“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.”
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!
“In graphic design, if you define the problem clearly, the solution is almost immediately apparent. And if you can’t find a solution, it’s likely because you haven’t defined the problem well.”
With his amazing new book XX (Overlook Press), Rian Hughes gets to add “novelist” to his titles of graphic designer, typographer, illustrator, comics writer & artist, and photographer. We get into how he wrote a science fiction narrative using graphic design as a tool & mode of storytelling (& why more writers should consider graphic design as a part of their work), how technology had to catch up to his vision of the novel, his stab at going a step beyond Arthur C. Clarke, and why he’s so interested in semiotics and how ideas get into our heads. We talk about his childhood entré into type and graphic design, the boredom of illustration and marketing, the ways design involves defining problems and solutions and how that does and doesn’t apply to fiction, and his affection for science fiction pulps. We also discuss whether he can turn off his design eye, the new frontiers in technology and the plasticity of the digital realm, the perils of cultural conflict, how we grow into certain artists & genres, and why everything for him comes down to colors, shapes, actions and language and what they mean. Give it a listen! And go read XX!
“What I’ve learned it, don’t expect too much prior knowledge on the part of your reader or viewer, and give them as many opportunities to get on board as you can, before you take them off to the Wild Blue Yonder at the end.”
“The plasticity of the digital realm means that the only texture it has is the one that we decide to apply to it. The only sound that it has, the only shape or form that it has are the ones we decide it should have.”
“You need to step outside the form to see what the form is. Then you can very quickly understand that a lot of things that people take gospel aren’t at all, and you can mess with them.”
“If I was ruler of the world, the first rule I’d institute is that every shop on every high street would employ a graphic designer for their signs. The world should look more beautiful!”
Rian Hughes is a graphic designer, illustrator, comic artist and typographer who has worked extensively for the British and American advertising, music and comic book industries. He has written and drawn comics for 2000 AD and Batman Black And White, and designed logos for the Avengers, the X-Men, Superman, record label Hedkandi, MTV, and James Bond. He has edited books on mid-century lifestyle illustration and custom typography, and written on semiotics, culture, and collecting vintage science fiction pulps & paperbacks.
“When you think about what law has meant to comics, it isn’t just about censorship. A lot of it is about access, about personal freedom. People want to be able to express themselves, and they want their work to be out there for other people to read.”
Lawyer, ethics advisor and comics nerd Jeff Trexler joins the show to talk about his new role as Interim Executive Director of the Comic Book Legal Defense Fund. We get into his plans to help rebuild the CBLDF’s reputation and ethics code after the sexual harassment scandal of its previous director, his experiences helping people pursue their harassment claims and launching antiharassment campaigns in the fashion world, how the Fund’s role has changed over the decades, and why he’s comfortable with that interim title. We also get into his obsessions with comics and design, the broad meaning of First Amendment law (and why R Sikoryak‘s recent Constitution Illustrated should be required reading), how to learn from ethics disasters, how nonprofits can grow and how they can become sclerotic, his childhood McLuhan-inspired interpretation of the theme to the Batman TV show, how our mutual friend Tom Spurgeon was the hub of the comics industry, and what it’s been like to live without him. Give it a listen!
“One of the things that’s impressed me about the comics community is that they take law seriously.”
“People don’t trust the law when they feel the legal system is detached from them.”
Jeff Trexler is a long-time member of the comics community as well as an attorney and ethics advisor. He currently serves as CBLDF’s Interim Executive Director, bringing expertise that developed through his work advising nonprofit organizations, media companies, and fashion brands.
Prior to joining CBLDF, Jeff served as Associate Director of the Fashion Law Institute, where his work on ethics issues included advising government officials on sexual harassment legal reform. He is a member of the Ethics Committee at Kering Americas and also served on the board of the Museum of Comics and Cartoon Art.
In addition to creating the Fashion Ethics course at Fordham Law School, Jeff has taught at Yale, SMU, Pace University, and Saint Louis University. He has also been part of dozens of panels at comic-cons and continuing legal education programs. He holds a J.D. from Yale Law School and a Ph.D. in American Religious History from Duke University, and he is admitted to the U.S. Supreme Court and New York bars.
Jeff’s favorite comic book sequence is from the last issue of Grant Morrison’s run of The Doom Patrol: “There is another world. There is a better world. Well . . . there must be.”