Virtual Memories Show 425:
Vivian Gornick

“I’m a writer who developed around the practice of lucid, simple, compact writing. I turned out to be something of a minimalist. . . . but for a long time I felt myself a negligible writer because I couldn’t write big.”

Literary and feminist legend Vivian Gornick joins the show to celebrate her new collection, Taking A Long Look: Essays on Culture, Literature, and Feminism in Our Time (Verso Press). We talk about the biggest shock of looking back at her work for this career-spanning collection, why she organized it from most recent to oldest, and the difference between being smart and being wise. We get into the process of discovering her voice and figuring out she’s a minimalist, how she got better at judging her own work, her criteria for culling books from her apartment (and her embarrassment when one showed up in an unexpected place), the importance of rereading (and why she wrote a book about it), and why the New York Review of Books recently said she “has long enjoyed an audience of literary depressives and feminists”. We also discuss her 1970s essays on feminism, the movement’s evolution in the past 50 years, how the Brilliant Exception became the rule, why political correctness if different than ideological splits, the New York she loves most, and why she’s dying to go to a movie theater again. Give it a listen! And go read Taking a Long Look and Unfinished Business, and sheesh, all her other books, like Fierce Attachments!

“Our generation of feminists was unusual, not historically, but in terms of the lives we’re living now. Ours is the generation that raised it all over again. The generations that follow are somehow ground down because they don’t have that revolutionary excitement and energy.”

“If the thinking is sloppy, if it doesn’t justify itself, that’s the biggest shock in reading your own stuff.”

“Every year I go through my books and I ask, ‘Are you going to read this again? Are you EVER going to read this? Is this something I emotionally have to keep on the shelf?’

“If you have the talent and the drive — which are the least part of accomplishment — then if you live long enough and are privileged enough to become more and more yourself, then that’s the way the work should fulfill itself.”

TUNEIN PLAYER TK

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

Vivian Gornick is a writer and critic whose work has received two National Book Critics Circle Award nominations and been collected in The Best American Essays 2014. Growing up in the Bronx amongst communists and socialists, Gornick became a legendary writer for Village Voice, chronicling the emergence of the feminist movement in the 1970s. Her works include the memoirs Fierce Attachments — ranked the best memoir of the last fifty years by The New York Times — and The Odd Woman and the City, and Unfinished Business: Notes of a Chronic Re-Reader, as well as the classic text on writing, The Situation and the Story.

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 Vivian by someone else. It’s on my instagram.

Virtual Memories Show 416:
Wendung

“At 50, everyone has the face he deserves,” said George Orwell, but he died at 47, so what does he know? To celebrate turning 50, I use an obscure Woody Allen movie to talk about why I can’t take stock of my life. Then the good part: I ask nearly 40 guests of the podcast one question, “What do you wish you’d done before the pandemic?” (You can skip right to that at 18:45.) Participants include Witold Rybczynski, Kathe Koja, John Holl, Emily Flake, Wallis Wilde-Menozzi, Ian Kelley, David Townsend, John Bertagnolli, Jennifer Hayden, Richard Kadrey, Joan Marans Dim, Liniers, Sven Birkerts, Barbara Nessim, David Leopold, Tess Lewis, Ken Krimstein, Michael Shaw, Dmitry Samarov, Maria Alexander, Paul C. Tumey, Kyle Cassidy, Henry Wessells, Warren Woodfin, ES Glenn, Philip Boehm, Woodrow Phoenix, Rian Hughes, Alta L. Price, Derf Backderf, Frank Santoro, Boaz Roth, Carol Tyler, David Mikics, Michael Gerber, Walter Bernard, Whitney Matheson and Dean Haspiel! Help me celebrate, commemorate, commiserate, or whatever, and give it a listen!

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

I’m just this guy, you know?

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. Respondents either recorded their own segments and e-mailed them to me or called my Google Voice # and left a message. 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 to record my prattling. All processing and editing done in Adobe Audition CC. Photo of me with this morning’s sunrise by me. It’s on my instagram.

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!




Follow The Virtual Memories Show on iTunes, Twitter, Instagram, Facebook, Tumblr, and RSS!

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.