Virtual Memories Show 332:
Christopher Brown

“If you want to have a healthy society, people need to believe there is justice and accountability for people who do bad things. The problem in this society is that it’s a really bottom-heavy system.”

He wowed us last year with Tropic of Kansas, and now Christopher Brown is back to talk about his brand-new dystopian legal thriller, Rule of Capture (both from Harper Voyager)! We get into his grand jury stint a few years ago and how it brought home to him the inequality of the law and led to this new novel, why there are so few lawyers in science fiction (but so many in comic books), and the challenge of writing a novel about the law as opposed the facts of a legal case. Along the way, we get into his search for utopia and why he’s eschewing dystopia with this next novel, the phenomenon of Texan billboard-lawyers (like his novel’s protagonist, Donny Kimoe), his love of Njals saga, the Icelandic poem about a lawyer who’s ridiculed by other vikings because he can’t grow a beard, the little capitulations we make that lead to the domestication of evil, his unsung legal heroes, and what one should or shouldn’t do if one finds oneself on an escalator behind a certain Supreme Court Justice. Give it a listen! And go buy Rule of Capture! (and check out our 2018 episode)

“This book provided me an opportunity to do things with the character of the lawyer that my evil lawyer twin might wish to do in real life.”

“I want to write a science fiction that’s made up from the material of the observed world, that has a kind of naturalism to it.”

“So many of our social, political, economic and other problems and injustices are rooted in the damaged relationship we have with the land.”

“What astonishes me today, as someone who’s worked in Washington with people on both sides of aisle, is how malleable people’s principles are.”

Enjoy the conversation! Then check out the archives for more great episodes!

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Christopher Brown is the author of Tropic of Kansas, a finalist for the 2018 John W. Campbell Award for best science fiction novel of the year. His new novel Rule of Capture, the beginning of a series of speculative legal thrillers, is out now from Harper Voyager. He was a World Fantasy Award nominee for the anthology Three Messages and a Warning: Contemporary Mexican Short Stories of the Fantastic. His short fiction and criticism has appeared in a variety of magazines and anthologies, including MIT Technology Review, LitHib, Tor.com, and The Baffler. He lives in Austin, Texas, where he also practices law. He’s active on Twitter and Instagram.

(There’s a more comprehensive version at his website.)

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded during Readercon at the Boston Marriott Quincy on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of Mr. Brown probably by Mr. Brown, so it’s not on my instagram.

Virtual Memories Show 331: Liniers

“In my mind, I thought, ‘Maybe if I can get my comic strip to Uruguay, my father will believe this is a real job.’ I’d be an international success. Montevideo was as far as my imagination could go.”

In a rollicking conversation at the Society of Illustrators 128 Bar & Bistro, Argentine comics star Liniers talks about making the jump from Buenos Aires to Vermont to teach at the Center for Cartoon Studies, the amazing US syndication launch of his comic strip Macanudo last year (and the origin of that strip in Argentina), the difference between drawing well and drawing funny, the mix of comic and comedic influences that melted his brain as a kid, the time he almost met Bill Watterson, and what it means to be a Latin American cartoonist. We also get into how he learned English from Mad Magazine, when he caught the live performance bug, why he eschews a regular set of characters in favor of a schizophrenic style of humor in Macanudo, how he felt the first time he saw a tattoo his work on a fan, why seeing his work pirated helped balance out his karma from downloading all those mp3s, and how his kids books help him press Pause on perfect moments from his children’s lives. Give it a listen! (conversation begins around 7:00) And go buy some of Liniers’ Macanudo collections and his TOON books!

“Every cartoonist, this life is their second choice. My first choice, I wanted to be Lou Reed, but that didn’t work out for some reason.”

“My job is not being very good at drawing. It’s making little doodles and somehow infusing them with soul.”

“Every cartoonist, this life is their second choice. My first choice, I wanted to be Lou Reed, but that didn’t work out for some reason.”

“The most difficult things for people to draw are horses and bikes, so I bet the most impossible drawing of all would be a horse riding a bike.”

Enjoy the conversation! Then check out the archives for more great episodes!

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Born in Argentina in 1973, Liniers began his artistic career when he realized he wasn’t cut out for law school and started making fanzines for friends. Since 2002, when his daily comic strip Macanudo began appearing in La Nación, Argentina’s most widely read newspaper, Liniers has become an international comics star, with many New Yorker covers to his name, among other accolades. Macanudo is published throughout the world, and Liniers’ social media reaches nearly a million followers. In the US, he is also the creator of wonderful children’s books, two of which are about one of the greatest characters in Macanudo: the wry, philosophical girl, Henrietta. Liniers also tours Latin America and Spain with musician Kevin Johansen, drawing on stage while Kevin’s band performs. Liniers currently lives in Vermont with his wife and three daughters.

(NOTE: I’m wearing my Argentina national basketball team jersey, in honor of Liniers’ pal Manu Ginobili.)

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at the Society of Illustrators’ 128 Bar & Bistro on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photos of Liniers by me. It’s on my instagram.

Virtual Memories Show 330:
Milton Glaser

“Everything is design. Design is planning. It’s having an objective of any kind. When you go out to dinner, you’re designing your meal. There’s no design without intent, and there’s no life without intent.”

He turned 90 a few weeks ago, but design legend Milton Glaser isn’t slowing down. We got together to talk about moving to a new studio after nearly 55 years and what he plans on doing with the 250,000 posters in the cellar. We get into art vs. design, why he painted “Art Is Work” on the transom of his building, how he’s working more actively and faster than he ever has, the first time he saw his work in public, how drawing makes us conscious of reality, the influence of Giorgio Morandi on his life, the joy of ~60 years of teaching, the decay of design into commodity and corporate metrics, and the overlooked role of Push Pin Studios in design history. Along the way, we also get into the worldwide phenomenon of his “I ♥ NY” design, what it’s like to live in an age of collage, where we find things instead of making things, how the computer can compel users into doing what it’s good at instead of what they’re good at, his marriage advice after 60+ years with Shirley Glaser, and his story about designing Trump Vodka. Give it a listen! And go buy some of Milton’s posters!

“Art is not about persuasion; it’s about transformation.”

“Capitalism produces the sense that the only thing that matters is wealth and fame, and that’s a terrible basis for culture.”

“I’ve been possessed by my work for a long time. I’m very old but I have a lot of energy for the work.”

“My mind, fortunately, has not degenerated to the same degree that newsprint paper does.”

Enjoy the conversation! Then check out the archives for more great episodes!

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Milton Glaser (b.1929) is among the most celebrated graphic designers in the United States. He has had the distinction of one-man-shows at the Museum of Modern Art and the Georges Pompidou Center. He was selected for the lifetime achievement award of the Cooper Hewitt National Design Museum in 2004 and the Fulbright Association in 2011, and in 2009 he was the first graphic designer to receive the National Medal of the Arts award. As a Fulbright scholar, Glaser studied with the painter Giorgio Morandi in Bologna, and is an articulate spokesman for the ethical practice of design. He opened Milton Glaser, Inc. in 1974, and continues to produce a prolific amount of work in many fields of design to this day.

(There are longer versions at his site)

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at the offices of Milton Glaser Inc. on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photos of Mr. Glaser and his staff by me. It’s on my instagram.

Virtual Memories Show 329:
Kate Maruyama

“I was always attracted to dark writing. I grew up in a kind of gothic house, and there was always good stuff on the shelves.”

Writer, teacher, and activist Kate Maruyama joins the show from Readercon 2019! We talk about her first novel, Harrowgate (47North), which managed to make new motherhood and domesticity even creepier than the ghost story that overlays it. We get into how her husband and kids reacted to that book (it’s about a woman who dies in childbirth), and when she got around to reading the work of her late mother, Kit Reed. We also talk about how she spent 20 years in Los Angeles before stumbling across its literary scene, and how she’s making up for lost time by promoting that diverse writing community. Along the way, we discuss the differences between screenwriting vs prose writing, how she teaches students to avoid using archetypes that demean an entire population (and why Baby Driver turns out to be a woke crime movie), the authors her parents hosted at Wesleyan University during her childhood and the embarrassing question she asked Ralph Ellison, the social justice mission of Antioch College, how she taught creative writing in South Central LA and what her students taught her, and why the fast-fail model of screenplay sales has a lot to recommend it. Give it a listen! And go buy Harrowgate!

“I used to subscribe to the belief in talent as this innate thing, as opposed to practice, something you could learn.”

“I adore the screenplay format because if you really work at it every day, you can write a really good one in six to eight weeks. On the other hand, your agent goes out with it and it dies within a week.”

“I know I teach a lot of writing, but I feel like often I’m rehabilitating people who were damaged by people who stopped them from writing.”

Enjoy the conversation! Then check out the archives for more great episodes!

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Kate Maruyama’s novel Harrowgate was published in 2013 by 47North. Her short work has appeared in Stoneboat, Arcadia Magazine, Controlled Burn, Salon, and The Rumpus, among other online journals, as well as in two anthologies. She teaches at Antioch University Los Angeles in their MFA and BA programs, as well as Writing Workshops Los Angeles. She co-founded and edits the literary website, Annotation Nation, and has served as a juror for The Bram Stoker Awards and for the Shirley Jackson Awards. Kate writes, teaches, cooks, and eats in Los Angeles, where she lives with her family. She’s on Twitter and Instagram as katemaruyama.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at Readercon 2019 on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of me & Kate by me. It’s on my instagram.

Virtual Memories Show 328:
Emily Nussbaum

“I come out of the online community and I feel TV criticism specifically is a conversation. The debate-quality of TV that takes place over time is part of the allure of TV criticism.”

Look! Up in the sky! Is it really more like a novel? Is it more like a 10-hour movie? No, it’s TV! In her first book, I Like to Watch: Arguing My Way Through the TV Revolution (Penguin Random House), Pulitzer-winning critic Emily Nussbaum celebrates TV as TV, exploring the unique aspects of the form and helping TV viewers get over status anxiety. We talk about the satisfying/horrifying experience of culling her past reviews and profiles for the book, the audience-oriented nature of TV storytelling, whether it’s important for a well-loved show to nail the finale, and the dual influences of The Sopranos and Buffy the Vampire Slayer on her work as a critic. We also get into her Peak TV moment, how technology has changed TV over the decades, the only time she predicted the upcoming season’s TV hits (Lost and Desperate Housewives), her theory that most workplace shows are actually about TV writing rooms, the difference between weekly and binge-released shows, the perils of writing profiles of the people she’s reviewed, and the challenge of being a funny writer who wants to make serious points. We also get into the question of how (whether?) to separate the artist from the art in the #metoo era, and how she deals with the fact that much of her sense of humor came from watching and reading Woody Allen throughout her youth. On the lighter side, she tells us her favorite songs from Crazy Ex-Girlfriend, and I reveal the ’90s show that I binged on 200+ episodes of last year! Give it a listen! And go buy I Like to Watch: Arguing My Way Through the TV Revolution!

“I have a taste for criticism as theater, rather than a for-the-ages voice from on high.”

“How you do be self-hating enough to improve your writing, but not so self-hating that you cripple yourself and can’t do anything?”

“People are taking stock of their younger selves’ responses to things, not just in terms of bad experiences, but in terms of how they view the world, the way they view art.”

“The binge model is my dream and my nightmare.”

Enjoy the conversation! Then check out the archives for more great episodes!

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Emily Nussbaum is the television critic for the New Yorker magazine. She previously worked as an editor and a writer at New York Magazine, where she created The Approval Matrix. She’s also written for Slate, The New York Times, Lingua Franca and Nerve, among other publications. In 2016, she won the Pulitzer Prize for Criticism. She lives in Brooklyn with her husband Clive Thompson and her two children. She doesn’t have a favorite television show, but under pressure, she’ll choose “Slings and Arrows.” Her first book is I Like to Watch: Arguing My Way Through the TV Revolution.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at Emily’s home on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of Ms. Nussbaum by me. It’s on my instagram.