by Edward Champion

The Bat Segundo Show: Eric Kraft, Part Three

Eric Kraft appeared on The Bat Segundo Show #270.

Eric Kraft is most recently the author of Flying. This is the third of a three part conversation with Kraft about all of his Peter Leroy books, an epic of more than a million words which Our Young Roving Correspondent was insane enough to read. These podcasts tie in with a roundtable discussion of Flying involving numerous people.

(To listen to Part One of this conversation, go here. To listen to Part Two of this conversation, go here.)

segundo270

Condition of Mr. Segundo: Contemplating the stamina of listeners.

Author: Eric Kraft

Subjects Discussed: Writing about a location when not being at that location, intermittently returning to Babylon to absorb some details for Babbington, the limitations of revisiting place, having too many facts at one’s disposal, mysterious dark-haired girls, Peter Leroy’s muses, the gradual augmentation of swagger, seducing the audience, misheard literalisms, whether or not a meal has feelings, Boston Phoenix restaurant critic Robert Nadeau and B.W. Beath, the “warm and cuddly” label attached to Kraft’s work, perverse impulses and the telling of the tale, the source of the odd smell in Matthew’s apartment in Reservations Recommended, Kraft’s delivery of a letter to Jean Shepherd and a subsequent radio show based around that letter, dwelling more on the recent present, going to towns that have interesting names, Leroy’s influence on the memories of Kraft’s friends, efforts to make Kraft a famous writer, the effect that Random House’s purchase of Crown had on Kraft’s books, making a big score with a commercial book, dealings with Amblin, writing the Inflating a Dog screenplay, Donald M. Murray’s My Twice-Lived Life, the relationship of socks to a writer’s output, Madeline’s position on mismatched socks, self-congratulation and repetition, how to become an experienced tequila drinker, the semantics of “cult audience,” whether or not Kraft gets bags of cash in the mail, caring about an audience, the jokes that the Krafts wish they heard in bars, waiting for the dialogue to come, being in control, and the burden of holding onto scraps.

EXCERPT FROM SHOW:

erickraftCorrespondent: Has it ever occurred to you to try and make a big score in terms of writing a completely commercial book? In an effort to get people attached into the Peter Leroy universe? Or is such a thing absolutely impossible? Or did you, in fact, try to do this and it turned out to be so quirky and eccentric?

Kraft: (laughs)

Correspondent: I’m just curious.

Kraft: Where is it? I’ve forgotten which book it is.

Correspondent: Oh yeah. One of the books where there’s the publishing meeting. I think it’s the first one in Manhattan.

Kraft: It’s in Leaving Small’s Hotel, where Peter’s publishers want him to add more blood and gore to the Larry Peters series. And he can’t do it. It doesn’t work out that way. He keeps turning in quirky Larry Peters stories. And I’m much the same way. I don’t think I could possibly do it. I haven’t bothered wasting my time trying to do it. And the other way I’ve managed to shoot myself in the foot so very well is in the matter of film sales. When Herb ‘N’ Lorna was released and was reviewed on the front page of The New York Times, I got a call almost the next day from Amblin — Steven Spielberg’s company. And I spoke with people there. And we had a number of interesting conversations. And I think perhaps, in the second or third phone call, I said, “Of course, the one thing that’s of great concern to me is that, because I have plans for all of these characters, there are many, many other things I want to do with them. I would have to retain control of the characters.” There was a silence. And essentially after that, a click!

Correspondent: (laughs) Oh my god.

Kraft: It wasn’t quite like that. But it was almost like that. That the matter was at an end.

Correspondent: Wow.

Kraft: And there have been other little explorations from Hollywood and so on. And I’ve basically said the same thing. However, now that I’ve brought the characters along as far as I have, I’m ready. So…

Correspondent: Well, this makes me curious about a parallel universe in which you would open up a Happy Meal and get a piece of erotic jewelry. That would be very good for America, I think.

Kraft: I think that the marketing rights are something we’d really have to — yeah.

Correspondent: But simultaneously…

Kraft: And Leroy Lager, I think, would be launched as well. A poem on the back of each bottle.

Correspondent: Simultaneously, you did write a screenplay for Inflating a Dog.

Kraft: I did.

Correspondent: So you were actually trying to have a big score here. Or at least some sort of film out of the deal.

Kraft: Actually, that was a time when there was no work for us in educational publishing. I couldn’t find any work at all. And I had a lot of time on my hands. And I was thinking, “What can I do that might bring in some cash?” So there were two things that seemed to me like brilliant ideas. Write a screenplay based on Inflating a Dog. And approach Eli Zabar about turning the shopping experience at the Vinegar Factory into something like a treasure hunt, where I would write descriptions of the foods that would lead people from one thing to another.

Correspondent: (laughs) It would confuse them.

Kraft: An astonishing day would be Eli Zabar whizzing around town from one shop to another. But he almost liked the idea.

BSS #270: Eric Kraft, Part Three (Download MP3)

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by Edward Champion

The Bat Segundo Show: Eric Kraft, Part Two

Eric Kraft appeared on The Bat Segundo Show #269.

Eric Kraft is most recently the author of Flying. This is the second of a three part conversation with Kraft about all of his Peter Leroy books, an epic of more than a million words which Our Young Roving Correspondent was insane enough to read. These podcasts tie in with a roundtable discussion of Flying involving numerous people.

(To listen to Part One of this conversation, go here. To listen to Part Three of this conversation, go here.)

segundo269

Condition of Mr. Segundo: Astonished by the celerity of interlocutor and author.

Author: Eric Kraft

Subjects Discussed: The notion of roles in the Peter Leroy books, King Lear, Peter Leroy’s alternative universe, the Muddleheaded Dreamers Motorcycles Club, Marlon Brando, the halfway house between the real world and the imaginary world, geek swagger, adjusting to contemporary folkways when writing about the 1950s, whether truth is findable within limitations, the old definitions of novel, Herman Melville, Pandora in the Congo, Perry Melville’s The Raven and the Whale, increased emphasis on formalist structure in the Leroy books, borrowing structures from other books, Raskol vs. Raskolnikov, being informed by other literary work, Don Quixote, on not knowing narrative details in advance, the risk of losing spontaneity, writing in the predawn hours, martinis at 5:00 PM, the North American Proust Society, the concern for construction in the Leroy books, Peter and Albertine shifting from hotel proprietors to hotel occupants, having twenty titles for future books, the Peter Leroy books on CD-ROM, uphill battles with publishers, why the Leroy books went out-of-print, cross-references and hyperlinks, the epidemic of vidiocy, Kraft’s changing views on online annotation, and the future of the book.

EXCERPT FROM SHOW:

erickraftKraft: Peter’s alternative universe at the time of Flying is located at something like 1960 in our universe and in our America. And at that time, the definition of the roles available to a boy his age were quite rigid. And the number of options was quite narrow. Things were not as fluid, certainly as they are now. And that’s one of the things. When I put myself back in the time from my life that was going to have to serve as the basis for Peter’s, it was something that I reacted against and found laughably limiting. At the time, it was frustrating and annoying. But now, from distance, in how much has happened and how many more options are open to a boy like Peter, it seemed laughable. And so it became essentially laughable. But you know, a lot of those roles were defined not directly, but by various cultural artifacts. You mentioned the MDMC — the Muddle-Headed Motorcyclists Club — and Johnny is the leader of that. Well, Johnny — the portrait of Johnny when you first see him — is exactly Marlon Brando in The Wild Bunch. I mean, there he is. With the same sort of cab driver’s cap and so on. So I very deliberately littered the ground with these references to the kind of cultural role-defining models that existed at that time.

Correspondent: But the MDMC is something of a halfway house between the real world and the imaginary world. It’s almost as if a swagger, which is a big component of this particular book, is something that is presented as an almost alternative form of swagger. I would call it “geek swagger,” which has come an increasingly acceptable notion in contemporary culture. But it also brings to mind what you just described in your answer. And that is you’re writing from your own memories filtered through Peter Leroy, and you’re writing from a time in which folkways are different, mores are different. The way in which we accept things are different. So is the artificial universe the way to find this halfway house? Similar to the MDMC? In order to create a “true” narrative? What’s the situation here?

Kraft: Well, this is the question I’m constantly asking myself. I know that there is an essential truth running through these books somewhere. If I could only find it. (laughs) There’s a time where I thought I was directly heading for it. That I knew it would be something that lay between Peter’s world and my world. And that I probably had a much better chance of success at displaying it if I focused on Peter’s world. Because mine would be an attempt at an honest memoir. And it’s impossible to write an honest memoir. It’s impossible to write a true memoir. As you said, every perception is a misperception to begin with. And from there, it just becomes more and more of a distortion. Can’t be done. However, if you work on the reflection instead, you may be able to adequately suggest the truth of the underlying facts. But finding them is the work of the reader. So because I’m so involved with this, I can no longer quite tell whether that truth is findable, is discoverable. I hope it is. And one aspect of it is, for example, this limiting effect of the roles that society was forcing on people back then. You saw it. So it was there.

Correspondent: Sure. But simultaneously, I might also counterargue that, because the form of this book is different from most novels, that truth, that verisimilitude, really shouldn’t matter so much. So, in a sense, you are both looking for the truth while also redefining what the truth is. And I’m wondering. This must create a dilemma for you when you’re writing any of these particular books. How do you go in and set yourself straight? This is the real I know, and this is the imaginary. We can go Lacan on this.

Kraft: This is a delicious dilemma. This is part of the pleasure of making the books. And I hope it’s part of the pleasure that the reader takes from them. The way I play with verisimilitude is, I hope, a way of scattering treats for the reader. I think it’s what I call absurd verisimilitude. Let’s drop back a bit. Here we are in Edgar’s Cafe. Well, at the time of Poe and Melville, the word “novel” was not what we use it for now. A novel was a true account. A novel would be what we call a memoir today. When Melville wrote Typee, he announced, “This was a novel. It’s all true! It all happened to me!” The opposing form — what we would have in opposition to memoir now is a novel. What was in opposition to a novel was a romance. And what made a romance succeed was not so much the flights of fancy in it, but what at the time people called resemblance. Verisimilitude essentially. Achieved primarily through accumulation of minute detail. Well, that’s what I do. There’s accumulation of minute detail. But my details, I hope, are details that lead the reader to say, “But this is preposterous!” Sometimes, if it works really well, there’s a time when the reader says, “Yeah, yeah, this is real,” and then has that “couldn’t possibly be.” One of the most rewarding moments was at a book club when I was talking with people about Herb ‘N’ Lorna. And after all discussion was over, and we were having coffee and pastries, a woman said, “I just have to confess something. Because this is really hard for me to admit this. But until about ten minutes into your talk, I thought this was all real. I thought this was a biography of two people.” So that was success.

BSS #269: Eric Kraft, Part Two (Download MP3)

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by Edward Champion

Should Maureen Cover Up?

Bloggers are never supposed to start a piece with a scene on the subway because it reveals either the frugal reality about the way they live or a tendency to pad out an essay with needless name-dropping.

Nonetheless, I’m going to. Because I’m really concerned about Maureen Dowd’s tits. And you should be too. Because understanding Dowd’s tits — wantonly focusing upon these two sagging points of no return — is the key to understanding the world we live in. For Maureen Dowd’s tits, as woefully deficient as they are, represent undeniable truths about politics and media. While Dowd herself is a boob, her boobies are twin prophets. They are the Romulus and Remus of today’s media world. (Or at least they are in Maureen Dowd’s mind.) And if you think that Deborah Solomon asking a “journalistic” question about how much someone weighs is hard-core, then you really haven’t considered that Maureen Dowd’s tits may very well be the real reason why the New York Times keeps her fumbling on the page and collecting from the payroll.

During weak moments, David Brooks and Leon Wiesltier have been known to leer at Maureen Dowd’s tits. And their satyr-like stares are rewarded with awkward references and backslapping and, in rare cases, an occasional hand job. If you stare at Dowd’s tits long enough, you’ll begin to see that her tits could easily wind up and punch out Rush Limbaugh, Bernie Madoff, and even Maureen Dowd herself. This is an impressive fact, for Dowd, so far as anyone knows, has not augmented her breasts.

A guy who works at my local cafe named Enrique and I were on the A line on our way to meet some dicey pot peddler somewhere out in Far Rockaway. “Fuck,” said Enrique. “They cut weekend service again. It’s going to take forever.”

But we got there in the end. And the dour drug dealer was a blithe spirit who told us to get the fuck out of his house once we had the bag in our hands. The drug dealer downgraded our “special relationship” to a “special partnership.” He then declared in front of his other waiting clients that he was going to stand “podium-to-podium with Maureen Dowd’s tits.”

I didn’t quite understand what Maureen Dowd’s tits had to do with any of this. We were only there to get our drugs and get high. I pointed out to Enrique that Wall Street was weak and jittery. Once the weed was sampled, it became evident that Enrique and I had been scammed out of decent leaf. Suddenly, I began to understand where Enrique was coming from.

Let’s face it: The only bracing symbol of American wankery right now is the image of Maureen Dowd’s tits. And it’s just too damn bad that they aren’t “sculpted” like Michelle Obama’s biceps. She does not have a husband to urge bold action. Indeed, she does not seem to think that men are necessary. So there doesn’t seem to be a comparative point of reference here, other than the drug dealer’s fey assertion.

On the subway back, when I asked Enrique again about Maureen Dowd’s tits, he indicated it was time for her to cover up. “She’s made her point,” said Enrique. “Now she should put away Sagbag and Droopy.”

“That’s a terribly sexist and objectifying thing to say,” I replied. “If you said something like that in a New York Times column, then surely you’d be fired.”

“Well, no,” said Enrique. “It’s become a more common practice for women employed at the New York Times to resort to throwback misogyny to demonstrate their continued worth to the old boys club.”

Maybe so. But Maureen Dowd, and her complete confidence in her malapropisms, are a reminder that Americans can do better than Dowd if they put their mind (or perhaps their tits) to it. Unlike other columnists, who think before they write and take the time to put forth an argument, Maureen Dowd has sagged every day. And we’re forced to pay attention to her tits because there really isn’t anything of substance in her columns.

I also have no doubt that she can talk cunt-and-tongue with ease and a wild stench.