Virtual Memories Show 415:
Jerome Charyn

“Any great work is a shove to the incomprehensible, but it’s JUST on our side instead of the other side. You have to take tremendous risks in order to find your language.”

With his amazing new novel, Sergeant Salinger (Bellevue Literary Press), Jerome Charyn evokes and explores J.D. Salinger’s WWII experience in the Counter Intelligence Corps. We talk about Jerome’s history with Salinger’s work, his disdain for The Catcher in the Rye and his love of Nine Stories and their depiction of NYC of the 1940s and early ’50s, the range of meanings and misunderstandings of Salinger’s later silence, and Jerome’s own terror of writing. Along the way, we get into Jerome’s ventriloquism in his historical fiction, the limits of his artistic audacity, falling in love with Maria Callas, and whether he’d write a pastiche of Hemingway now that Hem’s in public domain. Jerome being Jerome, we also discuss ping-pong, professional basketball, the older Michael Jordan as a Shakespearean character, and why he’s writing a big essay about Mank. Give it a listen (& check out our 2019 conversation)! And go read Sergeant Salinger!

“I’ve never seen a great difference between fiction and non-fiction. They’re still sculpting sentences, and those sentences have to have a certain kind of music.”

“No novel is easy to write. It’s a kind of death you go through. Sometimes you survive it and sometimes you don’t.”

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

Jerome Charyn is the author of more than fifty works of fiction and nonfiction, including Sergeant Salinger; Cesare: A Novel of War-Torn Berlin; In the Shadow of King Saul: Essays on Silence and Song; Jerzy: A Novel; and A Loaded Gun: Emily Dickinson for the 21st Century. Among other honors, his work has been longlisted for the PEN Award for Biography, shortlisted for the Phi Beta Kappa Christian Gauss Award, and selected as a finalist for the Firecracker Award and PEN/Faulkner Award for Fiction. He has also been named a Commander of Arts and Letters by the French Minister of Culture and received a Guggenheim Fellowship and the Rosenthal Family Foundation Award for Fiction from the American Academy of Arts and Letters. He lives in New York.

Follow Jerome on Twitter, Facebook and Instagram, and listen to our 2019 conversation.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Jerome by Philippe Matsas. It’s on my instagram.

Virtual Memories Show:
The Guest List 2020

It’s time for our year-end Virtual Memories Show tradition: The Guest List! I reached out to 2020’s pod-guests and asked them about the favorite book(s) they read in the past year, as well as the books or authors they’re hoping to read in 2021! Thirty guests responded with a a fantastic array of books. (I participated, too, in my rambling way!) The Virtual Memories Show offers up a huge list of books that you’re going to want to read in the new year! Give it a listen, and get ready to update your wish lists!

This year’s Guest List episode features selections from 30 of our 2020 guests! So go give it a listen, and then visit our special Guest List page where you can find links to the books and the guests who responded. This year, we also have a Bookshop.org page with a lot of the selections!

Also, check out the 2013, 2014, 2015, 2016, 2017, 2018, and 2019 editions of The Guest List for more great book ideas!




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About our Guests

The guests who participated in this year’s Guest List are Derf Backderf, Philip Boehm, Ruben Bolling (aka Ken Fisher), Betsy Bonner, Henri Cole, Joan Marans Dim, Emily Flake, Jonathan W. Gray, Tom Hart, Arthur Hoyle, Rian Hughes, Richard Kadrey, Ben Katchor, Kathe Koja, Tess Lewis, Ellen Lindner, Margot Mifflin, David Mikics, Otto Penzler, Woodrow Phoenix, Darryl Pinckney, Alta Price, Steve Ronin, Dmitry Samarov, Michael Shaw, Stoya, Benjamin Taylor, Jeff Trexler, John Vercher, Sheila Williams, and me, Gil Roth! Check out their episodes at our archives!

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The episode was recorded at stately Virtual Memories Manor 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 my 2020 books by me. It’s on my instagram.

Virtual Memories Show 410:
Phillip Lopate

“This book is like a tracing of American history through the essay. The essay is way to process ideas. All these problems we face in America I came to realize we had cycled through again and again: immigration, racism, sexism, disabilities. All of these questions of inclusion and exclusion have been tackled by the essay.”

Essayist and editor Phillip Lopate rejoins the show to celebrate the publication of The Glorious American Essay: One Hundred Essays From Colonial Times To The Present (Pantheon). We talk about the origins of this anthology & how it transformed into a three-part series (two more coming next year!), Phillip’s self-admitted megalomania about the essay form, how the essay both paralleled and helped change American thought over the centuries, and just what’s so Glorious about The Glorious American Essay. We get into the challenge of limiting the collection to 100 essays, the value of canons and the need to revise them, the postwar golden age of the essay, the challenge of compiling work from the 21st century, and Emerson’s role as the key to the American essay (and how Phillip came to understand him through reading his notebooks). We also get into how his pandemic is going, how his students’ essays about lockdown life are better than some of the ones he’s read from older writers, his take on the Mets’ new ownership and why he’s glad sports came back during COVID, and what it was like to read so deeply in the history of American essays and thought during the Trump presidency. Give it a listen! And go read The Glorious American Essay: One Hundred Essays From Colonial Times To The Present!

“One of the plights of the anthologist is that, no matter how many pages they give you, if you just had 200 or 300 more pages, you could really nail that sucker.”

“When someone asked me about this project, ‘What about your own work?’, I said, ‘This IS my own work.’ I’m giving four or five years of my life to being the keeper of the essay.”

“My limitation as an anthologist, and perhaps as a teacher, is that I’m always looking for a spark of humor or irony. Solemnity turns me off.”

“The great thing about writing is that sometimes you write something and then you lose it as a living memory, because now you’re remembering what you wrote about it. Writing replaces the memory.”

“The way I see my own work is connected to tradition, connected to the past, connected to Montaigne, and Hazlitt, and Lamb.”

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

Phillip Lopate is the author of To Show and To Tell: The Craft of Literary Nonfiction, and of four essay collections: Bachelorhood, Against Joie de Vivre, Portrait of My Body, and Portrait Inside My Head. He is the editor of the anthologies The Art of the Personal Essay, Writing New York, and American Movie Critics, as well as the author of Waterfront: A Walk Around Manhattan, Notes on Sontag, and Totally Tenderly Tragically. A professor of writing at Columbia University’s nonfiction MFA program, he lives in Brooklyn. He is the editor of the new anthology The Glorious American Essay.

Listen to our previous conversations from 2013 and 2017.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Phillip by me from 2017. It’s on my instagram.

Virtual Memories Show 408:
Celia Paul

“I’ve got rid of paintings I was very pleased with but which I knew needed to go deeper. It’s an extremely painful process; I’ve been kept awake at night, driving myself insane with remembering what I’ve lost. Images that I’ve painted over remorselessly come back to haunt me.”

With her wonderful new memoir, SELF-PORTRAIT (NYRB), celebrated life-painter Celia Paul explores her life as an artist, the evolution of her portraiture, her need for a Virginia Woolf-ian Room of One’s Own, and her 10-year relationship with Lucian Freud (c.1978-88). We get into the influence she and Freud had on each other’s work, how she took control of her life and her art, the moral component of life-painting, the importance of being selfish, the conflict for women artists between being loved and following your own path, her affinity for the artist Gwen John, her antipathy toward the word “muse,” and how much she flat-out hates being called an artist “in her own right”. We talk about the influence of Collette & Duras on her writing, her decision to incorporate her journals in the memoir and the continuity of self they reveal, why she only paints portraits of people she knows well (and why her paintings of her sister Kate as self-portraits), the uses of stillness, how she re-evaluated her life after Lucian Freud’s death in 2011, why letters are like painting, and much more. Give it a listen! And go read SELF-PORTRAIT!

“I think I was deflected from my purpose by being influenced by Lucian Freud in one crucial aspect: he was very interested in the balances of power between people, between lovers particularly.”

“I think my sister Kate & I know each other so well we hardly need to speak. A lot of the portraits I’ve done of Kate here self-portraits by proxy. She expresses what I feel. There’s nobody else in the world I’ve felt that uncanny connection to.”

“It’s so difficult to be ambitious about your own work and also be desirable. There’s a conflict between being loved and following your own path.”

“One of the saddest things about death is losing the particularity of the person: the way the mouth covers over the teeth, the way they talk, and all that. And how can heaven or some kind of Christian notion of the afterlife compare to that kind of intimate knowledge of an individual?”

“The thing about art is there always has to be a certain distance, or it doesn’t have authenticity.”

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

Celia Paul was born in 1959 and studied at the Slade School of Fine Art. Her work has been exhibited internationally and is in the collections of the British Museum, the National Portrait Gallery (London), and the Metropolitan Museum of Art. Her major solo exhibitions include Celia Paul, curated by Hilton Als, at the Yale Center for British Art (2018) and the Huntington Art Museum, San Marino, California (2019); and Desdemona for Celia by Hilton at Gallery Met, New York (2015–16). Her work was included in the group exhibition All Too Human at Tate Britain (2018). She lives and works in London. Her new book is SELF-PORTRAIT.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Celia Paul at her studio in London by Alice Mann/Institute, for The New York Times. Photo of Painter and Model, 2012, by Celia Paul, © Celia Paul, courtesy the artist and Victoria Miro, London / Venice. It’s on my instagram.

Virtual Memories Show 407:
Virginia Postrel

“The history of textiles engages with the history of technology and science in interesting ways; it engages with economics and culture similarly.”

Journalist and scholar Virginia Postrel rejoins the show to celebrate her brand-new book, The Fabric of Civilization: How Textiles Made The World (Basic Books). We get into how textiles intersect with technology, culture, commerce, politics, and more, the long gestation of this book & the dress that started it all, humanity’s textile-amnesia, and Virginia’s reversal of Arthur C. Clarke’s third law of technology. We talk about the textile skills she learned (or tried to learn) in prep for the book and how she’s now the owner of several looms, the extensive travel she undertook for research, how the book wouldn’t have been possible during the pandemic, the notion of civilization as both survival technology and a cumulative process, how social technologies were just as key as physical ones to our development, and more! Give it a listen! And go read The Fabric of Civilization!

“It’s fascinating to focus on the technology and the production of textiles, but the whole reason that we do all that stuff is because we want to have cloth to use. It’s all about the consumers, ultimately.”

“In the past couple of decades, we’ve had the first truly global civilization. There were many different cultures, but a shared civilization is something new. And now it’s in danger of coming to an end after a short life.”

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

Virginia Postrel is an award-winning journalist and independent scholar. She is a columnist for Bloomberg Opinion and has been a columnist for the Atlantic, the Wall Street Journal, and the New York Times. She is the author of the highly acclaimed The Substance of Style and The Power of Glamour. Her research is supported by the Alfred P. Sloan Foundation. She lives in Los Angeles. Her new book is The Fabric of Civilization: How Textiles Made The World, from Basic Books.

Follow Virginia on Twitter, Facebook, Instagram, YouTube, and Vimeo, and go listen to our 2013 conversation.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Virginia by Sonya Isenberg. It’s on my instagram.