Virtual Memories Show 314:
Mark Alan Stamaty

“MacDoodle St. is the closest I ever got to the direction I wanted to go with my work.”

To celebrate the new 40th anniversary edition of MacDoodle St. (New York Review Comics), Mark Alan Stamaty joins the show for a conversation about that comic strip/graphic novel and what it meant for him and his career. We get into how it felt to draw a coda for this collection and how looking back at this work affects the two graphic novels he’s working on. We also talk about the joy of drifting, what it means to be a New York flaneur after 50+ years in the big city, his lifelong lament over the Dodgers leaving Brooklyn, the Tom Robbins book that warped his brain and set him on the path to MacDoodle St., the meditative quality of Chinese scholar rocks, and the work he wished he did in his younger days, as well as what he would have pursued if he’d been more financially secure. Oh, yeah, and he also tells us about getting possessed by Elvis’ spirit, his coping mechanisms for having a pair of gag cartoonists for parents, and the importance of composition for conveying energy to his readers. BONUS but not really: The intro is 15 minutes long, because I get into some weird epiphany-stuff; just skip to 15:00 for the start of the conversation. Give it a listen! And go buy MacDoodle St.!

“Composition is the energy of the whole work. Composition — form and color — that language means more to me than what’s being represented. It’s that chi, that energy.”

“I think I could have done amazing things in sculpture, but I had to do too much shit for money.”

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

Mark Alan Stamaty is an acclaimed cartoonist and illustrator. His children’s books include Who Needs Donuts?, Alia’s Mission: Saving the Books of Iraq, Shake, Rattle & Turn That Noise Down!: How Elvis Shook Up Music, Me & Mom, Small in the Saddle, Minnie Maloney and Macaroni, and Where’s My Hippopotamus?. In 1977–1978, Mark’s panoramic centerfold cartoons for the Village Voice of Greenwich Village and Times Square attracted widespread attention and were sold by the Voice as posters; he then created a series of comic strips for that paper, including MacDoodle St. In 1981, he created the acclaimed political comic strip Washingtoon for the Voice and The Washington Post, and it was soon picked up by more than forty papers. From 1994 to 1996, he was the political cartoonist for Time magazine, and from 2001 to 2003, he produced the monthly comic strip Boox for The New York Times Book Review. His cartoons, illustrations, covers, and comics reporting have appeared in The New Yorker, Harper’s, The New Republic, New York, GQ, and many other magazines and newspapers. His honors include two Gold Medals and two Silver Medals from the Society of Illustrators, the Premio Satira Politica Forte dei Marmi 2005 from the Museum of Satire and Caricature in Forte dei Marmi, Italy, a Page One Award from the Newspaper Guild of New York, and the Augustus Saint-Gaudens alumni career award from the Cooper Union. He was born in Brooklyn in 1947, and lives in New York.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at the Lexington Hotel in NYC 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 Mark by me. It’s on my instagram.

Virtual Memories Show 313:
Nathan Englander

“Why I like writing is: it always feels like the first book.”

On the eve of his fifth book, the wonderful kaddish.com: A novel (Knopf), Nathan Englander looks back on 20 years of publishing. We get into how he wrote this novel at a breakneck pace compared to his previous work, the great advice he got from Philip Roth (I’m not jealous!), the chemistry of creativity, the importance of process, his need to push borders and examine boundaries, and making his bones on the sacred and the profane. Nathan also talks about the therapeutic aspects of teaching writing, being more appreciative of his yeshiva upbringing, treating books like religion, and getting into thrillers while working on his political novel Dinner at the Center of the Earth. We also discuss his foray into playwriting, how he knows when a story or book is done, and the challenges of being friends with other writers, among plenty of other topics. Give it a listen! And go buy kaddish.com: A novel!

“It’s lovely to live in New York as a writer, but you have to avoid static, as both reader and writer.”

“I replaced therapy with teaching. I find it really nice to have to put things into words for students.”

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

Nathan Englander is the author of the story collections For the Relief of Unbearable Urges: Stories, an international best seller, and What We Talk About When We Talk About Anne Frank: Stories, and the novels The Ministry of Special Cases and Dinner at the Center of the Earth. His books have been translated into twenty-two languages, and he is the recipient of a Guggenheim Fellowship, a PEN/Malamud Award, the Frank O’Connor Award, the Sue Kaufman Prize from the American Academy of Arts & Letters and was a Finalist for the Pulitzer Prize in 2013. His play The Twenty-Seventh Man premiered at the Public Theater in 2012. He is Distinguished Writer in Residence at New York University and lives in Brooklyn, New York, with his wife and daughter. His new novel is kaddish.com: A novel

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at an undisclosed location 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 Nathan by me. It’s on my instagram.

Virtual Memories Show 312:
Bram Presser

“To me, this is a book about how we tell stories, and how we come to understand stories.”

What sort of person breaks into Auschwitz? An author — and semi-reformed punk rocker, recovering academic and occasional criminal lawyer — in search of answers. Bram Presser joins the show to talk about his award-winning, fantastic debut novel The Book of Dirt, a memoir-fiction hybrid about his family’s experience in the Shoah. We get into the myths of how his grandfather survived the concentration camps and what they meant for his family and his book, the years of detective work (and the lucky breaks) researching his grandparents’ stories and records and the limits of knowing anyone else’s life, the exceptionalist vibe of Czech Jews, the stories he was afraid to learn and the heroism that redeemed his great-grandmother and her family, the challenges of researching an unheard-of story of survival when archivists are already put off by your punk-rock appearance, and how Bram avoided Holocaust cliches while giving agency, dignity and social dynamics to the prisoners in the camps. We also get into Bram’s worries about feedback from his mentor Dasa Drndic, the value of documentary fiction, the aspects of his other careers that supported his ability to write The Book of Dirt, that Auschwitz break-in, and why Talmudkommando would have been a better name for his Jewish punk band than Yidcore. Give it a listen! And go buy The Book of Dirt!

“One thing I took from writing this book is that we really don’t know much about the people we love. We accept an idea of who they are, but that’s all we have.”

“Every time I talk about the book and about my grandparents, I feel like I’m spending more time with them. It’s a way for me to get to know them and understand them.”


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

Scruffy scrivener. Semi-reformed punk rocker. Recovering academic. Occasional criminal lawyer. Two-time cartoon character. After schlepping around the world for 10 years in the acclaimed punk band Yidcore, Bram Presser realized he was getting too old to sleep on concrete floors and smear hummus over himself every night. Swapping the rubber chicken for a fountain pen, he has since dedicated himself to writing. In 2011, Bram won The Age Short Story Award and since then his stories have appeared in Best Australian Stories, Award-Winning Australian Writing, The Sleepers Almanac, and Higher Arc. His debut novel, The Book of Dirt, was published in Australia in 2017 by Text Publishing to wide acclaim and went on to the New South Wales Premier’s Literary Award for Fiction, Best New Writer and People’s Choice Awards in 2018, as well as the prestigious Voss Literary Prize. The novel was published in the U.S. in 2018 and recently won the Goldberg Prize for Debut Fiction at the National Jewish Book Awards.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at AKA Central Park 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. Presser by me. It’s on my instagram.

Virtual Memories Show 310:
James Sturm

“I don’t consider myself to be a political cartoonist, but I feel like no one can afford not to be political right now.”

Cartoonist and educator James Sturm joins the show to talk about his new graphic novel, Off Season(Drawn & Quarterly), the story of a disintegrating marriage set against the backdrop of the 2016 election. We get into his artistic choices for this amazing book: using anthropomorphics, designing it in a 2-panel-per-page layout, and writing a story so convincing that friends thought his own marriage was falling apart (it wasn’t). We also talk about James’ experience of starting the Center for Cartoon Studies up in Vermont and what it taught him about cartooning, finding joy in the studio, exploring visions of America in his comics (or not; it’s up for debate), treating the long VT winters as “cartooning season”, his mega-sized graphic novel that will never see the light of day and the liberation of throwing a big project overboard, the comic shops we both frequented in our youth, the revelatory experience of reading Mark Alan Stamaty‘s comics, the Indian ledger books that comprise the first American graphic novels, and a lot more (including a Brink’s heist). Give it a listen! And go buy Off Season!

“The history of comics isn’t just the history of the industry of comics. I think the people who are making comics now are going to help re-evaluate the history.”

“My superpower as a cartoonist is doggedness.”

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

James Sturm is an award-winning cartoonist whose books have been translated widely. His work has appeared on Slate, The New York Times, and on the cover of The New Yorker. He is also the co-founder of the Seattle newspaper, The Stranger, and the Center for Cartoon Studies, a cartooning college. James lives in Hartland, VT, with his family and two dogs. His new book is Off Season.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at a pal’s 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 James & doggo by him. It’s on his instagram, not mine.

Virtual Memories Show 307:
Mort Gerberg

“People submitting comics to the New Yorker could expect a 98% rejection rate. What kind of a sane person would go into that field?! You have to have some sort of personality aberration to do this!”

On the eve of his exhibition at the New-York Historical Society (Feb. 15 to May 5, 2019), legendary cartoonist Mort Gerberg reflects on more than five decades of cartooning and art. We talk about his new collection, Mort Gerberg On The Scene: A 50-Year Cartoon Chronicle (Fantagraphics Underground), and what he learned in the process of culling the selection of his work for the show. We get into the roots of his groundbreaking civil rights cartoons (and how he got away with making weed jokes in the Saturday Evening Post in 1965), his pioneering comics reportage, how his spontaneity and energy secretly come from laziness, the challenge of drawing people on NYC subways, his intense focus on the business side of cartooning (and how it might be tied into his late start as a cartoonist), and how he tied vacations and even his honeymoon into work assignments. Give it a listen! And go buy Mort Gerberg On The Scene and check out the new exhibition of Mort’s work at the New-York Historical Society!

“When I would see something that looked like an injustice, I had to do something.”

“The first day I walked into the Saturday Evening Post, they told me the cartooning business was dying. That was 1962, and it’s been dying ever since.”

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, Tumblr, and RSS!

About our Guest

Mort Gerberg is an award-winning, multi-genre cartoonist and author best known for his cartoons in The New Yorker, Playboy and many other magazines, and for Cartooning: The Art and the Business, considered “the most comprehensive, authoritative book on the subject.”

He has drawn three nationally-syndicated newspaper comic strips and has written, edited and/or illustrated 43 books for adults and children, including the best-selling More Spaghetti, I Say!.

Mort has been a content provider for television and online sites, posted daily topical cartoons, and performed a weekly on-camera-drawing feature. He also wrote and drew animated fables and did live cartoon election coverage. He has done on-the-scene sketch reportage for magazines and newspapers, covering national and international politics, sports and travel.

He taught cartooning for 15 years at Parsons School of Design, was a founder and president of the Cartoonists Guild, and is a member of the National Cartoonists Society. He was voted as Best Magazine Cartoonist of 2007 and 2008 by the National Cartoonists Society, and was a CCNY Commuications Hall of Fame Honoree in 2010.

Mort lives in New York Cit with his wife, Judith. He pitches for the New Yorker softball team, plays tennis and the piano, and sings in a choir.

He’s on Twitter and Instagram as mortgerberg.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at Mort’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 Mr. Gerberg by me. It’s on my instagram.