Virtual Memories Show 372:
Tom Hart

“For my next book, I’m looking for a new form. Everything feels like the old form. I’m giving myself that luxury. I don’t owe this to anybody but my own creative satisfaction.”

Cartoonist and educator Tom Hart joins the show to talk about how the Sequential Artists Workshop (SAW) is adapting to the pandemic era. We get into Tom’s comics upbringing and his formative years in the Seattle scene, how he managed to avoid superhero comics during his formative years, my discovery of his debut, Hutch Owen’s Working Hard, in 1994, the value of pretension and his drive to bring literary notions to his comics, the experience that led him to create SAW, the challenges of teaching students half his age (& younger), ow teaching his helped him as a cartoonist, the new form he’s seeking for his next book, and why he’s hoping to get out of Florida. Give it a listen!

“In my own work, I’ve removed everything in the idea-generation phase, everything that’s not about death or absolute primal urges.”

“I realized upon reflection that what I was responding to with Peanuts was the heightened emotion contained in boxes & little characters. That was my way of interpreting the adult emotional world around me.”

Enjoy the conversation! Then check out the archives for more great episodes! And visit The COVID-19 Sessions for all those daily episodes about life during the pandemic.

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

About our Guest

Adapted from his website:

Hi, I’m Tom Hart, a cartoonist. I started The Sequential Artists Workshop , a school and arts organization in Gainesville, Florida. Before that, I taught at School of Visual Arts for 10 years, a did a bunch of other stuff.

My book about my daughter, Rosalie Lightning, was a NY Times #1 bestseller and been translated into French, Italian, Portuguese and Chinese, and was featured on many best of 2016 lists, and was nominated for two Eisner Awards.

Before that, I was the creator of the Hutch Owen series of graphic novels and books. The Collected Hutch Owen was nominated for best graphic novel in 2000. I was an early recipient of a Xeric Grant for self-publishing cartoonists, and has been on many best-of lists in The Comics Journal and other comix publications. I was called “One of the great underrated cartoonists of our time” by Eddie Campbell and “One of my favorite cartoonists of the decade” by Scott McCloud. The Hutch Owen comic strip ran for 2 years in newspapers in New York and Boston, and his “Ali’s House”, co-created with Margo Dabaie, was picked up by King Features Syndicate.

I was a core instructor at New York City’s School of Visual Arts for 10 years, teaching cartooning to undergraduates, working adults and teens alike. Among my students were Dash Shaw, Sarah Glidden, Box Brown, and other published cartoonists like Leslie Stein, Jessica Fink, Josh Bayer, Brendan Leach , and many others.

Follow Tom on Twitter and Instagram. Check out B Is Dying on Instagram. Check out SAW on Instagram.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely 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 Tom by someone else. It’s on my instagram.

Virtual Memories Show 364:
Stoya

“Coming from porn you deal with a small slice of human emotion: lust, arousal, maybe some basic things. It’s a lot like sketch comedy: it runs on stereotypes and tropes.”

Writer, actress and adult performer & producer Stoya joins the show to talk about her upcoming NYC theater appearance in Dean Haspiel‘s new play, The War of Woo (March 19-April 4, 2020). We get into how she’s grown as an actress, why porn is like sketch comedy, her joy in the surprises of live theater, publishing Philosophy, Pussycats & Porn, and the mental benefit of moving the decimal. We discuss her vision for her online erotic magazine, ZeroSpaces, the history of labor exploitation in adult entertainment, running a monthly Sex Lit book club, what she’s learned as the sex & relationship advice columnist at Slate, her interest in higher education and the next stage of her career, the learning curve of identifying and interacting with different segments of her audience, the unexpected obstacles to intimacy with people outside the adult industry, and why reading a novel is her favorite escape. Give it a listen! And go buy Philosophy, Pussycats & Porn!

“One of the points of privilege for entertainers is that we get to be all of our selves.”

“Porn is an American industry; of course it’s exploitive. That’s not a porn problem, it’s an American capitalism problem.”

“I’m more interested in working with the reality we have, than in writing fiction or plays.”

“There’s trouble when you don’t have a connection to history: that’s true in sex-work and it’s true when I was talking to a reporter in Macedonia.”

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

Stoya has been a pornographer since 2006 and a writer since 2012. She was written for the New York Times, the Guardian, Playboy, and others. She has acted in a Serbian sci-fi feature, A.I. Rising, and three of Dean Haspiel‘s plays, in Brooklyn and Manhattan. She lives with two cats and a platonic domestic partner named Steve. Her first book is Philosophy, Pussycats & Porn (Not A Cult).

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

Virtual Memories Show 363:
Cassandra Khaw

“In novels, you’re trusting the reader to follow you along the whole way. In video games, you’re working with the idea that people’s attention spans are scattered, they’re going to approach it at different times, and maybe just walk off and explore for a while.”

In a murder hotel in Jersey City, author Cassandra Khaw joins the show to talk about her bad luck with AirBNBs, the root of her fixation on body horror, and how she settled on a cannibal chef for one of her main characters so she could (imaginatively) explore the concept of turning 180 or so pounds of human being into a fine meal. We get into her Food of the Gods series and her other supernatural horror books, her fascination with the aftereffects of violence, the influence of Lovecraft on her work, and the time she embarrassed herself in front of Frances Hardinge. We also talk about her work in the video-game industry and how she entered it by following the convention circuit, what writing games has taught her about storytelling, diversity in the gaming community, and the unique way that games can bring people into other lives and other modes of seeing. Oh, and we get into how she settled on her mythological name! Give it a listen!

“I did a lot of traveling around the world over a decade, and I discovered people let you sleep on their sofa if you clean up after them and leave them three-course meals.”

“There are a lot of similarities between the world of video games and publishing. So much of it is in people trying to break into a monolith, and it’s very close-knit, and people are very encouraging to each other. I guess the real difference is that video games has money and publishing doesn’t.”

“Home is the airport.”

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

Cassandra Khaw writes many things. Mostly these days, she writes horror and video games and occasional flirtations with chick-lit. Her work can be found in venues Clarkesworld, Fireside Fiction, Uncanny, Lightspeed, Nightmare, and more. A Song for Quiet was her latest novella from Tor.com, a piece of Lovecraftian Southern Gothic that she worries will confuse those who purchased Bearly a Lady, her frothy paranormal romantic comedy.

You should check out Cassandra on Twitter and Instagram, and support her work via Patreon or Ko-Fi.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at a murder hotel in Jersey City 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 Cassandra by her, so it’s not on my instagram. The group one of me, her, and Richard Kadrey is, though.

Virtual Memories Show 362:
Richard Kadrey

“I try to tell young writers, ‘Do not fetishize your world-building.’ I’ve seen writers think they have to be Tolkien, they have to invent Elvish, before they can start the first page of their book.”

With his new novel, The Grand Dark (Harper Voyager), Richard Kadrey takes an artistic leap from his renowned Sandman Slim supernatural noir books. We sit down in a murder hotel to talk about mixing robots and genetic engineering with Weimar Germany, getting inspired by Mel Gordon’s Voluptuous Panic, David Bowie’s Low, and the Brothers Quay’s Street of Crocodiles, the impact of the 2016 election on his writing, and how he’s getting ready to end the Sandman Slim series. We also get into the gentrification of the east Village and the Bowery, the thin line between preservation and nostalgia, the moment his brain got warped by Marcel Duchamp’s Nude Descending a Staircase, our shared love of What We Do In The Shadows, the time he attended a screening of Cronenberg’s Crash with Kathy Acker, his LitReactor course on writing dark urban fantasy, the wonder of being edited by Ellen Datlow, the accretionary model of novel-writing, and why it’s okay to build your fantastic world by just looking out the window. (Check out our 2018 conversation!) Give it a listen! And go buy The Grand Dark (& maybe pre-order the penultimate Sandman Slim novel, Ballistic Kiss)!

“I love hidden and forgotten history, like the time San Francisco got hit with the Black Plague.”

“I swore early in my career I’d never write a book with a map at the front of it, but here we are.”

“I don’t think I’m going to be taught in college courses, but I like the idea of my books living beyond me when I’m gone.”

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

Richard Kadrey is the New York Times bestselling author of the Sandman Slim supernatural noir books. Sandman Slim was included in Amazon’s “100 Science Fiction & Fantasy Books to Read in a Lifetime,” and is in development as a feature film. Some of his other books include The Wrong Dead Guy, The Everything Box, Metrophage, and Butcher Bird. He also wrote the Vertigo comic Lucifer.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at a murder hotel in Jersey City 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. Kadrey by me. It’s on my instagram.

Virtual Memories Show 361:
Dmitry Samarov

“I’ve been very fortunate to have an undying inner need to keep expressing myself, in the face of fairly universal indifference. It just doesn’t discourage me; it might be some sort of insanity.”

With his new memoir, Soviet Stamps, artist & writer Dmitry Samarov explores his experience of emigrating from the USSR as a child, finding his way through late-’70s and ’80s America, and becoming an artist. We talk about the book’s winding path to self-publication, how his story does and doesn’t fit in to the history of Soviet Jewry, how he overcame the embarrassment of including his adolescent art in the book, his 4th grade autobiography and how it managed to predict much of his career, and the possible Dmitry-lives that could have resulted from decisions that were out of his hands. We also get into his notion that art requires disengagement, his gauge for the life and death of artworks, the value of the apprentice system over art school, why he’s writing fiction for his next book, and which self-promotional event he hates more: the book reading or the gallery opening. (Oh, and check out our previous conversations: 2014, 2015, and 2018) Give it a listen! And go buy Soviet Stamps!

“It’s mind-blowing to me to think about the chances my parents took, the leap they took into the unknown, and everything they had to give up.”

“I think I’m better at walking away from paintings than I used to be.”

“You can’t really see inside another person no matter how well you know them, and you can’t see what you’re looking at if you’re in the middle of it.”

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

Dmitry Samarov paints and writes in Chicago, Illinois. He’s the author of four published books: Hack, and Where To?, both illustrated memoirs of his taxi-driving days, Music To My Eyes, and Soviet Stamps. You should sign up for his weekly e-mail and listen to his occasional Blather podcast.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at the Society of Illustrators 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. Painting of Dmitry Samarov by him, so it’s not on my instagram.