of rave reviews in a succession of commercial flops. After his marriage to my mother, Carol, in 1959, I knew that he made occasional trips to Hollywood for movie or TV work, but understood that he was a “New York actor” and made the trips for money. After the Broadway smash he had in The Odd Couple in 1965, he began the move West and the transition from stage to screen, which, culminating in the screen version of The Odd Couple, established him as a movie star. During the transition, he had very nearly died of a coronary, an experience he was never noticeably reticent about. Older than most stars—in his fifties by the time the dust settled again—Walter seemed to take fame in stride. But seeing him for the first time ensconced in his Pacific Palisades home with the high-powered trappings of Hollywood success, after having known him in what was by comparison a New York artistic bohemia, I couldn’t help being struck by the magnitude of the change. One felt that he relished being a movie star and at the same time regarded it with a certain skepticism, which extended to the business and his colleagues in it at large. When a movie he’d starred in received bad reviews, he sighed and said to Carol, We’re going have to start being nice to people again. You’re back on the stage again in Juno and the Paycock. What’s that like, after ten years in the movies? It’s very satisfying. Doing a good play on the stage is like eating a good meal at home—assuming your wife is a great cook, or that she’s hired a great cook. Doing a movie is like eating five hundred canapés at a cocktail party—you’re never really full. You don’t feel as though you’ve eaten a meal, and yet you can’t eat anymore. You’ve had a little hot dog here, and you’ve had a little caviar there, and a fish here, and a sardine. The feeling is just marvelous, especially if you’re good at what you’re doing, and I think I work much better on the stage because I have things to offer a stage that don’t show up in movies. Read More
September 23, 2014 At Work The Art of the Obituary: An Interview with Margalit Fox By Alex Ronan Photo: Ivan Farkas In nearly twenty years and twelve hundred obituaries, Margalit Fox, a senior writer at the New York Times, has chronicled the lives of such personages as the president of Estonia, an underwater cartographer, and the inventor of Stove Top Stuffing. An instrumental figure in pushing the obituary past Victorian-era formal constraints, Fox produces features-style write-ups of her subjects whether they’re ubiquitous public figures, comparatively unknown men and women whose inventions have changed the world, or suicidal poets. (More on those below.) I caught up with Fox in the Upper West Side café where she’s written two books, Talking Hands: What Sign Language Reveals About the Mind and The Riddle of the Labyrinth: The Quest to Crack an Ancient Code, the latter of which was published in paperback earlier this year. She was remarkably jovial and eager to clarify what it’s like to write about the dead every day. We spoke about the history of the obituary, her love of English eccentrics, and how it feels to call a living person in preparation for his or her eventual death. Does the work you do change the way you think about death? This work does skew your worldview a bit. We all watch old movies with an eye toward who’s getting on in age. I watch the Oscars memorial presentation and sit there going, Did him, did her, didn’t do that one. For obit writers, the whole world is necessarily divided into the dead and the pre-dead. That’s all there is. How did you end up in the obituaries department? I’d never planned for a career in obits. The child has not yet been born that comes home from school clutching a composition that says, When I grow up, I want to be an obituary writer. I started as an editor at the Times Book Review. It was wonderful to be around books and people that love books, but the job itself was copyediting. I was afraid that all they’d be able to put on my tombstone was “She Changed Fifty-Thousand Commas into Semicolons.” I started contributing freelance to the obituary section and ended up getting pulled in as a full-time writer. How is your section different from other news sections at the paper? Ninety-five percent of our job is writing daily obits on deadline. It’s impossible to have an advance written for all the pre-dead who we hope to cover, so we usually have to phone someone up to ask about a person or a subject we don’t know much about. Recently, one of my colleagues was heard running around the office going, Does anyone know anything about exotic chickens?! It’s that sort of thing. Read More
September 16, 2014 At Work Freedom to Fuck Up: An Interview with Merritt Tierce By Thessaly La Force Photo: Michael Lionstar In Merritt Tierce’s debut novel, Love Me Back, life does not go as planned. A Texas high school student named Marie becomes pregnant on a missionary trip when she’s only sixteen. The event completely changes Marie’s life. Raising a child means not going to college, marrying a boy she’s only just met, and cutting short her own adolescence. Tierce writes poignantly of the pain and loneliness in Marie’s new life—as a waitress at a restaurant where the only thing that feels permanent is what her life has become. She tests her boundaries and her limits, numbing herself from reality with sex, drugs, and pain. And while it’s a hard life on the page, Love Me Back is also filled with the kindness and humor that people offer one another when they know there’s no one else. Tierce is a graduate of the Iowa Writers’ Workshop, where she was a Meta Rosenberg Fellow; she is also a recipient of the Rona Jaffe Foundation Writers’ Award. You write of Marie’s pregnancy, “I don’t hear my whole life being written for me inside my body, cell by cell.” Marie had been accepted into Yale, but the baby completely upends her plans and distances her from her family. One of the earliest scenes in the novel is Marie’s interview at the Olive Garden—it signals the beginning of her life as a young mother in the service industry. What drew you to start at this point? I wrote the book backward, chronologically—so I actually started at the latest point in Marie’s life. I knew what she felt and thought in the stories in the second half of the book more clearly than I knew younger Marie. I had to write back through her states of mind, back toward childhood. She was still a child when she became pregnant and I had to approach that fog carefully. Marie is unknown to herself at the beginning of the book, and I couldn’t start there. It felt like the gameplay in something like World of Warcraft, where you can only see as much of the map as you’ve explored. The rest is dark. While Marie was living it, she had to emerge from the dark and settle her territory—but while I was writing it I could only write out to the edge of black. I respected that. I let her be what she was—aware, but ignorant. New. And I can’t make any categorical statements about sixteen-year-old mothers, but my hope for my own daughter is that she lets herself find and grow and use her power for herself before she lets anyone else lay claim to it. Read More
September 11, 2014 At Work Finding the Question That Hasn’t Been Asked: An Interview with Lynne Tillman By Sharon Mesmer Lynne Tillman, Second Avenue, New York City, 2013. Photograph: Mark Alice Durant. Writing a short introduction about Lynne Tillman isn’t easy; her singular and visionary writing covers a great deal of territory. The author of twelve books, she is adept at fiction, short and long essays, cultural critique, and interviews. A sampling of just three of her books conveys the scope of her work: her novel American Genius: A Comedy follows the obsessive inner monologue of a single character for almost three hundred pages; This Is Not It is a compendium of twenty years of witty and risky novellas and short stories, some as short as a paragraph; and Bookstore: The Life and Times of Jeannette Watson and Books & Co. weaves together the voices of Susan Sontag, Fran Lebowitz, Paul Auster, Calvin Trillin, and many others to tell not just the story of the rise and fall of the iconic, well-loved Books & Co. but that of the changing landscape of publishing. Her new book, What Would Lynne Tillman Do?, is a collection of recent essays—on Andy Warhol’s a: A Novel, on the lives and work of Paul and Jane Bowles, and on Edith Wharton and architecture, to name just a few—and interviews with Harry Mathews, Paula Fox, Lebanese-American writer and visual artist Etel Adnan, and German painter Peter Dreher. Each piece, whether essay or interview, is illuminated by Tillman’s wit, intellect, and curiosity. When the book was released earlier this year, Jason Diamond of Flavorwire declared 2014 to be “the year of Lynne Tillman.” I spoke with Lynne Tillman at the New School, as part of the university’s Summer Writers Colony. Fiction and nonfiction students had spent three days reading What Would Lynne Tillman Do? and the questions I posed reflected their curiosity, as well as my own, regarding the processes and practices that allow her to transition easily between genres. Tillman was eager to answer, and the qualities that characterize her writing shone through in her answers. In your 2009 essay, “Doing Laps Without a Pool,” you write, “I don’t want to take a position. Not taking a position is a position that acknowledges the inability to know with absolute surety, that says: Writing is like life, there are many ways of doing it, survival depends on flexibility. Anything can be on the page. What isn’t there now?” All those interesting negatives—“not taking a position,” “the inability to know,” “what isn’t there now”—reminded me of Keats’s famous letter in which he used the term negative capability. When you begin to build an essay, do you feel as if you’re exploring what you don’t know, precisely because you don’t know? Or do you begin with a firm idea or a mystery that you want to explore more deeply? I begin nonfiction essays in a similar way to fiction. I have some questions in my mind, things that I’m interested in writing about, and in fiction I find a voice through which to do that. On the other hand, in an essay, I assay some of what I think I know, and then, as I go along, I realize that I don’t know what I thought I knew. Read More