Month / November 2012

by Edward Champion

2012 National Book Awards: An Evening for Readers

In this vital dispatch from the National Book Awards, we report on the winners, the dancers, and the food.

Despite the slight efforts to amp up the glam factor, Thursday night’s National Book Awards was an evening for readers. The readers — whether authors, publishing people, journalists, or people who sauntered into the swank ballroom from the street — drank vast quantities of alcohol and scarfed down canapés and danced to butchered remixes of “Staying Alive.” While dodgy slices of cheese pizza went largely untouched, this reporter observed pigs in a blanket traveling down dark gullets well after the midnight hour. This reporter also participated in this snacking, inspired in part by numerous shots of scotch downed not long before.

More importantly than these stray gustatory observations, the readers won the awards. William Alexander name-checked Ursula K. Le Guin upon winning the Young People’s Literature award for Goblin Secrets. He was so startled at his victory that he had modest difficulty exiting the stage, moving left and right and left and right until he figured out this Hanayama chain puzzle writ large with a bit of instinct. The awkward cue from Robbie Williams’s “Millennium” which played throughout the evening vexed certain audience members, but Elmore Leonard’s stirring speech for a lifetime award was a rousing corrective to Tom Wolfe’s rambling nonsense from two years before.

“The only thing I’ve ever wanted to do in my life is have a good time writing stories,” said Leonard to a very appreciative crowd who offered him a standing ovation. “This award tells me I’m still at it.”

Leonard’s presentation was buttressed by an introduction by Martin Amis, who declared, “The essence of Elmore is to be found in his use of the present participle.” Amis may have been toying with the audience. His bowtie was crooked. He read Leonard’s pulp prose with a modest froideur. And while he didn’t sprint from reporters like Dave Eggers, Amis was out the door before the ceremony was over. Several observers I talked with hoped he would take this cheeky act on the road. But this banter halted when it was understood that more important matters needed to be considered: namely, the titles up for consideration.

Katherine Boo’s Behind Beautiful Forevers trounced veteran historian Robert A. Caro in the Nonfiction category. “If this prize means anything,” said Boo upon accepting the award, “it’s this. Small stories matter.” This reporter felt that it was more than a bit boorish to offer superficial questions to a first-rate journalist who had spent years of her life earning the trust of those who lived in the makeshift settlement of Annawadi. I told Ms. Boo how much I had loved her book. She offered me a hug.

Upon winning the Fiction award, Louise Erdrich thanked the tuxedoed throng for giving The Round House “a wider audience.” Both Erdrich and Boo were spotted on the dance floor having a very good time, with Erdrich sneaking into a Kobo kiosk to take silly photos.

To gauge the level of literary enthusiasm, this reporter danced virulently on the mezzanine floor, bouncing up and down with preternatural energy. Through the use of sense memory from his clubbing years in his twenties, this reporter was able to sway his arms excitedly in the air and spin on his heel in a matter approximating John Travolta in his peak years. These efforts were received with considerable hoots and hollers by several women on the floor — in large part because this reporter was one of the few men dancing.

But some of the poets, despite their advanced years, were also busting some moves. Earlier in the evening, this reporter was perturbed to see the poets rebuffed by the smug know-it-alls at Book TV. In an effort to correct this oversight, this reporter chatted with them.

“I’m told by the publisher that it sold some books,” said poet David Ferry about being nominated for the Poetry award, “which for a poet is a surprise and a pleasure.” The 88-year-old Ferry had been writing poetry since he was 25. One of Ferry’s best friends was fellow nominee Alan Shapiro. “We sort of whisper endearments into each other’s ears.” When I discussed the state of poetry with both Ferry and Shapiro, pointing out that Judi Dench had recited Tennyson’s “Ulysses” in the latest James Bond film Skyfall, Shapiro observed that poetry was the first “technology of feeling.”

Ferry would go on to win the Poetry Award for Bewilderment. He was tongue-tied and bewildered on stage, but he was grateful to be recognized.

by Edward Champion

Dave Eggers, National Book Award Finalist, Refuses to Answer About Abdulrahman Zeitoun’s Violent Assaults

In this report, we confront Dave Eggers about his silence concerning Abdulrahman Zeitoun’s attempted murder charges and he stays silent.

Dave Eggers is running away from the truth. And we have the video to prove it.

In 2009, Dave Eggers self-published Zeitoun, a well-received nonfiction volume which told the story of a hard-working Syrian-American painter in New Orleans who emerged as a hero during Hurricane Katrina. Eggers relied heavily on what his subjects, Abdulrahman Zeitoun and his wife Kathy, told him while working on the book. As he claimed in a Rumpus interview, “I think you get the most accuracy when you involve your subjects as much as possible. I think I sent the manuscript to the Zeitouns for six or seven reads. They caught little inaccuracies each time.”

Recent developments have revealed that Zeitoun is a misleading feel-good hagiography running against this apparent commitment to accuracy. The New York Times Book Review‘s Timothy Egan suggested that Eggers was a modern-day “Charles Dickens, his sentimentality in check but his journalistic eyes wide open.” But Eggers has glossed over a good deal more than what Egan has insinuated. Abdulrahman Zeitoun is not the calm and peaceful man that Eggers portrayed.

On November 8th, Zeitoun was indicted for attempted first-degree murder and solicitation of first-degree murder. Kathy had suffered abuse from the beginning of her marriage to Abdulrahman. In court, Kathy testified about being beaten with a tire iron and being “[choked] so hard I felt the pressure in my face.”

Last August, when we reported on the Zeitoun Foundation’s questionable finances, we discovered that at least $161,331 (during the year 2009) was siphoned off to a shadowy organization named Jableh, LLC. We reached out to various representatives from McSweeney’s by telephone and email, but they refused to speak with us. (We did, however, receive a threatening email from an attorney. We responded by asking the attorney to provide us with specific evidence that would clear up matters. He did not return our email.) Throughout these developments, Eggers has remained silent, save for a statement that appeared on the Zeitoun Foundation’s website which has since been deleted.

On Wednesday night, we decided to question Dave Eggers at the National Book Awards in person, where he was being feted as a finalist for his latest novel, A Hologram for the King, hoping that Eggers would break his silence and provide us with a clear-eyed statement on these serious mistakes and moral indiscretions.

But Eggers ran away at the name of “Abdulrahman Zeitoun.” The video can be seen below:

Eggers’s silence (along with that of mainstream literary outlets) is baffling. Even Norman Mailer famously declared during the Jack Abbott affair that culture is worth a little risk. If Eggers is interested in culture, should he not come to terms with his mistakes? Should he not own up to the negative impact that his book and his involvement may have had on the Zeitouns’ lives?

John Simerman’s helpful dispatches in the New Orleans Times-Picayune illustrate why staying silent or taking the rose-tinted path is a blatant and irresponsible disregard for the truth. On October 18th, Kathy Zeitoun testified in court about the abuses:

He starts beating me in the back with this tire iron. He lets go of the tire iron and starts punching me, then he started ripping the flesh from my side through my clothes.

and

He was choking me so hard I felt the pressure in my face. I thought I was going to pass out. He grabbed my face and dug his claws, his fingernails, in my face.

This is a far cry from Eggers’s glowing depiction of Abdulrahman as a tranquil hero. Eggers describes how “Zeitoun felt at peace,” with “an odd calm in his heart.” Abdulrahman’s origins as a thirteen-year-old fisherman involves a concern for quietude, where his compatriots “would whisper over the sea, telling jokes and talking about women and girls as they watched the fish rise and spin beneath them. Eggers even describes Abdulrahman telling Kathy, “Please be calm. Don’t make it worse,” while approaching a bus station.

It was Kathy’s testimony which led to Abdulrahman Zeitoun’s indictment for attempted first-degree murder and solicitation for first-degree murder during the late afternoon of November 8th. Abdulrahman has remained in jail, with the bail set at more than $1 million. A gag order has prevented Kathy and Abdulrahman’s attorney, J.C. Lawrence, from saying anything beyond their remarks in the courtroom. Eggers is certainly in a position to say something and emerge from this contretemps with some integrity, yet he wishes to pretend as if nothing terrible has gone on. At least that’s what we see on the surface. Under the seams, it’s a much different story.

Back in August, we reported on how The Zeitoun Foundation was not being transparent about the way it disseminated funds. While The Zeitoun Foundation is now listed as “in good standing” with the Louisiana Secretary of State (as of September 10, 2012, which is when the last annual report was filed), our search through several nonprofit public databases have not unearthed any new 990s. Furthermore, there isn’t any new information about Jableh, LLC. As we noted in August, Jableh was incorporated on July 16, 2009. It listed Dave Eggers as the registered agent. The 2009 990 for The Zeitoun Foundation declared that $161,331 was due to Jableh, LLC, which exceeded the $145,476 in revenue taken in by The Zeitoun Foundation for that year ($84,044 in royalty income from the book, $50,000 in film rights, and $11,432 in “contributions, gifts, grants, and similar amounts received”). According to Eggers’s book, Jableh is where Abdulrahman Zeitoun was born and lived for a while.

In our efforts to answer these questions, Michelle Quint, the accountable director for Zeitoun, refused to return our phone calls or emails, nor did anybody at McSweeney’s. Eggers had initially released a statement with Jonathan Demme that he and the filmmaker had been “in daily contact with Kathy since the incident on July 25,” but it has since been deleted.

We also received this threatening email from attorney David J. Arrick on August 17, 2012:

Dear Mr. Champion:

The attorneys and accountants who initially set up and continually consult with the Zeitoun Foundation have been made aware of your website.

They would like to clarify that there are two components to The Zeitoun Foundation’s charitable purpose: (1) to aid in the rebuilding and social advancement of New Orleans and (2) to promote understanding between people of disparate faiths around the world, with a concentration on relations between the United States of America and the Muslim world. Therefore, not all of the organizations receiving grants from the Zeitoun Foundation are dedicated to Katrina relief projects.

They would further like to clarify that the Zeitoun Foundation does no active fundraising. The Foundation was created to disburse proceeds from the book, Zeitoun, and to bring attention to the exemplary nonprofits to which it awards grants. To date, outside donations have accounted for less than 10% of all monies disbursed by the Foundation. All other funds have come from proceeds from the book.

While it is believed that The Zeitoun Foundation has been as transparent in its operations as comparable non-profit organizations, it does intend to update the Zeitoun Foundation website in the near future, and will also update all filings deemed necessary and appropriate. The website will provide more detailed information about the grant recipients. The grant recipients are outstanding organizations and the website will share more details about the great work that they’re doing.

Sincerely,

David J Arrick
David J. Arrick, Partner
Boas & Boas LLP
101 Montgomery Street, Suite 1250
San Francisco, CA 94104
Telephone: 415-956-4444
Fax: 415-956-2158
E-mail: darrick@boascpas.com
Website: www.boascpas.com

As of November 14th, the Zeitoun Foundation website has not been updated. Nobody is talking. In two corners of the world, there are more important events going on. A man faces charges of attempted first-degree murder, with his wife still frightened for her life. Another man awaits news over whether he’ll win a prestigious book award, but he has nothing to say about the troubled couple who helped him at a pivotal stage in his career. Without them, he may not have made it inside this swank Wall Street ballroom.

11/18/2012 UPDATE: The Times-Picayune‘s John Simerman reported on November 16th that Eggers and McSweeney’s representatives have refused to answer the newspaper’s questions about Zeitoun.

by Edward Champion

Review: Skyfall (2012)

The new James Bond film is a sharp, thrilling, classy, and rich-looking installment announcing a confident trajectory for the Daniel Craig iteration of James Bond.

The James Bond film series has experienced growing pains during its five decades: the awkward political correctness in the Pierce Brosnan era (Tomorrow Never Dies‘s “Filthy habit!”), Sean Connery’s dubious high-priced return to Diamonds Are Forever for a very silly moon buggy chase scene, the preposterous gadgets in Die Another Day, and the failure to figure out what to do with Timothy Dalton. Quantum of Solace, with its return to convention and its ridiculous title, threatened to attenuate the good will established by the series reboot, Casino Royale.

But I’m pleased to report that Skyfall is a sharp, thrilling, classy, and rich-looking installment announcing a confident trajectory for the Daniel Craig iteration of James Bond. While it’s somewhat alarming to see Craig transform from the new double circle on the block to aging agent in six mere years, he remains an enjoyably chilly and crisp Bond, preferring to unleash his quiet fury when his car is destroyed rather than when the people around him die. He’s good enough to ask about agents who have been killed, but this is more of a functional than a empathic query. He’s willing to rip shards of depleted uranium from his chest to ID a sniper. When given little more than a radio transmitter and a pistol responding to his thumbprint from Q or the family hunting rifle for a final showdown, he’ll make do with the Spartan setup. He’s the James Bond for the “too big to fail” age. If he wasn’t busy strangling henchmen with his legs in icy water, he’d have a bustling career as a corporate efficiency expert.

You could say that Craig’s Bond is the closest to Richard Stark’s Parker. Like Parker, Craig’s Bond is focused and economical, even when he’s holding onto the bottom of an elevator to pursue a sniper. Yet Bond’s commitment to professionalism extends beyond money. He isn’t against vacation. But his duty to his country, perhaps anchored by his reliance on pills and alcohol, hinders him from becoming a full-fledged sociopath. “Orphans make the best recruits,” says M to Bond. And the price for being a double agent is extirpating your need for family. It’s a distinction that former MI6 agent Raoul Silva (Javier Bardem, playing the baddie here), fails to understand, which may be one of the reasons Silva insists on calling M “Mommy.”

We’re informed early on that not everybody can make it out in the field. But while a lesser action film would drop this idea after the handsome actors deliver the details to advance the story, Skyfall actually follows up on this idea throughout its fast-moving two and a half hours. Aside from the many literal missed shots informing the narrative, Skyfall is smart enough to show us M’s poor pistol marksmanship when away from the office. We also see an injured Bond lose his aim after a serious injury (with Silva taking advantage of this later on an island in a very gripping William Tell moment).

Here is a Bond entry in which the best people don’t always make the best decisions on the job. But in Skyfall, there’s the suggestion that real world know-how is no match against technology. It isn’t just the service door that refuses to open in the Underground when there’s an oncoming train. The creative team here understands that Bond has always been steeped in an old world approach. By pitting MI6 against a vengeful hacker who would throw an Ugandan election just for kicks, the human intelligence — the way Bond has worked and seduced a room — that has always buttressed the series is given an intriguing trial. But if being a double agent is “a young man’s game,” there’s surprising adaptability for the old dogs in need of a shave. As Bond tells a man who attempts to seduce him, “What makes you think this is my first time?”

We even get to see M reciting Tennyson’s “Ulysses” during a public inquiry. Beyond this unexpected literary reading (not without precedent, given Simon Raven’s contributions to On Her Majesty’s Secret Service), there’s also an unexpected cameo from an obnoxious CNN anchor. The priapic qualities of the old world may gave us James Bond, but it also saddles us with Wolf Blitzer.

I suspect these sly nuances — which have much to do with John Logan working with the established Neal Purvis and Robert Wade screenwriting team this time around — may cause Skyfall to hold up slightly better than Casino Royale‘s darker edge and Guantanamo Bay-inspired torture scene. While it’s tempting to compare the three Daniel Craig films with Christopher Nolan’s Dark Knight trilogy, Skyfall allows us more room to settle in. It’s possible that the delay in production caused Skyfall‘s creative team to tighten what they had. Because the exciting opening train chase, Silva’s indelible parable of the two rats, and the new Q trying to hide his sneaky work from Gareth Mallory are the types of moments that emerge from artful and well-considered entertainment.

It was also a brilliant move to get Roger Deakins on board as cinematographer. His ambers and umbers give this film the glow of fifty year scotch. There’s one especially coruscating scene in a Shanghai high rise, where Bond dukes it out with a sniper against the dazzling backdrop of endless glass and projected lights from the outside rolling slowly into the dark.

While Adele’s theme song is marvelous, Thomas Newman’s pulsating score is a major disappointment. Newman’s music here seems more at home in a forgettable action movie playing on HBO at three in the morning. I don’t know if John Barry can ever be replaced, but if the Bond films are going to step it up with installments like Casino Royale and Skyfall, then the Broccoli-Wilson team needs a composer to match.

At times, Skyfall is a little too reliant upon Silva’s theatrics, which threaten to overshadow the film’s mild efforts to deepen the relationship between Bond and M. This may be because Silva is one of the best Bond villains in years. When Silva tells Bond about what he did to get where he is today (with director Sam Mendes wise enough to hold this performance in a long take), Bardem instantly commands your attention. But the film flags a bit just before his first appearance, even after it has gone to the trouble to destroy a pivotal base in a gas explosion. We all know that the James Bond films tend to require the bad guys to inform us of their vile plans in person.

But these are pedantic beefs. I enjoyed Skyfall a great deal. I even found myself blurting out “Awesome!” during a particularly sinister exchange between Bond and Silva. And if that is the measure of whether you should see this movie, Skyfall more than lives up.

by Edward Champion

J. Robert Lennon (The Bat Segundo Show)

J. Robert Lennon is most recently the author of Familiar. He previously appeared on The Bat Segundo Show #300. This conversation was recorded live at McNally Jackson on October 3, 2012. This is also the final episode of The Bat Segundo Show. Thank you for listening.

[powerpress]

Condition of Mr. Segundo: Contending with five possible endings to his existence.

Author: J. Robert Lennon.

Subjects Discussed: Attempts to disseminate chocolate chip cookies in a bookstore, parallel universes, being confident in the rightness of not knowing, getting inside other people’s heads, how Elisa’s conditional ambiguity created a deeper connection with the reader, whether framing shops can exist after the Great Recession, why guys named Larry tend to sound sexy, Stephen Dixon’s “The Frame,” art and self-therapy, Wilhelm Reich as influence and huckster, technological reliance and memory, a digital camera in which nobody bothers to offload the photos, being a photography nerd, the multiverse per Brian Greene and William James, Lennon’s affinity for characters with bare feet, subconscious calls for New Age aesthetic, the Stephen King aesthetic of everyone wearing blue jeans, casual Fridays applied to novels, when a character can be associated with both Hugh Hefner and Hephaestus, spending far more time revising than writing, a definition of insanity of finding meaning when there is no meaning, needlessly close reading, Reevesport, Lennon’s secret shadow map of central New York, Kubrick’s adaptation of The Shining, physically impossible floor plans in fiction and films, labyrinths and labyrinthine structures, how the question of identity is a trap, Heisenberg’s Uncertainty Principle, The Funnies, comparisons between Silas and David Foster Wallace, Jonathan Blow, revision revelations, Braid, advice Lennon received from Tom Bissell, video game titles that aren’t dumb enough, Lennon’s efforts to write a draft without internal monologues, Richard Matheson, The Twilight Zone, the thin line between insanity and genius, the stigma against unusual perspectives, broken and corrupt institutions, crackpots, impostor syndrome, Capgras delusion, Roger Zelazny’s Amber books, similarities between Familiar and Nine Princes in Amber, the Nine Princes in Amber Commodore 64 ROM, cell phone addiction, how smartphones reveal mundane lives, Infocom text adventure games, and fictional vs. video game description.

EXCERPT FROM SHOW:

Correspondent: We have a lot of cookies and they have to be eaten. So please pass these along.

Lennon: These are the very same cookies you saw today on Twitter in the form of uncooked dough.

Correspondent: In the form of uncooked. And then there was a picture of them being cooked. So now we see the transmission from digital to reality. Sort of like your book.

Lennon: You see the baby pictures. And now they’re graduating from college. And now they’re all going to die.

Correspondent: Yes. And they need to be sent away to your stomachs. So please. Anyway, John, how are you doing?

Lennon: Hey, Ed, I’m doing very well. Thank you for having me on the show again. And thanks for sharing your swan song with me.

Correspondent: No worries. So in this book, you have this 46-year-old woman and she’s named Elisa Brown. She enters another life very early on in the book. She’s put on some weight. She trades in this cracked Volvo — or cracked Honda; there’s a Volvo that comes later — with a Dodge Intrepid. She sees her son Silas, who has died in her previous life, suddenly alive in this new one.

Lennon: I think what you’re not explaining is that it seems to be a parallel universe.

Correspondent: It seems.

Lennon: All this happens instantaneously. And she’s transferred into this apparent other world.

Correspondent: Yes. Apparent. Which leads me to my initial question. I mean, she could be inhabiting a parallel universe. This could be a psychological projection. This could be a maternal fantasy. It could be any number of things. You leave this up to the reader. I’m wondering, as author, if you knew with any certainty what this was all about.

Lennon: I aggressively and definitively refuse to know.

Correspondent: You refuse to know. It’s a hell of a way to write a book.

Lennon: Like I’m very confident in the rightness of not knowing. I’ll put it that way.

Correspondent: Okay. But how do you get inside the head of a character when you don’t exactly know what the condition of that head is? Or do you?

Lennon: Does anyone know the condition of their own head? Or the meaning or the circumstances?

Correspondent: Do you know the condition of your own head?

Lennon: Of course not! No! I think it’s an arch sci-fi metaphor for the feelings of dislocation that all of us have in the less obviously nerdy way.

Correspondent: Well, it seems that the very ambiguity of Elisa would allow, as I suggested, the reader to find her own way into what this is all about. And I’m curious. Were you thinking more about the reader in mind with this book? Some of your other books have dealt with minutiae or quotidian life — such as Mailman, to very alarming degrees in that wonderful book.

Lennon: Alarming quotidianness.

Correspondent: Yes, exactly. In the case of Elisa, I’m wondering. Did that uncertainty allow you to connect with the reader perhaps more than your other characters?

Lennon: That was my hope. I mean, my goal in presenting this conceit or this unsolvable dilemma to the character — she ends up quite logically, because she’s a scientist, searching for both the meaning and the cause of what has apparently happened to her. But in the process, it forces her to do other types of searching of the self that she was previously unwilling to undertake.

Correspondent: Got it. So there’s this framing shop in the book run by a guy named Larry. And this intrigued me quite a bit. Because I said to myself, “Well, how can a framing shop exist in a small town after the 2008 recession?” It leads me to wonder, hmmm, I wonder if this is possibly a fantasy.

Lennon: (laughs) You’re onto me.

Correspondent: I think there’s something romantic about a guy named Larry. I think you and I can both agree about that.

Lennon: Sure. Sure.

Correspondent: But I wanted to ask you where this came from. Do you know of a framing shop in a small town that is financially successful? Or does Larry have another business of some sort? And, of course, Elisa as well does all sorts of naughty things with him and we only really see him through how Elisa observes him in that Korean cafe and so forth. So I’m curious about the origins of Larry and how you stuck your thumb in the nose of present economic realities.

Lennon: This is a curious thing to fixate on, I must say.

Correspondent: Well, I’m a curious person. And you’ve written a curious book!

Lennon: Thank you. There are several functioning frame shops in my town. It didn’t seem terribly unusual. But the framing bit is — I don’t know why he’s in a frame shop. Maybe…has anyone read the Stephen Dixon story “The Frame”? It’s essentially a joke about a framed story. And a guy goes into a frame shop. And this reminds him of something that happened with his sister in the past. And the frame of the story is a frame. Maybe I had that in mind as a goofy meta device. But in any event, the plot device that you’re talking about is that, in her old life, what she considers to be her real life, she is having an affair with this guy Larry from the frame shop. Whom she met because she brought some art that she was trying to make to be framed. And the art was therapeutic art to deal with the death of her son. And in this new world, where her son never died, this guy doesn’t know her. And so she tries to get it on with him. It doesn’t go as planned. But I like the idea of a quiet business. That the whole point of it is not about the content. It’s about the context.

Correspondent: Yes, it’s about the framing.

Lennon: Exactly.

Correspondent: I see. So the artistic aspirations that Elisa has in this book, which aren’t necessarily totally fulfilled. We sort of see a little bit toward the end. But basically she has this studio. She’s not really doing much about it. Why is it that art — represented of course through Elisa’s painting and then transferred later onto Silas and his video game company — why is this the benchmark for these characters who are in such disarray to try to find themselves? I was curious why this seemed to be the motive for these characters.

Lennon: Well, I’m always kind of interested in this idea that creative effort is a form of therapy for people. And that usually doesn’t create good art necessarily. That the kind of self-criticism required for making…

Correspondent: True art.

Lennon: Yeah. It’s maybe not compatible with the needs of a self-therapeutic process. So in each of these worlds, I gave the creative output to one or the other character as one of them is dealing with the death and her possible culpability in it. And the other is dealing with his horrible childhood, for which he blames her. And she doesn’t get to do art in the world where he’s alive.

Correspondent: Yes. But it’s interesting that you call it therapy in light of all of the Wilhelm Reich references throughout the book. There’s some sly quotes. There’s this crazy family therapist named Amos, who is using very Reichian-like techniques. The whole idea of “blame yourself first,” which comes from Reich. And it’s interesting that that exists side by side with art. And it makes me wonder, well, is Larry, who we were talking about earlier, is he offering a form of therapy in terms of his sexual escapades? But I’m curious about where the Reich interest came from. I mean, he’s known as both one of the most important therapeutic forces of the early 20th century. But simultaneously, he’s also something of a huckster.

Lennon: Yeah. And I haven’t read him extensively. I’ve read some of the book that that quote comes from. But I read enough to use him as a motif. But not enough to know what the hell I’m talking about. But the entire book is about ways of perceiving experience and the extent to which people choose, no matter how hard we think we’re working, to understand the truth about our lives. We’re engaged in a form of self-serving narrative making. And so this whole process, which I think is hidden from us a lot of the time in real life — I’m sort of foregrounding this book by giving her an extra life and an extra version of her life to compose. And she seems to be screwing it up just the same way she screwed up the other life, which I think is what we would all do if we were given a second chance.

Correspondent: But is she entirely screwing it up? I mean, this book has some fairly damning things to say about technology, starting from the first technological implement we see. This camera, that has about a year worth of photos on it. And there is an interesting domestic dispute when all of the photos disappear. And the fact that these photos have not been transferred over says something about what our relationship is to memory through technology. And we see later on, of course, she sees a guy whose looking down at his phone over the last dregs of his meal. And of course there’s the video game motif as well. So I’m wondering why this notion of technology is almost defining many of these characters. Do you think we’re just now in this realm and fiction has to wrestle with this vital point of living?

Lennon: Yeah. I mean, I don’t think of technology as a motif that’s sort of extrinsic from psychology and emotion and that which has to be addressed. Rather, I wanted to bring it into the fabric of the book in a way that it might not naturally do so for nerdy people like this family. My wife said she was very proud of me with the camera thing. The deal with the camera is that they just never print the photos or put them on the computer or anything. They’re just all on the camera. And so everyone, they want to look at pictures, they just look for the camera and they pick it up and they just go like this for a while. And then Elisa’s mother-in-law appears to have deleted the photos of the child who has died. And for whatever reasons we don’t really understand.

Correspondent: Or did she? She just could have been messing with it. We don’t know.

Lennon: Maybe not. And Elisa ends up — she realizes that if she really wanted, that the files are still on there. That all, when you delete a file from, say, a hard disk or a memory card or something, all that changes is the bit of information that tells the computer or the camera that the photo is there. It’s still there. It just can’t be seen anymore. So this for me was kind of the metaphor for things that we try and put out of our heads that are still there. And the reason my wife is proud of me is because I’m a photography nerd. And I would never in a million years treat photographs like this. I’d have to download them to my computer and then edit them and disseminate them into a million different places and print them out and flog them in front of people. And I think it was really a stretch for me to realize that not everyone is like this.

(Photo: Sarah Weinman)

The Bat Segundo Show #497: J. Robert Lennon II (Download MP3)

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by Edward Champion

Chris Ware (The Bat Segundo Show)

In this 30 minute radio interview, cartoonist Chris Ware discusses Building Stories, cartooning as a singular art, and how an accusation of cliche from Ira Glass inspired a comic strip.

Chris Ware is most recently the writer and illustrator of Building Stories.

[powerpress]

Condition of Mr. Segundo: Learning how to wash his hands.

Author: Chris Ware

Subjects Discussed: The significance (or lack thereof) of the date September 23, 2000, technological reliance and its intrusion upon existence in Building Stories, the amount of time that humans presently stare into screens, the virtues of shapes and forms on paper, coming from a family of journalists, Ware’s decision to self-publish, the materials used in Building Stories, Ware’s affinity for small rectangular panels, the buildings that inspired the building, Charles Burns, losing track of time and space while drawing, temporal drift, Ira Glass and accusations of cliche, the pleasant frustration of not knowing the names of the Building Stories characters, people not saying Chris Ware’s name in his dreams, when characters are too defined by their names, flowers that grow along Illinois railways, SoundCloud, whether comics can compete with technology to encourage imagination, comics as a visually reductive medium to create a new language, Brandford the Bee and his influence as a narrative spirit, a fondness for circles, understanding other people, looking at animals for a very long time, empathy, Ware’s insistence on visual clarity, typography, operating from a place of uncertainty, Acme #20 and a character aging one year for every page, working with and without deadlines, how the Oak Park Public School system determines how much Ware turns out, observing the human world, parents who aren’t allowed to see their children as often as they need to, being in a privileged position, failed or aborted forms, Ware’s experiments with television, Ware’s difficulties in working with other people, cartooning as a singular art, whether there is an ideal medium for explicating or portraying human behavior, non-objective painting, representing a multilayered consciousness in comics, the physicality of doing the work, the frequency of Ware characters with afflicted or amputated legs, the creative inspiration which emerges from breaking legs, human frailties, and whether the human soul can be contained through illustration.

EXCERPT FROM SHOW:

Correspondent: Is there any specific significance to the date September 23, 2000? I do know that a baseball player named Aurelio Rodriguez died that particular day.

Ware: Is that true? I didn’t know that. No, I picked it simply because it seemed like a date that didn’t particularly have any meaning to it. It’s just sort of a random day.

Correspondent: Well, let’s talk about the role of technology in Building Stories. I mean, we see that you have a concern for its effect on everyday life, ranging from the Facebook searches for lost boyfriends to this one page stark illustration with this unnamed woman with the leg. She’s standing naked before her husband and her husband is there with the iPad, also naked, not paying attention to her at all. Then of course you have this really terrifying last page augmented reality future, where they can’t even spell “fuck” right. So this would suggest, I think, a deep pessimism on your part for how technology is affecting life and so forth. And here you have a collection of fourteen various pamphlets ranging from something very small to almost a newspaper size. Is this really what we have to do now? In order for literature and comics to survive, do we now have to create massive physical palpable forms in order to get people off of this highly addictive technology that has encroached itself into culture all around us for the last five years?

Ware: No. I don’t think so. I mean, it is a little disturbing. The amount of time that we spend increasingly staring into these glowing pits in front of us. Just simply standing out on the street here, the number of people who are looking at the palms of their hands. There’s probably a higher percentage of people doing that than actually looking up. And I think the gesture for trying to remember something now has changed from looking above one’s head to slapping one’s pocket. But it’s really not that different from what adults do anyway, which is not necessarily looking at the world around them, but looking into their own past and thinking about their future and simply just kind of navigating in a world. Just trying to get through the world while worrying about the past and thinking about the future. I don’t think it’s necessary to try to make something — I don’t know what word I could use here. It’s elaborate, I guess. That’s what I tried do. But at the same time, why not? I mean, paper can do things that screens cannot. And I’ve tried to take advantage of that with the book. And we’re at a moment right now too where certain experiences and the way that we get knowledge about the world has been attached to certain shapes and forms. And those shapes and forms are disappearing. And it seemed to me just like a possibility for a slight sense of poetry in using those shapes and forms as a physical way of imparting a sense of life or everyday experience.

Correspondent: So shapes and forms in the form of paper. Old forms are the way to counter the conformist technological forms. That the housing of the form is probably going to get through to people more than the elaborate Tuftean graphs you’ve often had in your work. So you think this is going to be a solution? You think paper will persist? Do you actually have to change as an illustrator, as a cartoonist, as an artist in order to woo people’s attention?

Ware: Well, no. I grew up at a time where I read everything on paper. And I don’t have a sentimental attachment to it. I’ve never subscribed to a newspaper in my life. I’ve always read the newspaper either just simply on the Internet or picked it up here and there. Even though I come from a long line of newspaper editors and publishers. My mom was a reporter and an editor. My grandfather was an editor. My great great uncle was a publisher who actually won a Pulitzer Prize for an essay in, I think, 1911. So it’s in my blood. I feel that it’s no longer the most efficient way of disseminating important up-to-date information. Newsprint was for a long time. It was almost a fiber optic cable. But now it’s not. It’s great for art though. So I think art needs a certain kind of containment. And it needs a certain kind of containment to it because so much of the things that one writes about as a novelist or tries to get at sometimes as an artist are so ineffable and uncontainable that they almost need a certain form to stop them or something. Or freeze them.

Correspondent: So this leads me to ask, I mean, did you have to learn a lot about materials and publishing for Building Stories? Or did you have someone shepherding this for you? I mean, how did you decide upon the forms for Building Stories? In which you’re essentially collecting things from the Acme Novelty Library as well as a few new things as far as I know. How did you decide upon the forms? And what research did you do in making sure they would stick together or would be lasting to counter the end of newsprint era that we now have rolling?

Ware: Right. Well, everything in the book is made out of the exact same paper. Which is intentional. And they’re almost all coverless, with the exception of a couple. And that’s also intentional. I didn’t really have to research much. I’ve been self-publishing my own hardcovers now and comics for a while. And I’ve actually dealt directly with printing companies. So I’m more or less familiar with how those things are put together. But for this particular project, the production manager at Pantheon handled all of that for me and was able to make it work. But I just simply gave him very specific parameters for the size and paper that I wanted to use. And he accommodated me essentially. He was a very nice guy. Andy Hughes.

Correspondent: So why did you move to self-publishing? I was always curious about that.

Ware: I was sort of uninspired, I guess, at a certain point. And I felt more that if I published something myself, it would feel closer to art. The way it had early on. And I felt like I was taking the whole risk myself at that point.

Correspondent: You wanted to be a control freak.

Ware: Well, somewhat. Yeah. But at the same time, if there are any mistakes, they were entirely mine. I was solely the product of my hand. It just simply felt more like art. I was making something specifically, giving it to someone. I didn’t go through a publisher. It was less of a product and more of a thing.

Correspondent: So when you’re creating an elaborate — well, there’s tons of questions I have to ask you about layout and so forth. But let’s start — I was always curious about your small microscopic rectangular panels that are often in your work. I’m wondering if part of your attraction to this is because you’re interested in communicating the maximum amount of information with a minimum amount of detail. Is this the allure for you?

Ware: Yeah. Somewhat. Yeah. And the reason I use square panels is simply because the page is square. It’s reflective of the shape of the object itself in the same way that a leaf of a tree is somewhat reflective of the shape of a tree itself. But that’s not unusual. That’s the way all cartoonists work. I think it’s the way it’s been handed down to us.

Correspondent: So the building that is at the base of Building Stories, was this based off of any particular building?

Ware: It’s a synthesis of two buildings that I lived in in Chicago before my wife and I moved to Oak Park, Illinois. But the inhabitants are completely imaginary.

Correspondent: Are they based off of floor plans and layouts that you wandered through or lived in?

Ware: Yeah, it’s a combination of the exterior of the second building that we lived in and the floor plan of the first that I lived in. Which really means nothing to anyone except me.

Correspondent: How much did the building dictate the dimensionality of the characters? Like, for example, there’s this couple who’s unhappy. And of course, we see that pretty much all the walls are painted blue. And I’m wondering if the blue room or perhaps a yellow background may have influenced where you were going with the characters. And had you thought many of them out in advance?

Ware: You know, I thought them out. But I did not think of the colors as having any influence on the narrative. I guess, if anything else, it was just simply a way of color coding the various floors of the building itself. I find — Charles Burns and I were just talking about this recently — that, sometimes when we sit drawing, we realize that we completely lose where we are in space and time. When I’m sitting at a table, sometimes I’ll forget what room in the house I’m in. Or if I’m even in the house that I’m in. That I’ll even imagine for a second I’m in the apartment that I used to live in. And Charles was saying that he would recently find himself thinking that the sister’s room was right around the corner the way it had been when he was a child. And I’ve experienced it. Everyone has certainly. I mean, it starts off. Proust. And when you fall asleep, you tend to lose a sense of where you are when you wake up in the morning. Sometimes you don’t have any idea where you are. You have to recalibrate yourself.

Correspondent: That temporal drift, I think, informs many of the stories that are in here. Especially the thin stripped one where there are no words whatsoever. It’s all about motherhood and how we see the passage of time throughout that. And I’m wondering. Does this often inform how you organize a story along those lines? Do words often get in the way? Is time sometimes more of an allure than words or dialogue or even blank speech bubbles?

Ware: Well, in that case, there was an attempt to try and give it a sense of the general activities that one might go through during a day. And if I use words, then the segments would be too specific and seem too much like a slideshow of actual reality. Where I was trying to get more of a sense of a general repetition as well as getting a sense of time passing very rapidly. That the strip was inspired by a comment that my friend Ira Glass, the radio reporter and…I shouldn’t say “radio reporter,” but the producer and inventor and progenitor of This American Life.

Correspondent: Well, This American Life has journalistic standards. You can call him that.

Ware: I mean, he’s a great journalist. He’s broken many stories for which I think he doesn’t get adequate credit. But I was just telling him one day over lunch how quickly it was that children grow up and how fast time seems to pass. And he looked up at me and he just said, “Cliche.” And I thought, “I’m just trying to tell you a story here, you know?”

Correspondent: (laughs)

Ware: It is actually true. That it is kind of a cliche. So I tried to write this strip in such a way that maybe it wouldn’t be such a cliche and to try and give it a sense of how the time passes rapidly. How it almost seems like in one day your children grow up.

The Bat Segundo Show #496: Chris Ware (Download MP3)

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