MrWickerCoverWebVirtual Memories Show:
Maria Alexander –
The Way of Pen and Sword

“The samurai believed that to be a complete person, you had to study the sword, but you also had to study the pen. They called it Bun Bu Ryo Do, the way of pen and sword. You were complete if you were a writer and a warrior, and I’ve really embraced that in my life.”

Maria Alexander joins the Virtual Memories Show to talk about her debut novel, Mr. Wicker, her intern/protege relationships with Clive Barker and Neil Gaiman, and the art of shinkendo swordplay and what George R.R. Martin gets wrong about swords. Also, we learn what happens when Lovecraftian pastiche goes wrong, how Maria realized that even geniuses have to write drafts, how her parents took syncretism to new heights, how Mr. Wicker made its way from short story to screenplay to first novel, how she deals with severe carpal tunnel syndrome, and what her love of swords has taught her about editing her work! Give it a listen!

“My mother believed everything she saw on ‘In Search Of . . .’, so our household was very imaginative.”

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

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About our Guest

Maria Alexander writes pretty much every damned thing and gets paid to do it. She’s a produced screenwriter and playwright, published games writer, virtual world designer, award-winning copywriter, interactive theatre designer, prolific fiction writer, snarkiologist and poet. Her stories have appeared in publications such as Chiaroscuro Magazine, Gothic.net and Paradox, as well as in acclaimed anthologies alongside legends such as David Morrell and Heather Graham. Her second poetry collection – At Louche Ends: Poetry for the Decadent, the Damned and the Absinthe-Minded – was nominated for the 2011 Bram Stoker Award. And she was a winner of the 2004 AOL Time-Warner “Time to Rhyme” poetry contest. When she’s not wielding a katana at her local shinkendo dojo, she’s being outrageously spooky or writing Doctor Who filk. She lives in Los Angeles with two ungrateful cats, a pervasive sense of doom, and a purse called Trog. Her new novel is Mr. Wicker (Raw Dog Screaming Press).

Credits: This episode’s music is Ironside (Excerpt), Battle Without Honor or Humanity, The Chase, and Woo Hoo from the Kill Bill soundtrack. The conversation was recorded at Ms. Alexander’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Ms. Alexander by me.

Season 4 Episode 42
Richard Gehr:
I Was A Teenage Structuralist!

“I’ve read enough Roland Barthes and Foucault to know it’s all fiction, man.”

Richard Gehr’s new book, I Only Read It for the Cartoons: The New Yorker’s Most Brilliantly Twisted Artists (Amazon/New Harvest), profiles a dozen New Yorker cartoonists. We talk about the genesis of that project, lament the dearth of cartooning in print and online, bond over Abe Vigoda, and ponder why it is that so many New Yorker cartoonists had teachers or educators for parents. We also get into Richard’s history in the arts-journalism racket, the joys of Robert Walser, his time in the Boy Scouts with Matt Groening, how he built a career out of his oddball enthusiasms, and the most mind-blowing “Which celebrity did you totally melt down around?” story in the history of this podcast. (Seriously.) Give it a listen!

“I love New Yorker cartoons, but they might be the whitest form of art ever conceived.”

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

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About our Guest

Richard Gehr has been writing about music, culture, and travel for quite a while. He has been an editor for the Los Angeles Reader, Spin, and Sonicnet/MTV Interactive. He currently writes for Rolling Stone, Spin, The Village Voice, Relix, AARP: The Magazine, and other publications. He was a senior writer for the book Alt. Culture: An A-To-Z Guide to the ’90S – Underground, Online, and Over-The-Counter and co-authored The Phish Book with the Vermont quartet. His new book is I Only Read It for the Cartoons: The New Yorker’s Most Brilliantly Twisted Artists. He resides in the Brooklyn arrondissement.

Credits: This episode’s music is Homesickness by Tsegue-Maryam Guebrou (because I’m on the road for a week). The conversation was recorded at Mr. Gehr’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on the same setup in a hotel room in San Diego, when my voice was shot from a three-day podcast-athon in Los Angeles. Processing was done in Audacity and Garage Band. Photo of Mr. Gehr by me.

sam grossSeason 4 Episode 41
Sam Gross:
Look Day

“One thing I tell young cartoonists: a magazine is like going out on a date, and a book is like getting married. If you’re going out on a date, you don’t need a lawyer. If you’re doing a book, you get a lawyer.”

samgross

Sam Gross’ gag panels warped me at a young age (right), so it was an honor to get him on mic to talk about his nearly six-decade cartooning career. We sat down in his studio to discuss the serious business of gags, how he went from drawing a Saul Steinberg nose to drawing a Sam Gross one, how he continues in his 80s to come up with a week’s worth of new gags for Look Day, how he once got a Vanishing New York tour from Charles Addams, how he revels in the “humor of the handicapped”, and the magazine he misses the most. Give it a listen!

“I don’t know where I’m gonna go next. I’m not a finished product.”

Sam Gross on the Virtual Memories Show

 

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

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

About our Guest

Sam Gross has been publishing cartoons since the 1950s. His cartoons have appeared in The New Yorker since 1969. He served as the cartoon editor of National Lampoon and Parents magazines, and was president of the Cartoonists Guild. He has published numerous collections, including I Am Blind and My Dog is Dead. You can buy reproductions of his art at the Conde Nast Store.

Credits: This episode’s music is Funny Little Frog by Belle & Sebastian. The conversation was recorded at Mr. Gross’ studio on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Gross by me.

Ashton Applewhite on The Virtual Memories Show

Season 4 Episode 40
Ashton Applewhite:
Much Abides

“Knowing that things are finite gives life meaning. Avoiding mortality means you’re avoiding living, not avoiding dying. Aging is living.”

Ashton Applewhite is on a crusade against ageism (lack of gray hair notwithstanding). She joins the show to discuss the myths and roots of ageism and her talk series, This Chair Rocks. We also discuss her Yo Is This Ageist site, why she scoffs at the Life Extension crew, how her critique of ageism intertwines with her critique of capitalism, what it’s like to suffer from analexophobia, why we should all consider ourselves old people in training, and how she launched the Truly Tasteless Jokes empire. Give it a listen!

And if you’re in NYC, you can go hear Ashton’s This Chair Rocks talk on October 27! Details here!

Bonus: my yearbook picture from 1989!

“It drives me crazy when I get the AARP bulletin and the only gray-haired person in it is Bill Clinton.”

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

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About our Guest

The voice of This Chair Rocks and Yo Is This Ageist, Ashton Applewhite is a Knight Fellow, a New York Times Fellow, and a Columbia Journalism School Age Boom Fellow. She is the author of Cutting Loose: Why Women Who End Their Marriages Do So Well, media liaison to the board of the Council on Contemporary Families, and a staff writer at the American Museum of Natural History.

Credits: This episode’s music is Golden Years by David Bowie (it was either that or Never Get Old). The conversation was recorded at Ms. Applewhite’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Ms. Applewhite by me.

John Porcellino on The Virtual Memories Show

Season 4 Episode 39
John Porcellino:
35 Cents & a Stamp

“I managed to go 43 issues before I hit the paralyzing grip of self-doubt and self-consciousness [from realizing that I had an audience]. I feel lucky that I had all those years to write comics in essentially a vacuum. I can’t imagine what it would be like to be 20 years old and trying to write comics in this world with the internet’s immediate response.”

John Porcellino has been publishing his King-Cat Comics & Stories mini-comics for 25 years, but I managed not to check them out until last month. BIG mistake on my part! Turns out the critics were right; John P.’s one of the best autobio cartoonists out there, as well as “a master at miniature poignance” (Entertainment Weekly). We sat down at SPX 2014 to talk about publishing his new work, The Hospital Suite, as a standalone book and developing the skill and courage to tackle longer stories, his disdain for “the culture of like”, overcoming the shame and stigma of his OCD, the process of discovering an audience for his work, the pitfalls of autobiographical comics, discovering the power of negative space, turning his life into a narrative, how comics enabled him to communicate with people, and, most importantly, being an NFL bigamist. Give it a listen!

“If things didn’t get better, I was going to be the guy wandering down an alley in my underwear with tinfoil wrapped around my arms.”

Bonus: Roger Langridge gives us a few minutes at SPX to talk about his new book, Jim Henson’s The Musical Monsters of Turkey Hollow!

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

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

About our Guest

John Porcellino was born in Chicago in 1968, and began drawing and writing at an early age, compiling his work into handmade booklets. His acclaimed self-published zine, King-Cat Comics and Stories, begun in 1989, has found a devoted worldwide audience and is one of the most influential comics of the past 25 years. His newest book is The Hospital Suite, and he is the subject of a new documentary, Root Hog or Die. His work has been collected in several editions, including King-Cat Classix, Map of My Heart, Perfect Example, and Diary of a Mosquito Abatement Man. He is also the author of Thoreau at Walden and The Next Day: A Graphic Novella.

Credits: This episode’s music is Theater is the Life of You by The Minutement (John’s a fan). The conversation was recorded at the Bethesda North Marriott Hotel on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Porcellino by me.