Virtual Memories Show 284:
Richard Kadrey

“The most creative people I know are the ones who figured it out for themselves.”

On the eve of the publication of his 10th (!) Sandman Slim novel, Hollywood Dead, Richard Kadrey joins the show to talk about discovering himself as a series writer, converting the raw material of his religious upbringing into urban horror and fantasy, and his drive to understand the character of Lucifer and how evil has been portrayed in the western world. We also get into LA’s transparent power-dynamics, the moment when he started receiving fan art and fanfic of his work, his recognition that he’s a hard worker but a terrible employee, the ways his journalism training benefited his fiction writing, why the second Sandman Slim book was the hardest thing he ever wrote, his best practices for book tours, writing on drugs, keeping it together when he met JG Ballard, the importance of being unqualified for anything, and more! Give it a listen! And go buy Hollywood Dead & a whole passel of other Richard’s novels!

“I don’t want to be one thing for the rest of my life. I love writing Sandman Slim. I love writing pulp, and action, and horror, but I don’t want to be just that guy forever.”

“Lots of people ask me what to do about writer’s block. The first thing you do is change your technique.”

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, Facebook, Tumblr, and RSS!

About our Guest

New York Times bestselling author Richard Kadrey has published more than a dozen novels, including the Sandman Slim series, the Coop series, and Metrophage, as well as more than fifty stories. He has been immortalized as an action figure, his short story “Goodbye Houston Street, Goodbye,” was nominated for a British Science Fiction Association Award, and Butcher Bird was nominated for the Prix Elbakin in France. A freelance writer and photographer, he lives in San Francisco.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at Richard’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. Photos of Richard by Conan and Tristan Crane. It’s not on my instagram.

Virtual Memories Show 278:
Dmitry Samarov

“The curse of knowing more is that you see more.”

After our pre-opening tour of the Milton Resnick and Pat Passlof Foundation museum, artist Dmitry Samarov and I repaired to a cafe where we recorded a noisy conversation while Dmitry sketched me. This ridiculously casual episode gets into artists and suicide, the process and revelations of assembling 20 years’ worth of work for a mid-career retrospective (as well as his new exhibition of his CTA illustrations), the losing proposition of chasing stats, the launch of his own semisorta podcast, the fanciest dumb-phone around, becoming a journalist/reviewer, and how you gotta find the right tool for the job/art. Give it a listen! And go sign up for Dmitry’s weekly e-mail!

“People are so involved in their screens that they won’t look up in a 45-minute bus ride, which makes them the perfect subjects/victims for my art.”

“The goal is to outlive my parents. Everything is just gravy.”

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, Facebook, Tumblr, and RSS!

About our Guest

Dmitry Samarov is a painter and writer who lives in Chicago, IL. His first two books are Hack: Stories from a Chicago Cab, and Where To?: A Hack Memoir. Here’s his sketch of me.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Irving Coffee Roasters on Orchard St. on a Zoom H2n 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. Samarov by me. It’s on my instagram.

Virtual Memories Show 275:
Dave Calver

“I wanted a combination of organic, monster-y kind of things mixed with things with more pop sensibility.”

Artist & illustrator Dave Calver joins the show to talk about Limbo Lounge (Yoe! Books), his first graphic novel! We discuss the ups and downs of his 40-year career in illustration, his pop-surrealism-lowbrow vibe, life in a vintage trailer park, and how he manages to draw macabre without being gross. We also get into his ’70s/’80s NYC experience (including witnessing collateral damage at a women’s wrestling match at Club 57), his time at RISD with Roz Chast and her club-days at Danceteria (!), the movie he’s writing and its Munchkinland-Goth scenery, the loss of era-specific styles, perfecting “nicotine-stained jewel tones” for Limbo Lounge, and how it all started with the image of flowers behaving badly! Give it a listen! And go buy Limbo Lounge!

“Things have moved faster and faster to the point where I think each decade has a little less of an identity. For me, the ’80s had a really specific feel to it.”

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

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

About our Guest

Dave Calver‘s rich, evocative, surreal work has been featured in Vanity Fair, Rolling Stone, Playboy, and The New York Times. Other clients include the New York Rangers, Random House, and United Airlines. Taschen chose him as one of their favorite 100 illustrators in the world. In the Huffington Post’s review of Taschen’s 100 Illustrators, they singled out Dave as their #1 top favorite. Limbo Lounge is Dave’s first graphic novel.

Follow Dave on Instagram, Twitter and Facebook!

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at the home of Cathy B. Graham 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. Calver by me. It’s on my instagram. Flowers by Ms. Graham.

Virtual Memories Show 272:
Irvin Ungar

“My rabbinic training taught me: care about who you are and who your people are, and use the best of that tradition to make the world a better place. Szyk was an artist who articulated all those values.”

Arthur Szyk was once one of the most popular artists in America, but after his untimely death his art vanished from public discourse. How did Szyk achieve and lose such renown? Irvin Ungar has spent the last 25 years championing Szyk’s work, most recently publishing the National Jewish Book Award-winning Arthur Szyk: Soldier in Art. We talk about his introduction to Szyk, the impact of Szyk’s work in his native Poland, the UK and the US, the way Szyk’s work in so many forms — illuminated manuscripts, Persian miniatures, political cartooning, and more — may have contributed to his posthumous decline, and why Syzk’s Haggadah is like Michelangelo’s Sistine Chapel ceiling. We also get into Irv’s dayenu moments promoting Szyk’s legacy, the curious story of how Irv entered the rabbinate as an alternative to serving in Vietnam, left to become an antiquarian bookseller, and how his rabbinic training let him recognize Arthur Szyk as an upstanding man. Give it a listen! And go buy Arthur Szyk: Soldier in Art!

(Check out some of Szyk’s art at szyk.com)

“Szyk wanted to use his art to move history from one period to another, from the 13th century to the 20th, through the use of illumination.”

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

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

About our Guest

Irvin Ungar, a former pulpit rabbit and antiquarian bookseller, has devoted the past quarter-century to scholarship relating to illustrator Arthur Szyk. He has curated numerous Szyk exhibitions worldwide, including those at the Fine Arts Museums of San Francisco, the Deutsches Historiches Museum in Berlin, the United States Holocaust Memorial Museum, the Library of Congress, and the New York Historical Society. He is the author of the National Jewish Book award winning Arthur Szyk: Soldier in Art, publisher of the limited edition of The Szyk Haggadah, and producer of the documentary film Soldier in Art: Arthur Szyk.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at a rental apartment on the Upper West Side 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. Ungar by me. It’s on my instagram.

Virtual Memories Show 258:
Willard Spiegelman

“When you review old pieces, you have a double-sided response: On the one hand, it’s ‘Gosh, how was I so smart? How could I write such a beautiful sentence?’ On the other hand, it’s ‘Gosh, what a piece of crap! How I could I be so banal, so jejune, so ignorant?’ The combination of legitimate pride and legitimate embarrassment is a standard one.”

Critic and essayist Willard Spiegelman returns to the show to talk about his new book, If You See Something, Say Something: A Writer Looks at Art (SMU Press), collecting his art reviews from the Wall Street Journal. We get into the notion of legacy after his retirement from 45 years of teaching, then tackle the process of learning to look at paintings, his favorite museums, the question of whether Hockney’s happiness makes him less of an artistic genius than grim/tormented artists, whether one should buy art to match one’s furniture, his love of Marfa, TX, the differences between being a pilgrim and a tourist, the role of curiosity as a remedy for boredom, the challenge of editing a literary magazine in this day and age, whether he’s a role model to younger gay people, the first time he had a student who was the child of one of his first students (that is, when he realized he was getting old), and more! Give it a listen! And go buy If You See Something, Say Something!

“One of the things I’m proud of is that, as a teacher, I’m still learning from teachers. Not university teachers, but dance teachers, swimming instructors, yoga teachers. When you hear somebody putting you through your paces, you learn how they teach.”

“Stoner is not a book to give to a man who has just retired from being an English teacher after 45 years. I was on the train, reading the last 30-40 pages, and I was in tears. I was so glad there were few people on the train with me to see me embarrassing myself.”

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

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

About our Guest

Willard Spiegelman recently retired from his role as the Hughes Professor of English at Southern Methodist University in Dallas, where since 1971 he taught generations of students how to read, to write, and to think. From 1984 until 2016, he was also the editor in chief of Southwest Review. He has written many books and essays about English and American poetry. For more than thirty years, he has been a regular contributor to the Leisure and Arts pages of The Wall Street Journal. He has two previous appearances on The Virtual Memories Show in 2013 and 2016.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Willard’s NYC apartment 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. Spiegelman by me. It’s on my instagram.