Condition of Mr. Segundo: Not sacrificing time for horror.

Guests: Scott McKenzie and Stephen Graham Jones

Subjects Discussed: Approachable authors in the frozen food section, the implementation of pre-2000 references into narrative, the lineage of horror films, screenplay terminology, the relationship between Demon Theory‘s top text story and the footnotes, movie references, protagonists vs. ensemble casts, horror novels, drafting vs. editing, the influence of real-life horror, girls in bras, Jones’ unintentional academic life, trepidations towards New York, refraction and contemporary “science” novels, Against the Day, small town writing communities, Jones’ influences, how the trilogy structure changed the footnotes, the difficulties of writing screenplays, drive-by urinals, and the major stylistic difference between the Demon Theory hardcover and paperback.

(A co-production of the LBC, Pinky’s Paperhaus and The Bat Segundo Show)

EXCERPT FROM SHOW:

Jones: I just discovered that footnote function in my Microsoft Word, I guess. And I was writing Demon Theory and having a ball with the screenplay terminology and all that. But then maybe, I guess fifteen pages into it, if that, I started dropping footnotes. They were meant to be deleted later. I was dropping them. Like I was calling myself names. Like “You obviously stole this from Halloween.” “You stole this from here.” You know. But then they just kept snowballing and snowballing until everything was stolen from something. And that kind of just became one of Demon Theory‘s conceits, I guess.

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Condition of Mr. Segundo: Introspective about his long lost lawn gnome.

Author: Nick Mamatas

Subjects Discussed: The X+Y book formula, H.P. Lovecraft, Jack Kerouac, Aristophanes’ The Acharnians, telepathy, garden gnomes, radioactive fallout, conspiracies, Elián González , Littleton, Under My Roof as allegory, the influence of current events upon narrative, Cthulhu as muse, Lovecraftian poetry, crazy tenants, writing short novels in a “big book”-friendly environment, working with Night Shade and Soft Skull, Skybars, the downside of product placement in the future, pursuing an MFA, health insurance, narrative ideology, character testimonials, the influence of Animal House, micronation novels, George Saunders’ The Brief and Frightening Reign of Phil, Duck Soup, and life-changing YA novel experiences.

EXCERPT FROM SHOW:

Mamatas: Well, at first it was going to be a lawn jockey.

Correspondent: Really?

Mamatas: Yes. In an early draft, I had it as a lawn jockey. But I figured that was too unctuously petty bourgeois. I thought a garden gnome was more down market. And also, they’re bigger. So you can put more nuclear stuff inside a garden gnome.

Correspondent: But at the same time, there’s also a certain kind of suspension of disbelief on the part of the reader. Because if you actually go ahead and try to produce a nuclear device in a garden gnome, there’s going to be some radioactive fallout. The FBI guys kind of show up and like — I’m thinking the FBI would immediately sort of seize this family. And yet they don’t. I was wondering if this kind of realism isn’t of concern for you, or is it meant to be more of a meditative kind of…

Mamatas: Well, partially it’s meditative. Partially, people get away with things, you know. 9/11 — people got away with it, even though there were many people watching these terrorists and keeping their eye on them. But they all managed to get through and carry out this attack. There’s almost a nationalist type of myth that the FBI and the CIA are super-competent and that we always know what’s going on. That’s part of why we have the 9/11 denial movement, or conspiracy movement.

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Condition of Mr. Segundo: Contemplating his vampiristic sensibilities.

Author: Christopher Moore

Subjects Discussed: WordStar word processors, using the nouns “monkey love” and “guy,” Midwestern vernacular, trying to figure out the ten year interval between Bloodsucking Fiends and You Suck, San Francisco topography, George Romero, Bullitt, the 42-Downtown bus loop, invented references vs. real references, Abby Normal’s perspective, Lautréamont’s Maldoror, Goth kids, Near Dark, vampire violence, dialogue vs. description, deadlines, narrative pace, the “book a year” demands of publishers, writing big books vs. little books, research, living up to Lamb, the burdens of having a mass audience, Basket Case vs. Citizen Kane, ambitious narratives, marketing vs. writing, answering email, living up the goals of being a commercial writer, Andrew Weil, “drive-bys,” on achieving balance, oscillation, Moore’s “mistress,” the last time Moore took a vacation, writer’s block, on being clueless, William Gibson, Jack Womack, on being a “piece of crap” vs. being a “master of the universe,” John Steinbeck, avoiding reviews, and boob flashing.

EXCERPT FROM SHOW:

Correspondent: Since you’re a funnyman, that would probably keep the pace going because someone’s pausing to laugh. I don’t know. I’m just wondering why you avoided metaphor — aside from pace.

Moore: Don’t even think about it.

Correspondent: Yeah?

Moore: Yeah. You’re applying way too much analytical — the kind of thing that happens in deconstructive analysis of literature that doesn’t happen when you write a book. I don’t think, “Oh, I’m going to put much less metaphor in this book.” It’s just: you write what occurs to you at the time. I would say probably that if I were to tell you what was the reason? The reason: the first book I didn’t have a deadline; this one, I did.

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Condition of Mr. Segundo: Fleeing from disco.

Guests: Anne Fernald and Valerie Trueblood

Subjects Discussed: Weaknesses for beautiful books, life as “structured anarchy,” the definition of plot, David Markson, narrative flow, cause and effect in narrative, unexpected events, Seven Loves‘ “eventless” perception, on being “anti-plot,” the beginnings of May Nilsson, family characteristics, the relationship between unpredictable life and fiction, compartmentalized American novels vs. compartmentalized British novels, Edward P. Jones, MFA workshops, the short story form, the paucity of older protagonists in fiction and how older people are underestimated, Faulkner and race, Sidney Thompson, verboten perspectives, underlying nuances beneath sentences, Trueblood’s unintentional wisdom, two-inch items in newspapers, “quiet” vs. melodramatic reader perceptions, people who disappear, and being an apocalyptic person.

(A co-production of the LBC, Pinky’s Paperhaus and The Bat Segundo Show)

EXCERPT FROM SHOW:

Trueblood: Narrative seems to me to be something that sort of flows in many currents through us and carries us through life, but is not — I guess what I mean by plot and why I’m sort of anti-plot is the sort of contained arc: the beginning, the complication and the resolution. Novels like that, I just don’t believe. It’s hard for me to see that things could really ever be tied up with a resolution.

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Condition of Mr. Segundo: Trying to get the lay of the land.

Author: Richard Ford

Subjects Discussed: Bill Buford’s “dirty realism,” inland vs. coastal territory in the Frank Bascombe books, nautical motifs, Joshua Slocum’s Sailing Alone Around the World, the development of Haddam, recurring supporting characters, crafting long, information-heavy sentences, Ford’s dismissal of cyclical metaphors as “a bunch of baloney,” religion and irony, the politics of the Bascombe books, arranging Frank Bascombe’s days, Ford’s violent reactions to reviews, Colson Whitehead, Bascombe’s culinary habits, quotidian details, street names, evading the influence of other writers, the Permanent Period, self-help books, Sally’s letter vs. Frank Bascombe’s voice, roomy novels, writing short stories vs. novels, dyslexia, research and real estate terminology, William Gaddis’s A Frolic of His Own, Frank’s Great Speeches book, making trips to New Jersey, Haddam vs. Updike’s Brewer, memory and perspective, the relationship between Ford and his readers, on pissing the right people off, responding to the “fool” Christopher Lehman, and character conventions.

EXCERPT FROM SHOW:

Ford: I don’t think of [Haddam] as a character. I think of it as just the backdrop of what the real characters, which is to say the human beings in the book, do in the foreground. Setting for me is always just the context that makes what people do more plausible. And I invented Haddam out of what experience I have had and continue having in central New Jersey. And so for me it was an amalgamation of a bunch of different places that I sort of organized under the name Haddam. And it never really was intended to be more than that, except as these books began to develop to be more about American cultural life and American spiritual life in the suburbs, it sort of rose to become a bit of a touchstone subject in and of itself. Because in describing a town’s housing stock, in describing moratoriums, in describing sprawl outwards from these little towns, that became for me a subject I never intended to find but did find and then did use.

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