(This is the first guest post in our interview series The Literary Life, in which we present fascinating people who have devoted their lives to the pursuit of creative inspiration. Today, Laki Vazakas interviews Spencer Kansa, author of 'Zoning', a novel, and 'Wormwood Star: The Magickal Life of Marjorie Cameron', the biography of an underground film star who worked with L. Ron Hubbard and Aleister Crowley. Kansa is pictured above in 1994 with William S. Burroughs at WSB's home in Lawrence, Kansas. -- Levi)
Laki: What was the genesis of your novel Zoning?
Spencer: I began writing Zoning in my early 20s, and William Burroughs read it during my first visit to his home in Lawrence, Kansas in 1992. It’s kinda funny the comment he made about it – that’s been used on the front cover - because I’d never read Celine before then but, having done so subsequently, I presume that what he meant by it was there’s a similar matter-of-factness in relaying horror.
I then left the manuscript on the shelf for over a decade while I worked as a music journalist, then I dusted it down a few years ago and started hawking it to several publishers.
Laki: Describe the publishing process?
Spencer: Well, to be honest, I was beginning to fear that Zoning was a roman maudit - a cursed novel - because it was actually slated to come out a few years ago with an American publisher but, shysters that they were, they reneged on the contract. Then a Portuguese publisher agreed to publish it two years ago, only to tell me, right at the last minute, that they wouldn’t do it with the original cover design we’d already agreed on. I love the cover of the book. It was created by an old mucker of mine, the hugely gifted artist Dan Lish. It’s beautiful, and its dreamy, druggy quality perfectly evokes the hallucinatory atmosphere and spirit of the book. So I refused to have the novel published without it.
Ed McClanahan Just Hitched In From The Coast (On the Aforementioned Night of the Transparent Purple Bunnies)by Dan Barth on Thursday, April 19, 2012 07:58 pm
Ed McClanahan of Lexington, Kentucky has been plying the writer’s trade for over 50 years. Born in Brooksville, Kentucky in 1932, he grew up there and in nearby Maysville. After graduating from Miami University he attended grad school at the University of Kentucky where he received an M. A. in English in 1958. It was at UK that he began lifelong friendships with fellow writers Wendell Berry, Gurney Norman, Bobbie Ann Mason and James Baker Hall, a group sometimes called the Fab Five.
From 1958 to 1962 McClanahan taught English at Oregon State University. In 1962 he received a Wallace Stegner Fellowship from Stanford University and stayed there until 1972 as a lecturer in creative writing, sharing an office with Stegner. At Stanford he met many other writers, among them Robert Stone, Larry McMurtry and Ken Kesey. Berry, Norman and Hall also made their respective ways to Northern California in the early ‘60s, and with McClanahan became known as the Kentucky Mafia. Most of these writers became associated with Kesey and the Merry Pranksters. McClanahan’s Prankster moniker was Captain Kentucky.
"As a joke, Steffen introduced me as whomever occurred to him at the moment. I was an orphaned painter, an undercover Spartakist, a science protege on scholarship. Steffen introduced me, and then I had to keep up the lies -- that was the game. I was a saxophone player in Bix Biederbecke's band. I was a Swedish mesmerist. When I was asked about the leg, I talked about dogfights high above the Somme; when they wanted to hear my award-winning poetry, I said the poems were so Futuristic they hadn't been written yet. All it took was a straight face.
There was one lie that made me seem more interesting than all the others. Everyone wanted to drink with me, get high with me, and sleep with me when we told them I was a movie director. It was the lie that turned me into the center of attention and opened the tightest twat. One night over dinner, Joachim Ringelnatz -- the whimsical poet who wore a sailor's uniform wherever he went -- eyed me funny and asked if I wasn't a bit young to be working for the cinema, "fur's kino".
I had my mouth full of lamb's stew, so Steffen came to my defense. "Don't you read the papers? Klaus is a prodigy! The youngest director in Neubabelsberg!"
I put down my fork, swallowed, and pointed a finger. "Joachim," I said. "I don't work fur's Kino. I am Kino!"
Three years later, I was in charge of my own set in Neubabelsberg, the largest studio in Europe, making a movie that I had written. The producers, the stars, the cameramen and the newspapers all called me Kino, the name I had given myself over Horcher's lamb stew. I was a prodigy, the youngest director in Ufa's history. The lie had become truth."
What glorious chaos! Kino by Jurgen Fauth is the most enjoyable book I've read this year. It's a wild, caroming romp that crashes into German history, Nazi mind control, American pop culture decadence and modern cinema snobbery. The crazy plot soars from beginning to end.
Eric Erlandson, one-time guitar player and songwriter for Hole, has written a torrentous book, Letters to Kurt, addressed to the virtual presence of his close friend and occasional rival, Kurt Cobain of Nirvana.
Driving and listening to another fascinating self-help audio book. Nothin' like Six Stinkin' Hats to make your drive-by commute a quantum weep for all existence. I put on the WHITE one. The morgue sheet. A blank slate. Just the facts. Where you lay heir apparent with self-inflicted wound head. NO witnesses, 'cept for me and the whole damn world. Your left hand on the barrel of a Remington 20-gauge resting between your legs, pointed at your chin. A spent shell-casing. A wallet for identification. You stabbed your spiel into a pile of dirt with your pen. Like all good martyrs you wrote in RED. Burning records like a fireman on fire. Melting down your punk rock past. Tchotchkes for the toilet, turds for the mantle. Hey, put that hose away, man. Pout it out, gloom it or gloat it before you just plain blow it. Life's butt a joke. A hypodermical hoot. You're supposed to laugh at the punch lines, not kick and cry in your birthday suit, eating away at your cancer in the blood of your BLACK.
1. What do we learn from Rub Out the Words: The Letters of William S. Burroughs 1959-1974, the second volume of letters edited by Beat Generation archivist and expert Bill Morgan? We learn that Burroughs' obsession with literary splicing and combining possessed many of his thoughts; he writes about the cut-up method constantly, to everybody. We learn that he was polite to his parents and warmly paternal to and concerned about his son Billy. We learn that he had a calm demeanor but a cutting temper, that he couldn't stand Timothy Leary but was considerate enough to offer support when Leary was arrested, that he really hated Truman Capote (and never offered Capote any support), that he had great regard for Barney Rosset of Grove Press, and none for Maurice Girodias of Olympia Press (the primary difference seemed to be that Rosset always paid Burroughs the money he owed him, and Girodias never did). Overall, this collection of letters doesn't much change my understanding of William S. Burroughs, but is worthwhile for the pleasure of spending time in the company of this erudite and broadly original brutalist/postmodernist. Especially when Burroughs paraphrases Shakespeare, as in this quip about Herbert Huncke's imdomitable sneakiness: "he is not only a junkie but a thief, strong both against the deed in the words of the immortal bard the raven himself is harsh who croaks the fatal entrance of Huncke."
A couple of years ago I wrote a blog post titled In Gatsby's Tracks: Locating the Valley of Ashes in a 1924 Photo, detailing my search for some exact locales described by F. Scott Fitzgerald in The Great Gatsby. Using the novel's text and a zoomable historical map of Queens, New York, I was able to conclude that some vivid scenes described in the book took place at the triangle where a railroad and a street converge just east of the Van Wyck Expressway and south of the town of Flushing, Queens. George and Myrtle Wilson's auto garage would have stood at this spot, and the haunting sign for eye doctor T. J. Eckleberg would have been visible at this spot too.
This blog post has become one of the most popular pages on Literary Kicks, and since I now realize that many people share my fascination with Fitzgerald's "valley of ashes" I'd like to show you the photos I took while I was researching this locale, which I'd never bothered to put up before.
I just finished Charles J. Shields's gripping, inspiring, sensitive biography of And So It Goes: Kurt Vonnegut: A Life, a book that brings me back to my earliest days as a serious reader of semi-serious fiction. Kurt Vonnegut wasn't the first grown-up writer I ever read, but his Breakfast of Champions was probably the first novel I ever related to on adult terms. I sensed that I was crossing some line when I read this book at the age of 12, and I remember feeling myself transformed by the act of declaring to the world that Kurt Vonnegut was my favorite writer (as he would remain through my high school years). I guess he was my first literary role model.
I admired his message and also his pop/expressionist aesthetic, which is neatly encapsulated by the ultra-cool cover designs for the 1970s-era editions of his paperbacks. I collected these Vonnegut books like baseball cards, though I only liked about half of them. I favored Welcome to the Monkey House, Cat's Cradle and Slaughterhouse-Five, but Breakfast of Champions remained my favorite, not only because it was the first Vonnegut book I read but also because it was the most far out book he ever wrote. This was the one he drew pictures in, the one in which he invented a doppelganger for himself (the beautiful creation called Kilgore Trout) and then walked into the novel himself (as Kurt Vonnegut) to hang out with his own doppelganger. I remember feeling a big grin on my pre-teenage face when I read that chapter of Breakfast of Champions for the first time: is he allowed to do that? Apparently he was allowed to do that.
1. I'm so glad that Charles J. Shields's biography of Kurt Vonnegut (whose birthday is today!) is finally out. I've been looking forward to And So It Goes: Kurt Vonnegut: A Life for a long time -- though now that it's out I've got a few other books to get through before I can begin. This will be my slow pleasure reading for the holiday season.
It's a strange and delightful fact that the Occupy movement which began last month on Wall Street was not born on Twitter or Facebook or a blog. Rather, the idea emerged from a dusty print-based medium that almost nobody cares about anymore (or so we thought), a format that dates back to the days of Husker Du and Pagan Kennedy. Occupy Wall Street was born in a zine.
Adbusters was founded in Vancouver, Canada in 1989 by Kalle Lasn, an Estonian-born filmmaker outraged by the insidious and deceptively "warm" television commercials the timber industry was running in the Pacific Northwest to cover its destruction of vast areas of forest. Adbusters began using humor and parody to highlight and combat corporate and consumerist groupthink, and over the past two decades has staged many events and campaigns: TV commercials that mock other commercials, "open source" sneakers resembling existing sneaker brands, a "Buy Nothing Day" to combat holiday shopping mania, fake tickets to place on the windshields of SUVs. The zine became a staple of bookstore magazine shelves in the 1990s, sharing space with other worthy indie publications like Bitch, Giant Robot, Bust, Maximum Rock 'N' Roll, Craphound and Factsheet Five.
Like many other media jammers such as Julian Assange, Kalle Lasn is stronger on vision than on charisma, and likes to keep a low public profile. He occasionally appears on TV, and wrote a book, Culture Jam: The Uncooling of America, in 1999. Unlike other media organizations with less political conviction, Adbusters appears to be truly opposed to mainstream success, and has resisted the temptaion to dilute its message in search of greater popularity. But the organization's intrinsic hostility to media respectability has sometimes left curious newcomers confused about its program, and has given its opponents an easy opportunity to dismiss the (clearly honest) organization as extremist, Marxist, sympathetic to foreign influences.
I often hear people complain about "dirty hippies". Well, cleanliness is a virtue. But I've never understood why anybody would hate hippies. Is it that their exuberance is embarrassing? I like hippies, and I also like several writers identified with the post-Beat/hippie literary tradition of the 1960s and 1970s, many of whom are still active (or being remembered) today.
1. Johnny Depp is the star of a new film based on Hunter S. Thompson's novel of sin and excitement in Puerto Rico, The Rum Diary. Haven't seen it yet, but early indications are encouraging.
2. The late-career writings of the once-acclaimed novelist Ken Kesey were scant and unimpressive, but I recently wondered if this only indicated that Kesey had lost interest in the book format, and if there might be more substance to Kesey's later collectivist theatrical experiments than is commonly thought. Mike Egan's new book Ken Kesey and Storytelling as Collaborative Ritual asks the same question, examining group works like the play Twister with a Jungian point of a view and a fresh eye.
3. Karen Lillis has written a memoir, Bagging the Beats at Midnight, about her years as a bookseller at the endangered St. Mark's Bookshop (which remains one of the best places in New York City, and I hope it will never go away). Bagging the Beats includes chapters with titles like "Susan Sontag Wants The Manager & Richard Hell Wants the Bathroom Key".