December 10, 2012 At Work Honky-Tonk Hero: Talking with Henry Horenstein By Eric Banks Dolly Parton, Symphony Hall, Boston, MA, 1972. I first noticed the work of Henry Horenstein when he published his 1987 book, Racing Days, a photographic diary in gritty black and white, compiled largely in the now mostly defunct northeastern thoroughbred circuit. I knew his name at the time to be vaguely familiar from other contexts, though I hadn’t yet made the connection to the body of work he’d done beginning in the 1970s of the world of country music. Seeing the photographs in the new edition of Honky Tonk published together, I finally got it—I’d been admiring these pictures of bluegrass pickers and hillbilly crooners for years without realizing their author. Horenstein captured the extremes of the country-western world over the years, from the Hee Haw familiars onstage at the Grand Ole Opry to old-time cult favorites like the Blue Sky Boys; from seventies country-pop meteors like Jeannie C. Riley to such bona-fide C&W stars as Conway Twitty and Porter Wagoner. But what makes Honky Tonk such a terrific document are the photographs Horenstein took of the places where the music was heard—legendary joints like Tootsie’s Orchid Lounge in Nashville and long-gone venues like the Hillbilly Ranch in Boston—and the regulars inside. With the republication of Honky Tonk, I spoke to Horenstein, now based in Boston and a professor at the Rhode Island School of Design, about how a nice young guy from the University of Chicago got involved in documenting what the “King of the Strings” Joe Maphis summed up as the “dim lights, thick smoke, and loud, loud music.” Read More
November 28, 2012 At Work Voices Carry: An Interview with Elena Passarello By Michele Filgate Elena Passarello is a writer with a confident voice. Her first book is centered around that voice: in Let Me Clear My Throat, Passarello draws from her writing and acting background, and the result is a quirky blend of reportage and some personal narrative. In a recent e-mail interview, we discussed everything from the recent presidential campaign to a Stella screaming contest. How did you choose your theme for your first book? Did you set out from the beginning to write an entire essay collection devoted to the human voice? I had a few essays on voices before I began working on the essays that appear in this collection. I didn’t know that they were on voices at the time, however—I was just writing profiles, critical pieces, lyric stuff that all ended up using voice either as an entrance point or as an organizing principle. The first essay that I wrote for the collection was the one on the Wilhelm Scream. I first drafted it not as an essay on the voice, but as a simple unpacking of this very juicy and mysterious piece of pop culture. A few drafts in, however, I saw that I was, once again, threading ideas about the voice throughout it. The essay became about the fact that a human body had made this sound, and in doing so, that body embossed itself into every movie which used the clip. The essay became an exploration of the purposes a human scream serves—both in pre-civilized human life and contemporary culture. Around the time I finished the essay, I started thinking I could do a whole book about the sounds of the human throat. Speaking of your essay on the Wilhelm Scream—a sound effect used in hundreds of movies—how did you first hear about it? I was just Googling around for the correct spelling of Ennio Morricone’s name for a now-defunct project. I landed on an IMDb page for a movie Morricone had scored, and in the roll of facts on the film was “Wilhelm Scream at 88:02!” Read More
November 12, 2012 At Work Nimble Surrealism: Talking with Gabrielle Bell By Tobias Carroll Whether delving into memorable personal stories or exemplifying a sort of nimble surrealism, Gabrielle Bell’s comics are harder to classify than one might think. Reading her work chronologically, one can find her range expanding from sharp day-to-day observations to forays into the surreal and magic realist. The title story of the collection Cecil and Jordan in New York follows a young woman who moves to the city and searches for an apartment and a purpose. It’s fairly kitchen sink in its realism, right up until the point where the protagonist matter-of-factly decides to become a chair. It’s a dose of deadpan absurdism that opens up the storytelling possibilities, and keeps the reader on their toes. The Voyeurs is Bell’s latest book, covering several years in her life, and taking her from promoting a film in Tokyo to finding a space for yoga in her Brooklyn apartment to San Diego for Comic-Con. Its introduction comes courtesy of Aaron Cometbus, whose long-running zine suggests certain parallels to Bell’s deftly autobiographical work. We met at a bar near Bell’s apartment in Greenpoint, Brooklyn—a neighborhood that has provided the setting for much of her work. Lucky begins as a kind of slice-of-life documentation of your life. By the end of the first volume, though, it’s become less overtly realistic and more expressionistic. When did you make that leap? It was towards the end of writing Lucky, when I got to the point about Francophilia, when I talked about talking with Gerard Depardieu. That must have been the first time that I did that. Or maybe it was when I had this fantasy about being an art assistant, and the artist taking all my ideas. Read More
October 29, 2012 At Work Urban Renewal: An Interview with Adrian Tomine By Peter Terzian In “Missed Connection,” Adrian Tomine’s now-famous New Yorker cover illustration, a boy and a girl spot each other through the windows of subway cars headed in opposite directions. They’re both reading the same book—potentially perfect for each other, they’re destined not to meet. The image sums up what makes city life frustrating but also thrilling: the possibility of romance around every corner, the sense of isolation in a crowd, the higher-than-usual incidence of bookish hotties. Tomine began contributing crisp, colorful artwork to the magazine in 1999 and has continued to produce covers that often gently send up urban reading habits. The newly released New York Drawings collects the entirety of Tomine’s New Yorker work, along with his illustrations for other periodicals, book jackets, and album covers. But commercial illustration is only one part of Tomine’s career. The thirty-eight-year-old artist began publishing comics as a teenager. His stories of young misfits and malcontents, serialized in his semiregular comic book, Optic Nerve, have been collected in book form as Sleepwalk and Other Stories, Summer Blonde, and a full-length graphic novel, Shortcomings. His short, funny, loose autobiographical comic strips pop up throughout his books; last year’s Scenes from an Impending Marriage narrated Tomine’s wedding preparations in the style of classic newspaper funnies. A West Coast native, Tomine moved to Brooklyn eight years ago. We met one evening at a pastry shop near his home in Park Slope. It seems obvious that by now your New Yorker work has given you more visibility than your comics. How do you feel about that? It definitely reaches a broader audience. At this point there are a lot of people who know me through The New Yorker and have no idea about the comics I do. I guess that shouldn’t be surprising to me. I’ve separated the two jobs in my mind quite a bit, and that’s been useful. I’m sometimes a cartoonist and there’s an audience for that, and I’m sometimes an illustrator and there’s an audience for that. But there must be some relationship between the two. Read More
October 22, 2012 At Work Heroine Worship: Talking with Kate Zambreno By Christopher Higgs Kate Zambreno’s first book, O Fallen Angel, won Chiasmus Press’s “Undoing the Novel” First Book Contest, and her second book, Green Girl, was a finalist for the Starcherone Innovative Fiction Prize. So it should come as no surprise that her provocative new work, Heroines, published by Semiotext(e)’s Active Agents imprint next month, challenges easy categorization, this time by poetically swerving in and out of memoir, diary, fiction, literary history, criticism, and theory. With equal parts unabashed pathos and exceptional intelligence, Heroines foregrounds female subjectivity to produce an impressive and original work that examines the suppression of various female modernists in relation to Zambreno’s own complicated position as a writer and a wife. It concludes by bringing the problems of the modernists into conversation with the contemporary by offering a timely consideration of the role of the Internet and blogs in creating a community for women writers. What was it about the modernist wives that first interested you? I think I came to the wives through an initial discovery of more neglected modernist women writers—Olive Moore, Anna Kavan, Jane Bowles, maybe I’d add Jean Rhys to that list. I was living in London working in a bookshop and not doing much in terms of trying to write a novel, so I pitched to Chad Post at Dalkey that I write an essay on Kavan. And because I had nothing else to do, I sat in the British Library and read everything by her. And started reading all these other experimental women writers, like Elizabeth Smart—not the Mormon abductee, but the one obsessed with the poet George Barker, an obsession she documents in the amazing By Grand Central Station I Sat Down and Wept. Not a modernist, I know, but I sat at the British Library and read the communal notebook she kept with Barker and thought about Vivien(ne)’s hand on “The Waste Land” manuscript. I began to be really interested in ideas of literary collaboration. Read More
October 16, 2012 At Work When Are You Gonna Get Over This: An Interview with Jim Shepard By Tim Small Jim Shepard is the author of six novels and four short-story collections. In a departure from the typical trajectory of the American writer, however, his novels came first: graudally, he has, by his own admission, become more and more drawn to the short-story form. And what short stories! His subject choices are bold, strange, almost stunning in their range: the love story between two gay engineers on the Hindenburg; a Roman scribe sent to man Hadrian’s Wall; the inventor of the Godzilla epics. His narrator might be the Creature from the Black Lagoon or Aeschylus at the Battle of Marathon or John Entwistle or perhaps a British explorer searching for a sea in the middle of the Australian desert. A lot of his stories are set in the world of sports—baseball players moving to Cuba during Castro’s revolution, football players, mountaineers, a Yugoslav soccer player who moves to Ajax Amsterdam during the sexual revolution. And yet, despite such a range of subjects, each story manages to feel true, the voice credible, the world evoked uncannily, so much so that the reader often feels like he’s stumbled upon these character’s private diaries. I recently edited and translated a collection of Jim’s stories for an Italian publisher, and I decided to focus on those stories that had, more or less, some sort of connection to sports. The reason for that is simple: I have never read stories set in that world that manage to evoke it as well as Jim’s. Also: I like sports. I called Jim up on Skype, from my ex-girlfriend’s kitchen in Milan, Italy, and asked him a few questions about short stories and sports. In translating your stories, I started resenting the way you write, because it forced me to do so, so, so much technical and historical research, decipher so much lingo and jargon. It really was the most laborious translation I’ve everdone, and it really hit me just how much work you put into a single story. Yes! A different writer would take that kind of work and make a novel out of it. He’d make that much groundwork last three or four years. My friend Ron Hansen, the novelist, always says to me: “You’re crazy! You know, you did eight months of research and all you got out of it is a story. I would get a four-hundred-page novel and make a lot more money.” But part of it is also that, you know, it doesn’t feel like drudgery to me. If I’m reading about these subjects, it’s because I’m strange enough to want to be interested in them anyway. So the idea that I have to read yet another book about volcanology doesn’t make my heart sink. It makes me think, “Oh, good, I get to do that!” You know? Read More