Virtual Memories Show 341:
Chris Ware

“Something in comics allows the concretization of the weird shifting and changing of our memories and senses of selves. It comes out organically in the drawing of a story.”

With the publication of part 1 of Rusty Brown (Pantheon), Chris Ware joins the show to talk about how he and his art changed over the 18 (on-and-off) years since he began the project. We talk about the nature of memory, the experience of time, and the purpose of empathy (or empathy as the purpose of human life). We get into art and its role in organizing consciousness, the give-and-take of self-doubt, his impact on comics and other cartoonists, the effect of parenthood on his work and life, his midwestern roots & the allure of The New Yorker, and books that changed his life (whether he read them or not). We also discuss that synthetic, sorta artificial style he’s known for and what it permits him to do in his comics, the comic strip diary he keeps and why it can’t be published, how cartooning compares to the origins of American architecture, the alchemical relationship between drawings and type size in his comics, why art schools should get back to teaching figure drawing, and plenty more! Give it a listen! And go buy Rusty Brown!

“You can’t substitute rules for looking.”

“Comics is a language that’s still in development.”

“Friends will say, ‘I can’t believe how much work you get done,’ and I’ll say, ‘I can’t believe how much work I don’t get done.'”

“I try to allow for a constant sense of surprise and — it’ll sound strange — looseness in what I’m doing when I’m composing a page.”

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

Chris Ware is widely acknowledged to be the most gifted and beloved cartoonist of his generation by both his mother and fourteen-year-old daughter. His book Jimmy Corrigan: The Smartest Kid on Earth won the Guardian First Book Award and was listed as one of the 100 Best Books of the Decade by The Times (London) in 2009. Building Stories was named a Top Ten Fiction Book of the Year in 2012 by both The New York Times and Time magazine. Ware is an irregular contributor to The New Yorker, and his original drawings have been exhibited at the Whitney Biennial, in the Museum of Contemporary Art in Chicago, and in piles behind his worktable in Oak Park, Illinois. In 2016 he was featured in the PBS documentary series Art 21: Art in the 21st Century, and in 2017 an eponymous monograph of his work was published by Rizzoli (“eponymous” means the title is Monograph). His new book is Rusty Brown, published by Pantheon.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at the Bethesda North Marriott during Small Press Expo weekend 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. Ware by me. It’s on my instagram.

Virtual Memories Show 338:
Simon Doonan

“Drag has been the wallpaper in my life forever.”

Author, fashionista, creative ambassador, and recovering window-dresser Simon Doonan takes us on a guided tour of gender non-conformity with his latest book, Drag: The Complete Story (Laurence King)! Simon & I talked through his personal history with drag, how drag has evolved over the millennia, how the current moment is pushing drag in new directions, and why male British comics were so comfortable performing in it (a long-standing question of mine). We also get into his love of craft and how dressing windows at Barneys New York was the perfect venue for him, the value of having a day job and not making art the center of one’s life, how a kid who failed his 11+ wound up writing a shelfload of books, the joy of his crafting reality show, Making It, why he didn’t get through the auditions for Queer Eye, the TV skill he had to learn, his love of history and his abhorrence at the idea of being anyone’s role model, why it’s life-affirming to wear some color, what sort of drag I’d be able to pull off, and plenty more! Give it a listen (conversation begins at 7:35)! And go buy Drag: The Complete Story!

(NOTE: All of Simon’s proceeds from this book go to the Ali Forney Center for LGBTQ youth at risk for homelessness)

“I think it’s good for writers to get out and work. Like Simone Weil: she used to work in a car factory.”

“The message I got from my parents was that life’s just not that complicated. The idea that they’d have been involved in my college application is absurd!”

“I have the ability get very interested in things that are outside of myself. My windows were often based around that.”

“I thought about being an Artist, but realized how much more fun it was to be a window-display designer.”

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

Writer, Fashionista and Author Simon Doonan is the Creative Ambassador for Barneys New York. His books include Saturday Night Fever Pitch: The Magic and Madness of Football Style, Eccentric Glamour: Creating an Insanely More Fabulous You, Confessions of a Window Dresser, and Gay Men Don’t Get Fat. Simon appears as a judge on the NBC television show, Making It, co-hosted by Amy Poehler and Nick Offerman. His new book is Drag: The Complete Story.

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. Photos of Mr. Doonan by me. It’s on my instagram.

Virtual Memories Show 333:
Gil Roth AMA

Because of a last-minute guest cancellation, I had no show lined up for this week! Rather than take a second week off this summer, I decided it was time for another Gil Roth AMA episode, since the last one was almost 5 years ago. Thirty-two past and upcoming guests and Patreon supporters came through with questions for me, including (in the order I answered them): Ken Krimstein, Hugh Ryan, Barry Corbett, Joe Ciardiello, Glynnis Fawkes, Kyle Cassidy, Ian Kelley, Kate Lacour, Dean Haspiel, Eddy Portnoy, Kate Maruyama, Tom Spurgeon, Jonathan Hyman, David Leopold, Paine Proffitt, David Townsend, Boaz Roth, Chris Reynolds, Liniers, Caleb Crain, Bob Eckstein, Ersi Sotiropoulos, Andrea Tsurumi, Henry Wessells, Vanessa Sinclair, Jim Ottaviani, Maria Alexander, Mary Fleener, Stephen Nadler, Charles Blackstone, Lauren Weinstein, and David Shields. We cover everything from creative lessons learned from my guests to “why so many cartoonists?”, from what books I re-read and why to who is on my Mount Rushmore list of dream guests, from the comics and GNs that have affected me most to what I think about the Peak TV era, from how running has affected my podcast-practices to who my most obstreperous guest has been, and plenty more! And it was all done in a single two-hour take, so give it a listen!

NOTES:

  • Chris Reynolds’ question included a couple of links, so here’s what he wrote: I’ve been carrying on with “Comics as Radio”, influenced by the KCRW Organist podcast. My friend Alan Jackson did a performance of my Comics as Radio story “Sexton Blake and the 64th Floor” at the Train of Thought Gallery in Worthing, and we discuss it here with John Parke, whose idea it was. So my question is: What do you think of ‘Comics as Radio’?
  • Pre-order Dean Haspiel’s forthcoming collection of The Red Hook: WAR CRY, from Image Comics (comes out Oct. 9)
  • Barry Corbett has started a fundraiser for The Food Pantry, so contribute! You can find his graphic memoir, Terminal Velocity, here
  • Maria Alexander has a new short story collection, 12 Tales Lie | 1 Tells True from Cemetery Dance

BONUS: I’ve got a belated answer to Maria Alexander’s question, “What’s the spookiest thing that’s ever happened to you?” In high school, my English teacher was driving me and another classmate to a creative writing conference in New Brunswick. Somehow, the topic of birthdays came up and — swear to the Unifactor — it turned out that all three of us had the same birthday. I know that’s not ghost-possessed ventriloquist spooky, but it’s still spooky, so I’m going with that one.

SECOND BONUS: When I talked about the movie Magic during the episode, I meant Anthony Hopkins, not Anthony Perkins. If that’s the only mistake I made during the show, I’ll be amazed.

Enjoy the monologue! 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

Gil Roth is the host of The Virtual Memories Show, a weekly literary-cultural conversation podcast. He’s also the founder and president of the Pharma & Biopharma Outsourcing Association, a nonprofit trade group representing contract manufacturing organizations and other service providers in the bio/pharma sector. His wife is a photographer, he runs for recreation and reads a lot, and their greyhound is named after the prince’s hunting dog in The Leopard.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at my house on a Blue enCORE 200 Microphone 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 me & Yorick by me at Cathy B. Graham‘s studio. Header photo is a chapter title card from an episode of Frasier, so it’s not on my instagram.

Virtual Memories Show 328:
Emily Nussbaum

“I come out of the online community and I feel TV criticism specifically is a conversation. The debate-quality of TV that takes place over time is part of the allure of TV criticism.”

Look! Up in the sky! Is it really more like a novel? Is it more like a 10-hour movie? No, it’s TV! In her first book, I Like to Watch: Arguing My Way Through the TV Revolution (Penguin Random House), Pulitzer-winning critic Emily Nussbaum celebrates TV as TV, exploring the unique aspects of the form and helping TV viewers get over status anxiety. We talk about the satisfying/horrifying experience of culling her past reviews and profiles for the book, the audience-oriented nature of TV storytelling, whether it’s important for a well-loved show to nail the finale, and the dual influences of The Sopranos and Buffy the Vampire Slayer on her work as a critic. We also get into her Peak TV moment, how technology has changed TV over the decades, the only time she predicted the upcoming season’s TV hits (Lost and Desperate Housewives), her theory that most workplace shows are actually about TV writing rooms, the difference between weekly and binge-released shows, the perils of writing profiles of the people she’s reviewed, and the challenge of being a funny writer who wants to make serious points. We also get into the question of how (whether?) to separate the artist from the art in the #metoo era, and how she deals with the fact that much of her sense of humor came from watching and reading Woody Allen throughout her youth. On the lighter side, she tells us her favorite songs from Crazy Ex-Girlfriend, and I reveal the ’90s show that I binged on 200+ episodes of last year! Give it a listen! And go buy I Like to Watch: Arguing My Way Through the TV Revolution!

“I have a taste for criticism as theater, rather than a for-the-ages voice from on high.”

“How you do be self-hating enough to improve your writing, but not so self-hating that you cripple yourself and can’t do anything?”

“People are taking stock of their younger selves’ responses to things, not just in terms of bad experiences, but in terms of how they view the world, the way they view art.”

“The binge model is my dream and my nightmare.”

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

Emily Nussbaum is the television critic for the New Yorker magazine. She previously worked as an editor and a writer at New York Magazine, where she created The Approval Matrix. She’s also written for Slate, The New York Times, Lingua Franca and Nerve, among other publications. In 2016, she won the Pulitzer Prize for Criticism. She lives in Brooklyn with her husband Clive Thompson and her two children. She doesn’t have a favorite television show, but under pressure, she’ll choose “Slings and Arrows.” Her first book is I Like to Watch: Arguing My Way Through the TV Revolution.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded at Emily’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. Photo of Ms. Nussbaum by me. It’s on my instagram.

Virtual Memories Show 317:
Frederic Tuten

“I told Jerome Charyn, ‘You escaped the Bronx by writing about it. I escaped by never going back.'”

With My Young Life (Simon & Schuster), Frederic Tuten had to get over his notion that memoir is a cheap shot in order to look back at the beginning of a career in writing, teaching, and art criticism in the New York of the 1940s, ’50s, and ’60s. We get into what started him on this book, how he’s haunted by his childhood in the Bronx, his emphasis on quality over quantity in literary output (while coping with the cautionary example of his writing teacher, Leonard Ehrlich, who only published a single, well-acclaimed novel), his mentorship by artist and convicted murderer John Resko, the joys of cafe culture (and his favorite haunt, Cafe Mogador), and how he got two-timed by “the Elizabeth Taylor of the Bronx” with Jerome Charyn. We also lament today’s celebration of the mundane, celebrate his friendships with Herge, Lichtenstein, Resnais and Queneau, and talk about the books he wants loaded in his casket when he dies, the great allure of Juan Rulfo’s sole book, Pedro Paramo, why future pod-guest Iris Smyles’ first novel is better than F. Scott Fitzgerald’s first novel, how fact-checker Anne Stringfield corrected some virtual memories in My Young Life, how poverty shaped his later life, what he learned from sobriety, Gaugin and The Magic Mountain, and plenty more! Give it a listen! And go buy My Young Life!

“In my 80s I feel like I’m just beginning life. Beginning to learn how to live, and to work, and to enjoy.”

“Live in the dream of the work and rest easy. Something will come. It doesn’t have to be perfect, but you’ve done it. And you can always fix 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

Frederic Tuten grew up in the Bronx. At fifteen, he dropped out of High School to become a painter and live in Paris. He took odd jobs and studied briefly at the Art Students League, and eventually went back to school, continuing on to earn a Ph.D. in early 19th century American Literature from New York University.

He travelled through Latin and South America, studied pre-Columbian and Mexican mural painting at the University of Mexico, wrote about Braziliian Cinema Novo, and joined that circle of film makers, which included Glauber Rocha and Nelson Pereira dos Santos. Tuten finally did live in Paris, where he taught film and literature at the University of Paris 8. He acted in a short film by Alain Resnais, co-wrote the cult film Possession, and conducted summer writing workshops with Paul Bowles in Tangiers.

Tuten’s short stories, art and film criticism have appeared in such places as ArtForum, the New York Times, Vogue, Conjunctions, Granta and Harpers. In addition, he has written essays and fictions for artists’ catalogues including John Baldessari, Eric Fischl, Pierre Huyghe, Jeff Koons, David Salle and Roy Lichtenstein. He has published five novels: The Adventures of Mao on the Long March; Tallien: A Brief Romance; Tintin in the New World: A Romance; Van Gogh’s Bad Café: A Love Story; The Green Hour; and most recently, Self Portraits: Fictions, a collection of stories.

Tuten received a Guggenheim Fellowship for Fiction and was given the Award for Distinguished Writing from the American Academy of Arts and Letters. His new book is the memoir My Young Life.

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