Virtual Memories Show 389:
Woodrow Phoenix

Who’s driving whom? With Crash Course (Street Noise Books), British cartoonist, artist and designer Woodrow Phoenix examines what cars do to us: physically, mentally, and environmentally. We talk about the evolution of Crash Course, the stint in LA that inspired it, the visual and design choices that make it a haunting piece of art, and how he reconciles driving his Mini Cooper One. We also get into growing up in South London, what being Black means in the UK and US, his compulsion to experiment with styles, why he sticks with pencils and inks, and his typography and design background and how they inform the semiotics of Crash Course. Plus, he nerds out HARD for Carmine Infantino, we nerd out together for Al Hischfeld, and we try to figure out why his recurring themes are duplication, language, perception and the shifting nature of reality. Oh, and I try to get him to spend a lot of money on bookshelves. Give it a listen! And go read Crash Course!

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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

Woodrow Phoenix is a writer, an artist, and a designer whose work has appeared in publications across Europe, Japan and the US. His previous books include Plastic Culture: How Japanese Toys Conquered the World, Felt Mistress: Creature Couture, and the giant graphic novel She Lives. Woodrow grew up in South London after his parents emigrated to the UK from Guyana. He lived for some time in the US in Los Angeles and Brooklyn. He currently lives and works in both London and Cambridge, and spends a lot of time driving between them in his Mini Cooper One. His new book is Crash Course.

Follow Woodrow on Twitter.

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. Photos of Woodrow by him. It’s on my instagram.

Virtual Memories Show 388:
Margot Mifflin

“It’s especially odd for Miss AMERICA to have a crown, because if it’s a pageant that represents America and American values, then the symbolism is off, and has been for a long time.”

With her new book, Looking for Miss America: A Pageant’s 100-Year Quest to Define Womanhood (Counterpoint), Margot Mifflin has written a compelling, thoughtful history and exploration of a uniquely American phenomenon. We got together to talk about the story of the Miss America Pageant — sorry, Competition — and its cultural significance (including its racist restrictions), how the pageant has evolved over a century, sometimes reflecting women’s roles in America, sometimes reflecting men’s perspectives of women, the pageant’s heyday of the 1950s and ’60s and its struggles since then, and the 2018 decision to get rid of the swimsuit portion. Along the way, we talk about feminist protests of the pageant, the great life-story of 1951 winner Yolande Betbeze, the history of Atlantic City and its decline, the common elements of most Miss America memoirs, the one winner she wishes she’d interviewed, Philip Roth’s thread throughout her book, and how she’d change Miss America for this era. Give it a listen! And go read Looking for Miss America!

“The feminist protest of 1968 was the point at which second-wave feminism unleashed the phrase ‘women’s liberation’ into the public lexicon.”

“I would keep the scholarships, because that seems to be the real, concrete value of Miss America. . . . It’s benefited lower economic and middle-income women who might not have been able to college if not for these scholarships.”

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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

Margot Mifflin is an author and journalist who writes about women’s history and the arts. She wrote the first history of women’s tattoo culture, Bodies of Subversion: A Secret History of Women and Tattoo, and The Blue Tattoo: The Life of Olive Oatman. Her new book, Looking For Miss America: A Pageant’s 100-Year Quest to Define Womanhood, is the first feminist cultural history of the Miss America pageant. Margot’s writing has appeared in The New York Times, Entertainment Weekly, Vogue, Vice, Elle, ARTnews, Bookforum, The Los Angeles Review of Books, The Believer, O, The Oprah Magazine, The New Yorker.com, The Chronicle of Higher Education, The Washington Post, and other publications.

Margot is an English professor at Lehman College/CUNY and teaches arts journalism at CUNY’s Craig Newmark Graduate School of Journalism. She’s served as a consultant on exhibitions at The Museum of Modern Art, The New York Historical Society, and The Natural History Museum of Los Angeles County, and she curated the exhibition “Body Electric” at Ricco/Maresca Gallery.

Follow Margot on Twitter, Facebook and Instagram.

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

Virtual Memories Show 387:
Benjamin Taylor

“I had a reverent feeling about the writers of that generation. They were little children in the Great Depression, and they saw fear in their parents’ eyes, and it made workhorses of them.”

Author, editor & memoirist Benjamin Taylor joins the show to talk about his wonderful new memoir, Here We Are: My Friendship with Philip Roth (Penguin). We get into how his relationship with Roth evolved over 20 years, how it affected his own writing, and his notion that everything that happened is still happening. We talk about the nature of friendship and how it may differ from literary friendship, Benjamin’s fixation on older friends, why The Human Stain is his favorite of Roth’s novels, the notion of “literary lions” like Roth, Bellow, Oates, Updike, and Ozick, and why this era seems bereft of them. He also fills us in on how long walks with Vivian Gornick have helped him handle Pandemic World, why fiction isn’t the only worthwhile game in town, what it means to be an American and a heartbroken patriot, and plenty more. Give it a listen! And go read Here We Are!

“I think that American writers in general are heartbroken patriots, who see more of the disparities than ordinary citizens. Think of Hawthorne, think of Whitman. This is what makes us an essentially Romantic civilization. We believe that the ideal is what is most real.”

“Did I feel I was in their shadow? No, I felt I was in their light!”

“The grafting of manhood onto his particular childhood was always uneasy and awkward.”

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“There was an amoral streak in Philip. He was also a man of great tenderness.”

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

Benjamin Taylor‘s family memoir, The Hue and Cry at Our House, received the 2018 Los Angeles Times/Christopher Isherwood Prize and was named a New York Times Editors’ Choice; his Proust: The Search was named a Best Book of 2016 by Thomas Mallon in The New York Times Book Review; and his Naples Declared: A Walk Around the Bay was named a Best Book of 2012 by Judith Thurman in The New Yorker. He is also the author of two novels, Tales Out of School, winner of the 1996 Harold Ribalow Prize, and The Book of Getting Even, winner of a Barnes & Noble Discover Award. He edited Saul Bellow: Letters, named a Best Book of 2010 by Michiko Kakutani in The New York Times and Jonathan Yardley in The Washington Post, and Bellow’s There Is Simply Too Much to Think About: Collected Nonfiction, also a New York Times Editors’ Choice. His edition of the collected stories of Susan Sontag, Debriefing, was published by Farrar, Straus & Giroux in 2017. Taylor is a founding faculty member in the New School’s Graduate School of Writing and teaches also in the Columbia University School of the Arts. He is a past fellow and current trustee of the John Simon Guggenheim Memorial Foundation and serves as president of the Edward F. Albee Foundation. His new book is Here We Are: My Friendship with Philip Roth.

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 Benjamin by Alison West. It’s on my instagram.

Virtual Memories Show 383:
Everett Glenn

“My motivation? Kinda cookie-cutter: Desperate person doesn’t want to die of alcoholism, writes instead. That’s the blurb.”

Artist, cartoonist, and clotheshorse Everett Glenn joins the show from Berlin to talk about how narrating his life as a story helped him make (some) sense of his fragmented, chaotic upbringing (he talks more about that upbringing in this great conversation with Noah Van Sciver). We get into his evolution and influences as a cartoonist through his Unsmooth graphic novel and his recent amazing achievement of the 20-page story The Gigs (which you HAVE to read), how he skipped the idol-worship phase of literature, how Cool World and Ralph Bakshi blew his mind at an impressionable age, and how he deals with the self-eating snake of racial identity from the perspective of a Black American living in Germany. We also talk about the importance of design, the origins of his ligne claire, where his fantastic clothing sense comes from, how he learned tailoring in an attempt to get a visa, how the confidence it takes to push the fashion envelope can feed into confidence in other parts of life, and more! Give it a listen! And go read Unsmooth & The Gigs!

“Art school teaches you how to embody the idea that art is valuable.”

“Somerset Maugham was basically my dad. Khalil Gibran was my birth father and left me in Maugham’s hands.”

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“When it comes to race, it doesn’t matter what I think. I’ll always be a Black man in society. That’s something I can’t control.”

“I skipped the idol-worship stage of discovering literature. I went straight to ‘This is a person who had experiences and figured out how to use language to articulate those experiences.'”

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

Everett Glenn is a semi-reclusive American cartoonist living in Berlin, Germany. He works in various mediums, including drawing, painting, and designing fashion accessories. His work grows out of his tumultuous upbringing and personal experiences. His most recent works are the graphic novel Unsmooth (Floating World Comics) and the story The Gigs, anthologized in NOW #8 (Fantagraphics).

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 Everett by him. It’s on my instagram.

Virtual Memories Show 381:
Zena Hitz

“The forms of learning for its own sake that happen in ordinary life are more fundamental than the professional versions.”

Author & St. John’s College tutor Zena Hitz joins the show to talk about her wonderful new book, Lost in Thought: The Hidden Pleasures of an Intellectual Life (Princeton University Press). We get into the nature of learning for its own sake, the corruption of academia and its potential reform, how St. John’s prepared us for the world by not preparing us, and why the Newton’s Principia is the toughest thing on the SJC curriculum. We also talk about the joy of autodidacts and our shared love of The Peregrine, why she disagrees with the notion that learning-for-its-own-sake is a privilege of the elite, the challenges of leading seminars by Zoom, and how bureaucracy creeps into every system. We also tackle my lightning round of questions for SJC tutors, what she’d add to the curriculum and what she’d subtract, and answer the long-standing question: What is virtue and can it be taught? Give it a listen! And go read Lost in Thought: The Hidden Pleasures of an Intellectual Life!

“St. John’s is a different place. It has different values, and you don’t want the rest of the world to be like that, but it changes the way you interact with the world.”

“Casual interaction really matters. During the pandemic, it’s a burden to have everything be done with real intention: ‘Who would I like to see, who would I like to talk to?'”

“Sometimes young people don’t get that these books are real. That what Thucydides wrote about was what he lived through. They don’t always understand the books are about life.”

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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

Zena Hitz is a Tutor in the great books program at St. John’s College in Annapolis, MD. She has a Ph.D. in ancient philosophy from Princeton University and studies and teaches across the liberal arts. Her new book is Lost in Thought: The Hidden Pleasures of an Intellectual Life, from Princeton University Press.

Follow Zena on Twitter. There’s a more extensive bio at her site.

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