Author / Edward Champion

Posts by Edward Champion

Edward Champion is the Managing Editor of Reluctant Habits.
by Edward Champion

Golden Hour

“Golden Hour,” which was shot at and around Riverside Park, is the third of what I’m calling my “anthropological films.” You can watch it above or click through to YouTube to see it in HD. (The series started with “Bubbles: A Consideration” and continued with “Dia de los Vivos.”) Like the other two films, this installment deals with certain glimpses of New York that most New Yorkers seem to ignore or fail to appreciate. This latest film chronicles aspects of how we live that were put into place decades ago by developer Robert Moses. (I recommend Robert A. Caro’s The Power Broker, if you’re not familiar with the subject.) But you don’t need to be know New York history to experience the film.

I plan to shoot a total of ten “anthropological films” before the end of the year. There may even be more, depending upon how deeply I plunge into these variations on a theme.

[UPDATE: I have created an “anthropological films” page for anyone who cares to chart the progress. I will update this page with additional information pertaining to the interconnected themes of these films as it becomes available.]

by Edward Champion

The Bat Segundo Show: Sarah Wendell and Candy Tan

Sarah Wendell and Candy Tan appeared on The Bat Segundo Show #296.

Sarah Wendell and Candy Tan are most recently the authors of Beyond Heaving Bosoms. They are also the proprietors of Smart Bitches, Trashy Books.

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Subjects Discussed; Kathleen Woodwiss’s The Flame and the Flower, the beginnings of original paperback romance, genre respectability, romance’s profitability, the stigma of effeminacy, cozy mysteries, arterial bloodspray, the fallacious anatomical placement of the hymen, spontaneously lactating virgins, whether the pun is intended or not, editorial house style and “the magic hoo hoo,” the wandering vagina, Lilith Saintcrow’s “Half of Humanity is Worth Less Than a Chair,” rapists within romances, Candy Tan’s suggestive hand gestures, marriage and choice, intrusive Mercedes drivers and related invective, the frequency of oral sex within romances, how far sex needs to go in art, porn, anal sex, bukkake, double wangs and double penetration, homunculi, the line between romance and erotica, hypothetical genre fusion, poseur man titty and erotic romance, the “shop and run” approach to romances, embarrassing covers, dashing long-haired heroes and bald badasses, game theory and Sarah and Candy’s reading preferences, Candy’s pirate fixation, the sharp disparity between genuine smelly pirates and the twee McSweeney’s pirates, “the big mis,” John O’Hara’s Appointment in Samarra, misunderstandings and character flaws, simultaneous organs, romances and Republican presidencies, Cassie Edwards and plagiarism, and encouraging civil disagreement and discourse in the romance community.

EXCERPT FROM SHOW:

sarahwendellCorrespondent: Science fiction, mystery, YA. These genres are getting respect, particularly in the last decade. And yet romance is still one of those things in which people thumb their noses down. Why do you think this is? Must we always have some place to go for the ghetto? What’s the deal here?

Sarah Wendell: Well, I will point out that romance is actually getting a lot more respect because of the turgid strength of its quarterly earnings. And even though most industries — especially in New York, which is hyper-navel gazing in the financial industry — are experiencing massive losses year to year and quarterly to quarterly, romance is the one erect column in your spreadsheet. And it remains quite strong. So while it doesn’t get a lot of respect from your average cocktail crowd, most financial newspapers are having to pay attention to the strength of romance when you’re looking at it as an investment, or as an indicator of an economy. Which is why I think that Harlequin is chuckling, or befuddled, at the entire economic crisis. Because they were founded during the Depression. I’m sure they’re looking at this, going, “This? This is nothing. Are you kidding? Let me just tell you what it was really like.”

Candy Tan: This is great for business!

Sarah Wendell: I know.

Candy Tan: What the hell? No, I think personally that a lot of the reason why romance novels are the Rodney Dangerfield of genre fiction is the stigma of effeminacy. You know, science fiction. They’re “novels of ideas.” Mysteries have lots of blood and guts. Well, some of them do. The ones that don’t get respect, interestingly enough, tend to be the cozy mysteries. The ones in which there’s a cat solving the goddam murder or whatever the hell. You know, those are the ones: “Oh man, they’re not worth taking seriously.” If I remember correctly, and I might be wrong, because I don’t know mystery as well as I should, the hardboiled mystery were one of the first to exit the ghetto.

Sarah Wendell: As long as there’s arterial bloodspray, you get some respect.

Candy Tan: Or you know…

Sarah Wendell: Spooge, not so much.

Candy Tan: Yeah, there’s definitely a lot more respect for male fantasies versus female fantasies in fiction and you see this over and over again.

Correspondent: If we’re going to talk about arterial bloodspray, I think we should point to the fallacious anatomical scenario involving hymens, which you point out in this book.

Sarah Wendell: At length. At great, great length.

Correspondent: Yeah, at great length.

candytanSarah Wendell: You can tell that this is something that rubbed us the wrong way.

Correspondent: Yes, I got the sense…

Sarah Wendell: And to anyone who’s listening, I want a complete pun count at the end of the podcast. And if we can get an accurate pun number, I’ll totally give away a copy of the book and some beaucoup prize if you can identify how many puns we make in the course of this interview.

Correspondent: But the question is: You have so much attention to detail in historical romance and yet this one thing continues to propagate, continues, I suppose, to not be patched up in quite the way that one would expect.

Sarah Wendell: Good one.

Correspondent: And so what I’m wondering is: Do you think romance readers and romance writers want to fantasize about where the hymen is?

Sarah Wendell: No, I think it’s simple oral history. And I don’t mean that in a bad way. I think that the legend of the misplaced hymen is just something that’s passed down from writer to writer. Much like the historical inaccuracies that plague other parts of the specific historical genre, “Where the hell your hymen is?” is one of them.

Candy Tan: Here’s the thing. I think I’ve spotted the same misplacement of the hymen in other books. Not romance novels. I think I’ve read a couple of horror novels — and maybe it would have made sense if the girl being devirginized were some kind of filthy alien beast. By hymen, you mean vagina dentata. But you don’t. Oh, oh, it’s infected other genres too! How wonderful! Anatomical craziness all the way around.

Sarah Wendell: And that’s not the only anatomical inaccuracy we’ve discovered. There’s a few one off inaccuracies we’ve discovered that are just mind-boggling. Like there’s one Gaelen Foley where the heroine’s a bona-fide virgin. And I mean bona-fide. Not is she like a virgin, but she’s like a princess or some shit? They haven’t even had sex yet. This is the first time they’re kissing in the woods. And he tastes her milk. Because, you know, virgins spontaneously lactate. Like a postpartum woman going into Target and hearing a baby cry. Yeah, same thing.

Candy Tan: It was the most nipple-tacular moment in all historical romance.

BSS #296: Sarah Wendell and Candy Tan (Download MP3)

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by Edward Champion

Knowing the Game and Playing It

All together, it was the face of a man to be afraid of in a dark alley or lonely place. And yet Tom King was not a criminal, nor had he ever done anything criminal. Outside of brawls, common to his walk in life, he had harmed no one. Nor had he ever been known to pick a quarrel. He was a professional, and all the fighting brutishness of him was reserved for his professional appearances. Outside the ring he was slow-going, easy-natured, and, in his younger days, when money was flush, too open-handed for his own good. He bore no grudges and had few enemies. Fighting was a business with him. In the ring he struck to hurt, struck to maim, struck to destroy; but there was no animus in it. It was a plain business proposition. Audiences assembled and paid for the spectacle of men knocking each other out. The winner took the big end of the purse. When Tom King faced the Woolloomoolloo Gouger, twenty years before, he knew that the Gouger’s jaw was only four months healed after having been broken in a Newcastle bout. And he had played for that jaw and broken it again in the ninth round, not because he bore the Gouger any ill-will, but because that was the surest way to put the Gouger out and win the big end of the purse. Nor had the Gouger borne him any ill-will for it. It was the game, and both knew the game and played it.”

— Jack London, “A Piece of Steak”

by Edward Champion

Cruel Economy

“Hello there. Sorry to bother you, but I won the Nobel Prize for Physics last year. I’m wondering if you have any temp work.”

“Well, we’re always filling positions.”

“Great! I was just looking for something to get by for a few weeks. Is there anybody I could speak to? I’d be delighted to meet with you. I’m happy to take any typing or computer tests.”

“Do you have any experience?”

“I spent ten years studying the symmetry of extended tachyon-based objects. My findings are being taught in several upper-division classes. But, you know, forget all that. I’m happy to work in the filing room. I just need a few weeks of work.”

“Well, I’m sorry. As you know, it’s been much slower than usual.”

“But I thought you said you were filling positions.”

“We’re always filling positions.”

“I have letters of reference from Michio Kaku and Neil deGrasse Tyson, and I graduated within the top 1% of my class.”

“Yes, that’s nice. Just email us your resume, and we’ll contact you in three weeks if you qualify.”

“My rent is due in three weeks, and I have no savings.”

“It was a pleasure chatting with you! I’m sure you’ll do just fine. A talented guy like you? Just hang in there and stay the course. Prosperity is just around the corner! And never shake the audacity of hope!”

by Edward Champion

The Bat Segundo Show: Percival Everett

Percival Everett appeared on The Bat Segundo Show #295.

Percival Everett is most recently the author of I Am Not Sidney Poitier.

[For related links, check out Percival Everett Week over at Emerging Writers Network, as well as my specific thoughts about Everett’s most recent novel.]

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Condition of Mr. Segundo: He is not Percival Everett.

Subjects Discussed: Name-related jokes, puns and internal metaphors, the many ways to pronounce “Le-a,” literal misunderstandings, whether there really is a Ted Turner, Bill Cosby’s Pound Cake speech, Richard Power’s Generosity, the relationship between reality and fiction, truth vs. reality, the “magic” of writing, stress, on not paying attention to the publishing industry, making the next book, not caring about the reader, on not writing commercial successes, the impulse to entertain, Everett’s world of Dionysus, reader reactions and interpretations, having no affection for previous books, becoming a better writer, the “experimental” nature of Wounded, outlandish one-dimensional figures and subdued prose, I Am Not Sidney Poitier as a “novel of ideas,” on not knowing how to write a novel, artistic creation and gleeful sabotage, narrative worlds and anarchy, Everett’s novels as concrete recreations, loving children geniuses and idiots alike, worldbuilding, subverting subjective character understanding, limitations, writing novels as a playground, having an interest in religion while remaining an “apath,” psychics for horses, believing with character belief, laundry list descriptions, strategic use of language, the relationship between story and language.

EXCERPT FROM SHOW:

everett2Correspondent: I recently read Richard Powers’s forthcoming novel, Generosity, which deals with the notion of what a novel really is and what ideas and characters really are. And I’m very curious to put this question to you. To what degree do you need reality to start from? And to what degree do you feel the need to be faithful to reality? Or even faithful to real-life figures? Or can you accept a Percival Everett figure in this who also happens to have a book called Erasure?

Everett: First, I owe nothing to reality. But, of course, for any novel to work, in spite of my disregard — maybe even my disdain for facts — truth is important. If it’s not true, you can’t stay with it. You won’t believe it. And there is no work. But truth has nothing to do with reality or facts.

Correspondent: But you do have names to draw from. Not just in this book, but also in your previous books. Thomas Jefferson, Strom Thurmond. You’re a guy who likes real names like this. And so, as such, I have to ask. Is it just a constant influx of information from newspapers that is your creative muse? Where do you stop from reality and start with the inventive process? Or the misunderstandings we’re talking about?

Everett: Well, it depends on the work. But I read all the time. So it just depends on what comes to me. Some figures just present themselves as too alluring to ignore. How could I go through my life and not at some point address Strom Thurmond? (laughs)

Correspondent: Yeah. Sure. But it can’t just be a simple impulse. Because obviously…

Everett: Why not?

Correspondent: Because I’m thinking when you set out to write a novel — and I’m not you obviously — but when you set out to find a concept or put your finger on something, is it a matter of instinctively knowing that that’s something to riff on or something to expand further? Or do you have any plan like this?

Everett: Sometimes I don’t have a plan. Sometimes it’s hit or miss. Trial or error. Feast or famine. All of those duals. I don’t know. For me, the way novels come together is magic. And I only question it so much.

Correspondent: Magic. Magic through pure work? You’re a prolific guy.

Everett: Yeah, I suppose. Yeah. It won’t get done unless I do it. So I try to do it. And I don’t stress.

Correspondent: You don’t stress? Never stressed at all?

Everett: I try not to be. There’s no reason to get upset about anything. Especially work. And then it happens. And the more it happens, the less stressed I become.

BSS #295: Percival Everett (Download MP3)

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