“People have responded very well to The Booksellers in the pandemic moment, because it speaks to an aspect of city living that’s been denied us. It was an access point to that.”
With the wonderful documentary, The Booksellers (Greenwich Entertainment), director D.W. Young celebrates the world of antiquarian books and the personalities who trade in them. We talk about how The Booksellers came together, the need to celebrate book culture, and the experience of premiering the movie during the New York International Antiquarian Book Fair on the cusp of the pandemic. We also talk about each of our realizations that we’re not that obsessive about old books, the ways collectors help preserve history, and the changing nature of what’s antiquarian. We get into his move into filmmaking in his 30s (after working on a novel that didn’t quite work out), DW’s new project on the pandemic, the election, and New York artists, the thrill of the hunt and what we miss about the pre-digital world, the great experience of getting Fran Lebowitz in The Booksellers, a celebration of NYC’s long-gone Book Row, and why he’s optimistic about the next generation in book dealers and what they’ll collect. Give it a listen! And go watch The Booksellers!
“The internet is influencing and impacting us in ways that we don’t understand yet. Trying to come to grips with that is the great challenge of the moment.”
“Sometimes I think it’s odd that I make both documentary and narrative films. To me, it’s about trying to realize an idea.”
D.W. Young is a Brooklyn based filmmaker whose work has screened at festivals around the world. His documentary A HOLE IN A FENCE and narrative feature THE HAPPY HOUSE were both released by First Run Features. His short films include the dark comedy NOT INTERESTED which premiered at SXSW, A FAVOR FOR JERRY, filmed on election night 2016, and A BODY OF LANGUAGE for The New Yorker. His most recent film, THE BOOKSELLERS, premiered at the New York Film Festival in 2019 and is distributed by Greenwich Entertainment in the U.S. with Magnolia Pictures handling international sales.
It’s time for our year-end Virtual Memories Show tradition: The Guest List! I reached out to 2020’s pod-guests and asked them about the favorite book(s) they read in the past year, as well as the books or authors they’re hoping to read in 2021! Thirty guests responded with a a fantastic array of books. (I participated, too, in my rambling way!) The Virtual Memories Show offers up a huge list of books that you’re going to want to read in the new year! Give it a listen, and get ready to update your wish lists!
“I’ve got rid of paintings I was very pleased with but which I knew needed to go deeper. It’s an extremely painful process; I’ve been kept awake at night, driving myself insane with remembering what I’ve lost. Images that I’ve painted over remorselessly come back to haunt me.”
With her wonderful new memoir, SELF-PORTRAIT (NYRB), celebrated life-painter Celia Paul explores her life as an artist, the evolution of her portraiture, her need for a Virginia Woolf-ian Room of One’s Own, and her 10-year relationship with Lucian Freud (c.1978-88). We get into the influence she and Freud had on each other’s work, how she took control of her life and her art, the moral component of life-painting, the importance of being selfish, the conflict for women artists between being loved and following your own path, her affinity for the artist Gwen John, her antipathy toward the word “muse,” and how much she flat-out hates being called an artist “in her own right”. We talk about the influence of Collette & Duras on her writing, her decision to incorporate her journals in the memoir and the continuity of self they reveal, why she only paints portraits of people she knows well (and why her paintings of her sister Kate as self-portraits), the uses of stillness, how she re-evaluated her life after Lucian Freud’s death in 2011, why letters are like painting, and much more. Give it a listen! And go read SELF-PORTRAIT!
“I think I was deflected from my purpose by being influenced by Lucian Freud in one crucial aspect: he was very interested in the balances of power between people, between lovers particularly.”
“I think my sister Kate & I know each other so well we hardly need to speak. A lot of the portraits I’ve done of Kate here self-portraits by proxy. She expresses what I feel. There’s nobody else in the world I’ve felt that uncanny connection to.”
“It’s so difficult to be ambitious about your own work and also be desirable. There’s a conflict between being loved and following your own path.”
“One of the saddest things about death is losing the particularity of the person: the way the mouth covers over the teeth, the way they talk, and all that. And how can heaven or some kind of Christian notion of the afterlife compare to that kind of intimate knowledge of an individual?”
“The thing about art is there always has to be a certain distance, or it doesn’t have authenticity.”
Celia Paul was born in 1959 and studied at the Slade School of Fine Art. Her work has been exhibited internationally and is in the collections of the British Museum, the National Portrait Gallery (London), and the Metropolitan Museum of Art. Her major solo exhibitions include Celia Paul, curated by Hilton Als, at the Yale Center for British Art (2018) and the Huntington Art Museum, San Marino, California (2019); and Desdemona for Celia by Hilton at Gallery Met, New York (2015–16). Her work was included in the group exhibition All Too Human at Tate Britain (2018). She lives and works in London. Her new book is SELF-PORTRAIT.
“The vote has to be rethought in our American hearts as a radical act, because so many people don’t want you to vote. We have to think about the vote as the center of American culture and American purpose, that cuts across lines of identity that people have drawn so vividly.”
Writer and cultural critic Darryl Pinckney joins the show to celebrate the new edition of Blackballed: The Black Vote and US Democracy (NYRB) and the paperback of Busted in New York and Other Essays (Picador). We talk about revisiting his Obama-era writings in the post-2016 world, the importance of the vote and the question of whether there’s a Black vote, or Black voters. We discuss his surprise at the persistence of makeup of the BLM protests, his place in the historical chain and the moment he felt out of touch, and his history at the New York Review of Books and its roots in the anti-Vietnam War movement. We also get into the fractured relationship between Jews and Blacks (following their close ties during the civil rights movement), the companionship of books during the pandemic, the commodification of the arts, the memoir he’s working on about Elizabeth Hardwick and 1970s NYC, and more, including an image I’ve pondered for years: Jesse Jackson’s tears the night of Obama’s election in 2008. Give it a listen! And go read Blackballed and Busted in New York!
“Our generation didn’t think we were getting older the way we saw the previous generation get older. People made the mistake of thinking their children were their friends. They’re not; they’re your judges.”
“The past is so case by case, there’s no one rule for confronting it. Because there’s no end to what you can find out.”
“We have a lot of books, most of which I’ve not read. Now that I’m aware time is running out, I’m more enchanted by the book as an object than ever. The companionship of a book at a time like this means a lot to me.”
“None of this was ever certain. That things worked out the way they did is the surprise.”