Author / Edward Champion

Posts by Edward Champion

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

An Interview with Edward Champion

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atstartt the end of the end of May, edrants.com announced the appointment of its American editor Edward Champion to the role of acting editor. Up until this point in time, it had never occurred to us to have American editors, acting editors, or indeed editors of any type. There was just one guy at the helm named Ed. Perhaps his first name is actually “Editor.” But since certain literary magazines have seen so many people leaving, resigning, and otherwise exiting the doors with a banker’s box of literary belongings, it seemed necessary for us to apply a needless degree of self-importance to this website. Champion came to edrants.com after working in various office jobs and has been with the website since December 2004. During that time he has interviewed over 300 authors and written for numerous newspapers. He hopes to continue to boast about himself because he’s under the false impression that community comes naturally through relentless self-absorption. Ergo, this interview, which doesn’t carry a byline but appears on the very website that Champion claims is editorially independent! edrants.com recently caught up with Champion to talk abut his background, his inspirations and future issues posts of edrants.com.

Can you tell me a little about yourself? What’s your background?

I was born in California, and was beaten regularly by my parents. I tried to get a job delivering newspapers, but was told that John Freeman was delivering all the papers in the neighborhood. And since Freeman wouldn’t give up a few blocks, I was forced to work in a greasy diner, where the doors were locked until midnight and I was forced to hitch rides to and from work by an unpleasant busboy named Linus, who demanded the occasional hand job. The consequences of these hand jobs can be seen in the present cutbacks in newspaper book review sections. John Freeman tried to save them, but even he couldn’t. And yet he gets a silly promotion and an Observer article, and I’m trying to string together checks to pay the rent. I’m developing an ego. This worries me.

What excites you most about edrants.com?

The celebration of myself. The opportunity to take smug photos of myself with books and to pretend that my foldout chair is something more than it really is because there are books stacked on top of it.

The chance to do this now is also a great privilege. Because I’m white and I’m male. I don’t believe there’s a lack of good writing in our world, but I do believe that we should only publish boring suburban fiction. The kind of soporific stuff you see in the New Yorker, but that permits people to curd the spasms of their dismay into a balled up Kleenex. As a cultural website that is read internationally, edrants.com is in a unique position to be found by desperate men at 3:23 AM. The men will get pissed off that they didn’t find pornography and they will begin sending me death threats by email. It’s what our readers expect of us. I hope you don’t mind me using the first person plural.

Not at all.

Good. I was beginning to get worried. I really needed some time to develop some kind of narcissistic personality disorder.

How do you think edrants.com can be improved?

It’s absolutely perfect the way it is, you ungrateful bastard! We don’t live in an Anglo-American world anymore, except we do. Because I’m the Acting Editor of edrants.com and John Freeman is the Acting Editor of Granta. You need to have white bread elitists in power who pretend that they really care. We need to do a better job of pretending that we’re actually reading writers who aren’t white. And that means name-dropping a continent or two, rather than a country.

In what direction will you take edrants.com as Acting Editor?

We need to write more long profiles of Edward Champion. We need more videos of Champion in bathtubs with naked women. If YouTube won’t post these videos, then surely YouPorn will. We’re not a website really, but a cultural space and — excuse me, just sifting through the document the marketing people gave me — and, yes! A cultural space where anything can happen.

Will edrants.com continue to be themed?

Well, it was never really themed to begin with. I don’t know where you’re getting these questions from. We are averse to themes because they remind us of too many themed office parties in which a lot of miserable people sat around drinking cheap merlot in red paper cups under a pinata for a Cinco de Mayo-themed party. Nevertheless, the world needs more themes. We need themes so that people can be reminded of what they already know instead of actually challenging their perceptions.

Every now and then, though, we’ll have no theme. Until that crazy Swedish bitch calls me to London and asks me what the hell I’m doing with her money. Then I’ll sheepishly give you an edrants.com with themes attached.

by Edward Champion

Bad Neighbors

Walter and Patty Melted were the young products of Franzen Hill — the first dreadful characters to spit out of the misanthropic novelist’s mind since the old heart of The Twenty-Seventh City had fallen on hard times two decades earlier. The Melteds hadn’t done anything to that bitter elitist hillock in Manhattan, except have the misfortune to run into it and kill themselves for ten years while the ultramontane deities renovated them. Early on, some very determined blogger torched the shit monster and did everything except beat this sad lifeless soil to a pulp so that he could drink Pabst Blue Ribbon with Howard Junker and cook up a few hot dogs with some of the boys at the raucous rooftop party that Jonathan, that sour whiny motherfucker with earplugs permanently stuck inside his hirsute ears, would never attend. “Hey, you guys, you know what?” Jonathan asked on behalf of the Melteds, “you are low-class people who will never understand my literary genius.” He saw Oprah — or was it Oona? — on a bigass tv set and wanted to destroy this pox upon pop culture that his dainty toes would never touch. The Melteds hung down their heads, wondering why they had to be attached to this utterly incurious novelist and outright wanker. Behind the Melteds you could see the glazed Galassi making book-encumbered demands of book-encumbered novelists who forgot just what lively writing was all about; ahead of him, an afternoon of George Michael on radio, Freedom, an important title for an important man who had sideswiped Gaddis, taking his title and then dissing his last two books while the great Bill G was safely packed away into his maggot feeding plot, and then “Goodnight Fuck,” then Zinfandel, not that low-class populist Pabst Blue Ribbon. The Melteds knew that Gawker reporters would be there. Jonathan knew that he was a gasbag that just couldn’t stop expanding over the itchy and queasy expanse of Franzen Hill.

In the earliest years, when you could still remember getting your fingers greasy without feeling self-conscious or ashamed of the remainder of those middling Missouri roots, the collective task at Franzen Hill was to relearn certain joys about life that everybody else seemed to experience, but that eluded the sourpuss gestalt, like how to find some moment to smile at over the course of a 72-hour period, and how to actually enjoy some sight without standing on the edge of Central Park with a stick up your ass, and how to understand that there was actually a universe that extended beyond the island of Manhattan, and how to not write needlessly long sentences with laundry list clauses and pretend that you had something significant to say. Did they print this silly shit because it shot from the soulless steam stacks atop Franzen Hill? Did they even check the manifest anymore? Who needed to? The piece — whether story or excerpt from forthcoming novel — would give phony comfort to New Yorker readers. Franzen Hill was a brand name. One as dependable as Nike, Pepsi-Cola, and Microsoft.

For all existential queries and verisimilitudinous volts, Patty Melted was a resource, a dried up construct whom Jonathan the novelist could desperately look to for the answers. A carrier of sociocultural pollen, if only the author had anything sociocultural to really draw from. She would have to remain a spent capsule, a sarcophagal bee that never talked back and stung the author, and only the author, when provoked.

Make no mistake: this was a disease, a cancer that would cause the unthinking literary acolytes to praise Franzen Hill’s physical dimensions without considering the pustules and sputum enervating the whole. Those flabby Bolanoites holed up in garrets still actually believed that they could bust shit up from the inside when they were part of the unthinking market forces. The rush of Franzen Hill would spread with the thwacks of magazines hitting doorsteps and newsstands, and continue with the reverberating dings from email clients. Endless forwarding, some printing off of the story for the subway, the sense that Franzen Hill was only the finest. Never mind what shit the story was. It appeared in The New Yorker!

The Melteds still knew that Everest towered over Franzen Hill.

“It’s a wonder,” Walter Melted remarked to Patty afterward, “that this sad and contemptuous man is even still writing.”

Patty shook her head. “I don’t think he’s figured out how to love anything.”

by Edward Champion

Roundtable Discussion Coming in July

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It came together at the last minute, but this website is going to be featuring a roundtable discussion during the week of July 8, 2009. For those readers who have enjoyed our previous roundtable discussions of Richard Powers’s The Echo Maker, Nicholson Baker’s Human Smoke, Eric Kraft’s Flying, and various other books, this casual but thoughtful symposium in July will operate along similar lines.

I cannot reveal the book at this time. But I can tell you that the book is nonfiction and deals with a significant issue — something that all of us deal with, but many of us take for granted. I can also tell you that the letters P, H, and C are in the book’s title, and that the book cover features an icon that reminds me of a regrettable period in my life approximately fifteen years ago in which I believed, in all seriousness, that a Franklin Planner was a pretty good idea.

I should have more details about the book (and the topic) in question when we get closer to pub date. And we’ll reveal the book early enough so that those wishing to follow along.

I should also note that I’m hoping to increase the frequency of roundtable discussions in the future. More on these many developments later!

by Edward Champion

BEA 2009: The Cool-Er Reader

As widely reported over the past week, BookExpo America featured several $249 e-readers. And while I certainly observed many people salivating over e-readers as a whole, a good deal of drool congealed around the edges of Interead’s Cool-Er Reader. Teleread’s Paul Biba reported that the Cool-Er is “very light and feels good on the hand.” (The Interread people did not allow me to corroborate Mr. Biba’s findings. While I don’t desire to undermine Mr. Biba’s understandable excitement, I would not be doing my duty if I didn’t point out that the same words might be said of a freshly washed and folded beach towel.) Wet Asphalt’s Eric Rosenfield reported that the Cool-Er people were very defensive when their device was compared with other e-readers. And I suppose that companies are indeed prone to getting a little defensive when are greeted with legitimate questions instead of marketing opportunities.

On Sunday, May 31, 2009, I was more or less off-duty and somewhat hungover. I had devoted the morning to baking cookies and alotted the afternoon to my theatrical appearance at the Firebrand blogger signing. Under such conditions, the only apparel you can really wear is a Cocaine Fiends t-shirt. Nevertheless, I felt it necessary to check the Cool-Er Reader out for myself. I talked with marketing director Phil Wood and did my best to separate the booth’s beach imagery from all the hype.

by Edward Champion

The Bat Segundo Show: Mark Kurlansky II

Mark Kurlansky recently appeared on The Bat Segundo Show #292.

Mark Kurlansky is most recently the translator of Emile Zola’s The Belly of Paris and the editor of The Food of a Younger Land. He previously appeared on The Bat Segundo Show #220.

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Condition of Mr. Segundo: Pushing past the patois of a forgotten linguistic formation.

Author: Mark Kurlansky

Subjects Discussed: Wanting to be Zola as a kid, thorough food research, the difficulties imposed by lawyers, racist patois, Don Dolan’s failure to understand the burrito, why so many unqualified people got jobs with the Federal Writers Project, Nelson Algren, Richard Wright, manuscripts that were never intended for publication become published thanks to Kurlansky, investigative anthropologists, Coca-Cola parties, lost culinary rituals, Brunswick stew and the original recipe involving squirrel, Kurlansky’s obsession with recipes involving beaver tail, Vermont maple trees, “Nebraskans Eat the Weiners,” corroborating dishes and rituals that made it into the present day, the Nebraskan Popcorn Queen, trying to whittle down Library of Congress material for a book, food conflicts, regional gaps in the America Eats project, Kenneth Rexroth, Basque inaccuracies, Claire Warner Churchill’s extraordinary fury concerning mashed potatoes, World War II’s effect on the WPA, editorial oversight with the Federal Writers Project, geoducks, rarefied cuisine, drying meat over an open fire, hoecakes, low-class and slave forms of cornbread, an altogether different notion of Texas chuck wagon, sheriff’s barbeque, and the mint julep controversy.

EXCERPT FROM SHOW:

kurlansky4Correspondent: First off, just a general question to tie in Zola with the Federal Writers Project book. In an introduction to The Belly of Paris, you confess that, in fact, you wanted to be Zola when you grow up. And this is very interesting because Zola, of course, was a serious investigator. And, of course, going through the endnotes of The Belly of Paris, I see all these references to sausage and meat, and simultaneously I’m thinking in terms of the investigations in this book, The Food of a Younger Land. I’m curious if you think that investigation of that particular time is comparable with Zola and the Federal Writers Project and whether you think perhaps that there’s something that is missing from that type of investigation today. What are your thoughts on all this? Just to start off here.

Kurlansky: Well, Zola was — especially as fiction writers go — a very thorough researcher. This book takes place in the Les Halles market. And he spends a lot of time in the Les Halles market and actually followed wagons from the entry of Paris to the Les Halles market. And when he did Germinal, he spent weeks and weeks in the mines with the miners. I don’t know how much writers do that now. I certainly do. And I think other writers must. Of course, there’s a lot of things where it’s getting more difficult in America to do these things. Because lawyers won’t let you.

Correspondent: (laughs) Yeah.

Kurlansky: There are all these legal issues if it’s a dangerous workplace.

Correspondent: Is this why the time of the past is better then?

Kurlansky: (laughs)

Correspondent: Because you have the statute of limitations.

Well, the concept of “proceed at your own risk” has been lost through lawyers. I’m married to a lawyer. I understand this.

Correspondent: (laughs)

Kurlansky: I mean, part of the reason I admired Zola, outside of the fact that he was such a great writer, was that he had deep political commitments. And those commitments can be found in his writing. But his writing never descends into political diatribe. He always had it very clear in his mind that art was above that kind of thing. That in art, you could show society with all its faults, but you couldn’t rant about it. And, in fact, in The Belly of Paris, he has characters who he probably very much agreed with who he makes look ridiculous. Because they go into these rants all the time.

Correspondent: But in terms of this level of investigation, also in the anthropological folklore component of many of the Federal Writers Project’s writers, I mean, there is something interesting in reading an entry or an article in a particular dialect and essentially listening on the page to someone essentially listening a recipe. The question though is whether this is entirely accurate of the patois at the particular time or whether there are problems. I mean, you allude to a lot of racism that you uncovered and that you didn’t put into the book.

Kurlansky: Yeah, well, some I did. My original reaction was not to put any of it in. But since my whole idea of doing Food of a Younger Land was that I wanted to give readers the experience that I had when I looked through these boxes and accidentally falling into another time into 1940 America, and how different it was, and different in a lot of positive ways. And why cover up the negative ways? This was pre-civil rights South. Black people were referred to by their first name, comma “a Negro.” And a lot of the dialogue sounds like master and slave. And the black dialect is stretched to absurdity. To a point where it’s clearly racist.

(Photo: Lawrence Sumulong)

BSS #292: Mark Kurlansky II (Download MP3)

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