I bought a Kindle. This was the culmination of a long decision-making process, capped suddenly by an impulse buy. Once I started reading I felt immediately happy with the device, and I suspect I'll be using it a lot.
If you've read Litkicks over the years, you probably know about my history of mixed feelings about this device. On the day the Kindle was announced (with a lot of manufactured fanfare, including the cover of Newsweek) I called it a loser, loser, loser. I was mainly referring to two big problems: it cost $400, and it was gigantic.
1. This rather remarkable painting, titled Hansel and Gretel, was painted by Zelda Fitzgerald in 1947.
2. Speaking of difficult literary ex-wives: earlier this year I wrote an article about T. S. Eliot's Possum's Book of Practical Cats and the Broadway show Cats in which I suggested that the authors must have invented the character of Grizabella to represent Vivienne Eliot, the great poet and critic's first wife, whose life ended in a quiet mental institution. A strongly-worded comment has been posted to my blog article by an anonymous person who appears to be familiar with the T. S. Eliot estate. This person agrees with my conjecture about Grizabella, and points out that a controversy remains over the Eliot estate's attitude towards Vivienne Eliot's legacy. If you're interested in this topic, please read the long comment by "Coerulescent" and judge for yourself.
3. The Moth, an excellent literary storytelling revue, wanted to hear stories about "transformations". I don't think they could have chosen a much better participant for this challenge than Laura Albert, who delivered a moving piece about becoming and unbecoming J. T. Leroy, and about the ridiculous hassles that followed her "exposure". I'm proud to say I stood by Laura even when few others did. Congrats to Laura for finding her way back as a writer; watch the video!
(Goodloe Byron is a novelist -- with an unusual approach to literary economics -- as well as a book cover designer whose graphic work was recently featured on Mark Athitakas's Notes on American Fiction blog. The Wraith is his latest book, from his own Brown Paper Publishing.)
Levi: Your novel The Wraith is very charming. The portrait of hapless trailer park hipsters going about their lives reminds me of the affectionate stylings of Richard Linklater or Jim Jarmusch ... but I also understand that Jose Saramago was your primary inspiration for this novel. Can you tell me what your mission in writing this book was?
Goodloe: It is actually a knockoff of a Saramago book, but it warped in the rain having took so long! The original idea was to do something like the duplicated man; it would be about a little fellow who is suddenly deprived of the dimension of necessity. That is to say that he no longer needed to sleep, eat, drink water, come in from the cold, shave or whatnot. It would then follow that he didn't need to work either, or do anything. What I imagined was that this person would then flee this terrible freedom. He would then go about pretending to be alive as he was before and that his life would become a kind of hollow nightmare.
This isn't really a novel that many people would like to read, I think. That has not stopped me in the past, but it also wasn't enjoyable to write either. I started it about eight times five years ago, then I quit writing altogether. Then, last year, my friend Pablo D'stair and I were discussing the idea, which was the only book that I wanted to write anyway. In this discussion I figured out that the story could not really be told directly, as it was more of a static concept. So I decided to give it a Heart of Darkness touch and describe the story of someone on the periphery of such a man. Mr. Kurtz, for example, is much this some problem, because he is not a person so much as a concept; the collapse of civilization in the face of its underlying barbarity. Once I figured this out, it was very simple and I wrote it in a few weeks while another book was at the printer. All of the events involving the main characters I kind of made up on the fly, though a variety of them I'd thought up during my 'hiatus'. They came together all right I think. The brain stepped out of my way once I figured out the Kurtz thing.
Levi: I notice a strange price on the book's cover: $0.0. What's that all about?
Goodloe: All right, so ... this is kind of complicated to explain. But basically I don't really like to submit stuff places or do the whole writer thing. I just find it ghastly as an experience. Also I would like to point out that my books tend to be a bit of a drag and I design them that way. I want the audience to have to get a bit scrappy. Books that succeed in the market tend not to share this worldview. So instead I save up enough so that once a year I can print up about ten thousand books. Then throughout the year I roll out to different cities or wherever I can get and I hand them out for free or leave them in coffee shops.
Congratulations to up-and-coming indie novelist Tao Lin for scoring a full-page review -- not necessarily a positive review, but a riveting one -- in yesterday's Sunday New York Times Book Review. Nice break!
I'm not workin' the NYTBR beat anymore, but I will pay attention at moments like these. I've been watching Tao's unusual career from the beginning (when I reviewed his first book and called him "faux naif"), and I've appeared at a couple of literary readings with him. His performance style, like his prose, is highly deadpan. The nervous laughter in the audience comes during his awkward silences, just as it does in his novels.
1. We told you about artist Malcolm McNeill's Ah! Pook Is Here, a vast extended collaboration with William S. Burroughs, two years ago. Great news -- the work is going to be published by Fantagraphics.
2. Sean Michael Hogan was one of the five winners of a writing contest we held on this site in 2003. He's an excellent writer, and also an opinionated sports nut, and he's combined both inclinations into an e-book, It's Not Just A Ballgame Anymore. Here, also, is a short story by Sean about the frustrations of being a writer.
“Many of the people who came to us were of the kind who would be a nuisance anywhere but have special opportunities in a bookshop.”-George Orwell, “Bookshop Memories”
For ten years I worked in the second-hand book trade. Five of those years were spent at Wayward Books, an antiquarian book shop in Washington, D.C. that was owned by novelist and critic Doris Grumbach and her partner, Sybil Pike. Another five years were spent selling second-hand books out of my truck just down the block from Wayward at historic Eastern Market on Capitol Hill, a move necessitated when Doris and Sybil relocated their shop to coastal Maine.
Though that period of my life ended fifteen years ago, the bookshop trade has left a mark on my soul. Not a day goes by that I don’t think about that time with a mixture of longing and giddy recollection. Entire newsreels scroll through my head as I think about the eclectic and eccentric assortment of customers and habitués—a fancy way of saying “customers” who don’t actually buy anything—who darkened my doorway. As George Orwell put it, “In a town like London [or Washington D.C.] there are always plenty of not quite certifiable lunatics walking the streets, and they tend to gravitate towards bookshops, because a bookshop is one of the few places where you can hang about for a long time without spending any money.”
(Last week I talked to Ron Kolm, who's been a friendly and productive presence in downtown New York's literary universe for decades, about his newest anthology. Here's the second half of that interview, where we talk about what it's like to be a friendly and productive presence in downtown New York's literary universe for decades. The painting of Ron is by Bob Witz)
Levi: How did you first become a part of the NYC literary scene? What were your first impressions of the "scene", and what are your impressions of it today?
Ron: To be honest, I’ve never really been a part of the NYC literary scene. There was a brief period when Eileen Myles was the Director of the Poetry Project that I got paid to read there and was part of the New Years Benefit Reading -- but I was writing fiction then; small dirty stories about a couple (Duke & Jill) that sold junk on the street, and since I wasn’t a Language Poet, or any of that ilk, I fell off their radar, which was fine by me. What I did do was work in bookstores. I was at the Strand in the early to mid 70’s, when Richard Hell, Tom Verlaine and Patti Smith worked there. In the late 70’s I worked in the East Side Bookstore with guys who would later found St. Mark’s Bookshop –- that’s where I got stabbed by a junkie, etc. By 1980 I was managing a bookstore in Soho, pre-tourist trap Soho, which was owned by High Times Magazine. I had to take a subway uptown to their office, where I partook from the canisters of nitrous oxide standing around everyone’s desk, before getting the checks I needed to pay for things signed. Then I worked at St. Mark’s Bookshop, and finally at Coliseum Books.
Four new books I'm happy to recommend to you:
Unwanted Hopeless Romantic Morons by Geoffrey Alexander Parsons
I love it when a member of the LitKicks writing community makes good. Geoff Alexander Parsons has posted his original work often on this site, and his first book arrives with a gorgeous cover painting that depicts the author exactly as I always imagined him -- drunken, sour and poetically inspired. Unwanted Hopeless Romantic Morons is like Tao Lin crossed with Charles Bukowski (with a little bit of Irvine Welsh thrown in). The story is about a young man and his friends wandering through modern Canada in search of thrills and meaning. The prose flows, liquid with passion:
Florida author and blogger Bill Ectric is one of my very favorites among the indie writers I've met here on Literary Kicks. He and I first bonded many years ago over our mutual regard for Henry David Thoreau, and he made a big showing in our 2004 collection Action Poetry. His playful intellect and sweetly philosophical frame of mind make him more interesting, in my opinion, that most of the mainstream authors crowding our bookstores these days, though his work does not fit neatly into any category (is it comedy? speculative fiction? boys adventure? Nobody knows for sure).
Tamper is Bill Ectric's most cohesive novel so far. It opens in a small town in a past golden age, as two boys take pictures in the pitch blackness of an old abandoned church with a clunky ancient 35mm camera and ponder the mysterious orbs that bloom in the resulting photographs. What do you see when you take pictures in the dark? That's the kind of question that absorbs the mind of a writer like Bill Ectric. Tamper evolves into a classic good-time mystery/adventure that explores the legend of Amazing Stories writer Richard Shaver, and somehow ends with a printed diagram of a folded-paper fortune teller, the kind I remember playing with as a kid. Ambiguity? Sure. I decided to ask Bill five questions about his new novel, and the results are below.
Levi: I've been enjoying your work for a while now, but your new novel Tamper appears to be your most ambitious and focused work to date. Can you talk about your evolution as a writer, and why you wrote this particular book at this particular time?
Bill: I’ve been writing Tamper off and on for almost three years. I started having crystal-clear dreams and visions when I stopped drinking three years ago. Looking back, it seems like I placed my writing life "on hold" upon joining the Navy in the seventies, and only picked it up again years later when I discovered Literary Kicks in the nineties. While writing Tamper, I got in touch with feelings of awe, wonder, fear, and enchantment that I hadn't felt since childhood.
More to the point is why I was able to finish writing this particular book at this particular time. It’s because of the numerous books I’ve read and studied, which equipped me with the tools I needed for the novel I wanted to write. Just to name a few: The Art of the Novel by Milan Kundera, who talks about the "dazzlement" of discovering hidden truths in one’s own writing (thanks to Jamelah Earle for bringing Kundera to my attention), and books by writers I identified with because their childhood memories seemed as magical as mine, like Swann’s Way by Proust and Dr. Sax by Kerouac.
Philip K. Dick's novel VALIS used the concept of an "influencing machine" -- a term coined by psychoanalyst Viktor Tausk to describe a common trait among schizophrenics who think that some type of machine is trying to control them. Which is what many people theorize was happening to Richard Shaver, the pulp science fiction writer, who claimed that the stuff he wrote in Amazing Stories magazine was true! The question in VALIS, of course, is whether or not the main character is crazy, or is a satellite in outer space beaming signals to his brain, or is God speaking to him, or is the satellite and God one in the same? And does it make any difference?
Levi: Tamper seems to deal with the paranormal, and yet is highly grounded in real life. Do you seriously believe in supernatural influences in our life, or are you just screwing around with the theme and having fun?
Bill: I seriously believe that magic and science are both flowing wide-open at the same time, like two parallel river currents that converge briefly at points. When we really tune in to it, we see that it’s the same river, but if you look too close, it diverges again.
Science fiction writer Arthur C. Clarke said "any sufficiently advanced technology is indistinguishable from magic". Back in the 1600s, if you said “some day men will fashion a small moon from the Earth’s metallic elements and hurl it into the heavens, giving us power to direct thoughts from our brains to our fingertips and out to people miles away” there would have been cries of, “Witchcraft!” but I’m simply describing satellites and cell phones. When I say it like that, it sounds like I’m leaning more toward science, but I should add that there have been times when my mother could sense that a family member was having some kind of problem or illness, which turned out to be true, and sometimes it was downright uncanny! Or, maybe you’ve heard about the well-documented out-of-body experience of Pam Reynolds, who nearly died in surgery in 1991. Like in many near-death experiences, she said she looked down at her own body on the operating table, surrounded by the medical team, but the fascinating part is, she described several things that she couldn’t possibly have known unless her astral experience was real!
Ever since I was a kid, I’ve read countless books on unexplained mysteries -- all the supposedly documented stuff about ghosts, UFOs, the Bermuda Triangle, spontaneous human combustion, the devil’'s footprints in Devon, the Bell Witch, and so on. But what a lot of people don’t get is that I am fascinated in equal measure by the stories themselves and in the mechanics of documentation. This goes to my interest in meta-fiction, which includes devices of writing as part of the story, like the poem and footnotes in Nabokov’s Pale Fire, the books within books of VanderMeer’s City of Saints and Madmen, or the complete text of Aylett’s Lint.
I sometimes find unintended humor in the way paranormal investigators use some facts and omit others. Take the Bell Witch legend. There is a house in Adams, Tennessee where in 1817 a man named John Bell and his family experienced poltergeist activity. The word spread until even General Andrew Jackson heard about it. This part is true. Jackson, his wife, and some friends actually traveled by covered wagon to Adams, Tennessee to spend the night in the Bell house. By all accounts, nobody got much sleep that night. People were pinched and slapped in the dark, covers got pulled off of beds, weird noises were heard. Andrew Jackson is widely quoted as saying, "I would rather fight the British than to deal with the Bell Witch!" But what he actually said was, "I saw nothing, but I heard enough to convince me that I would rather fight the British than to deal with this torment they call the Bell Witch!" I tried, in Tamper, to capture some of the humorous aspect of paranormal documentation. To convey the fun of it.
Levi: Does the fictional town of Hansburg, Virginia correspond to a real place? Can you talk about the places in this book and what they mean to you in real life?
Bill: Oh, for sure, I based Hansburg very much on the town in Virginia where I was born and raised, called Christiansburg. It started as a settlement called “Hans Meadow” in the 1700s. Later, they changed the name to Christiansburg. A small, idyllic town like in the old television shows, Leave It To Beaver or Andy Griffith or that Twilight Zone episode where Gig Young tries to revisit his childhood. Seventy-five percent of everything in Tamper really happened, but of course, I embellished parts of it. The treasure hunt, the layout of the streets, the bag of bones, Main Street, the woods, racing sleds and bicycles downhill, are all based in reality.
Besides the events in my hometown, some of the other stuff is based on real experience too. For example, I really did sit on a beach under the night stars in Spain, with some friends, looking out at the Rock of Gibralter, listening to "Four Cornered Room" by WAR on a small, battery operated cassette tape player, and it seemed almost transcendental at the time.
Levi: How do you plan to market and sell this novel? Do you enjoy being an indie writer, and do you have advice for other indie writers?
Bill: I would prefer that a major publisher picked up my book and promoted it to the masses. There is one thing I like about being an indie, which is the realization that just because a book is supposedly finished, that doesn’t mean I can’t go back and fix things. I learned by trial and error on my first two books, and I used to stress out, thinking, "What if I release a book that’s not good enough?" I either put the book out too soon and grieved over the errors, or toiled endlessly for perfection. Partly, it was not being able to afford a second edition with some of those high-priced, so-called self-publishing companies. So, I founded Surtsey Publishing, and I use CreateSpace for print-on-demand, and it’s no longer a problem. Obviously, I have to draw the line somewhere with revisions. At some point, you have to let it go. I don’t foresee any revisions on Tamper -- it’s nearly perfect. But I’m going to combine the short stories from my first two books, Time Adjusters and Space Savers, into one volume, re-release them on Surtsey with some killer revisions! Anyone who has already purchased one of those books will get a chance to buy the new edition at the greatly reduced price, or maybe even get a free copy for a limited time. I haven’t worked out the details yet. But anyone interested in reading Tamper need not worry -- it’s not going to change.
As for marketing, there’s been a lot of talk lately, mainly from Cory Doctorow, about making books available online for free. Doctorow says that making his books available free online has not hurt his book sales. I’m not quite that adventurous yet, so I’m going to make the first three chapters of Tamper available on the internet.
I’ve got two book signings lined up here in Jacksonville, Florida so far, where I’ll read excerpts from the book and talk about it.
I plan to use blog ads to target the various types of readers who I believe the novel will appeal to. These include, on one hand, the pulp science fiction fans and the Forteans, folks who know that Richard Shaver was an actual writer for Amazing Stories Magazine in the 1940s. People who like offbeat historical fiction. My first draft had Richard Shaver as one of the central characters, in the manner that James Morrow includes Ben Franklin as a character in his novel The Last Witchfinder, but I wasn’t sure how far I should go, so I invented Olsen Archer, a friend and colleague of Shaver, to fill out the plot. I also think Tamper will appeal to those who enjoy dark psychological excursions into the locked desk of Henry James, as well as enlightening psychological expositions from the open lectern of his brother, William James. And books about the intersection of mysticism and science, like Deciphering the Cosmic Number by Arthur I. Miller (thanks to Jessa Crispin for recommending that one on her blog).
Levi: Many blogs such as Largehearted Boy and Paper Cuts ask writers what music they listened to while they wrote their latest books. Instead, I'd like to ask you a better question: what foods did you eat while you wrote this book?
Bill: I fell in love with olive oil and feta cheese about three years ago. I went for weeks at a time eating nothing but a big salad every day, with all kinds of fresh vegetables, topped with olive oil, vinegar, and feta cheese, and later in the evening, drinking many cups of black coffee, staying up all night. But from time to time, maybe to compensate for the lack of booze, I went on binges in which I ate big bowls of cereal with milk, bananas, raisins, peanut butter, and ice cream piled on it. I seem to be one of those all-or-nothing people. I won’t even go into the prescription drugs I eat.
For more about Ectric's novel go here, or check out Bill's website.
1. I think it's pretty amazing that Google is putting deep newspaper archives online, including not only the Halifax Gazette (1753 issue, pictured above) but the complete Village Voice, dating back to the 1950s. You know the phrase "An embarrassment of riches"? This is, to me, an embarrassment of archives, because I want to read it all but I just don't know where I will find the time.
2. Words Without Borders presents Into The Wild: International Nature Writing. Nice.
3. Matthew Pearl, author of The Dante Club, on what it is about Dante.
4. Why Dante? Why Plato? Personally, I get much more out of Plato than Dante, but then I'm not Catholic. Nor Guelph.
5. Somebody's putting on a play about Allen Ginsberg's Kaddish (always a favorite poem of mine).
6. "Fingerblast" is a music video by Adira Amram, who is clearly channeling the "She-bop"-era 1980s.
7. Speaking of the 1980s, it's a fact that John Hughes was among the best comedy film directors of all time (though, let's be honest, he managed to be great exactly three times -- Sixteen Candles, Breakfast Club, Ferris -- and was otherwise way too willing to churn out profitable but repetitive junk). I remember reading him in National Lampoon magazine before he switched to film, and I hope National Lampoon will consider publishing a retrospective of his early work there. Or maybe Google will eventually index the Lampoon archives.
8. Speaking of the 1980s, here's Mike Watt at the Bowery Poetry Club, remembering the Minutemen.
9. Jay Diamond appreciates Jay-Z.
10. Bobby McFerrin does something a lot cooler than "Don't Worry, Be Happy".
12. David Updike writes about his father.
13. I'm confused why, if great singer Nick Cave has written a book, he's now singing it. Maybe he knows what he's doing, but I don't, because to me this kind of kills the novelty of Nick Cave creating a book instead of another record.
14. Richard Nash on the end of indie culture. "Which is OK, because it won. Open source, Twitter. Indie won. Etsy. The irresistible decline of major labels and network TV and corporate publishing. Indie won." Now what?