Tag Archives: Interviews

Interview: Jerome Charyn and the Art of Fiction in Prose and in Comics

Portrait of Jerome Charyn by Henry Chamberlain

Much is brewing for novelist Jerome Charyn and I imagine that’s always been the case. Currently, he has a new novel out, “Jerzy,” which tackles the controversial life of writer Jerzy Kosinski. The development of “Hard Apple,” an animated series based on Charyn’s Isaac Sidel crime novels, is on a fast-track. “Winter Warning,” perhaps the last installment of the Sidel novels comes out this October. And “Family Man,” a deluxe re-issue of Charyn’s collaboration with cartoonist Joe Staton will be available later this year, with a Kickstarter campaign in support of the IT’S ALIVE Press print run closing on May 21st.

For a writer steeped in the works of great literature, it is comic books and movies that influence his work as much as anything else. In 1986, “The Magician’s Wife,” a graphic novel written by Jerome Charyn and illustrated by François Boucq, published by Casterman, won for Best Album at the Angoulême International Comics Festival. That is tantamount to winning an Academy Award for the comics industry. Mr. Charyn’s contribution, and subsequent collaborations, have significantly added to the developing art form that is the comics medium, specifically graphic novels.

We begin our conversation talking about character. In this case, the celebrated and controversial writer Jerzy Kosinski. At the end is a link to the podcast:

Jerzy Kosinski with David Letterman, 1984.

HENRY CHAMBERLAIN: Let’s begin with your recent novel, “Jerzy.” My thinking is that the life of Jerzy Kosinski fits in well with your work as you’re drawn to unusual characters seeking salvation.

JEROME CHARYN: When you look back at it historically, it almost seems like he didn’t exist. He seems like a made-up person. He led so many fictional lives. To me, it was very sad because the first two books he wrote, “The Painted Bird,” and his second novel, “Steps,” which is just as unusual, were works of genius. But, when he put on the mask of Jerzy Kosinski, in the other books, they’re no longer anywhere as interesting. They don’t have the same sad, hard touch. They’re made-up, invented. They’re not authentic.

“Jerzy: A Nove” by Jerome Charyn

“Steps” talks about his life after the war and how he lived. We have such a narrow glimpse into what it must have been like to live in a communist country after the war. And this is, you know, almost like Kafka. I mean, the world he describes in “Steps” is extraordinary. I found him to be a strange man. Very hard to deal with. But the early work was incredible.

You share a certain sensibility with Kosinski: a connection to Russia.

Yes, my mother was Russian. And I love the literature. There’s nothing like it. This is not to take anything away from American writers but when you go back to Dostoyevsky, Tolstoy, Pushkin, Lermontov, and Gogol, it’s almost like being caught in a landscape of illusions.

Lowes Paradise Theatre in the Bronx. “It was comics and movies. That was my education.”

Would you share with us your special connection to comics. You grew up in the Bronx with comics.

Yes, that’s why it’s not so strange to be involved in the whole aura of comic books. I’m about to embark upon an animated series based on my Isaac Sidel crime novels. People talk about the special role of storyboard artists. Well, I’m a storyboard artist in the sense that I can see the storyboard in my head. I grew up with comics. I learned how to read with comics.

As you wrote in one of your articles, I’m one of the first people to make the crossover from fiction to comics. I started out as an artist but I had no talent at all. So, I needed artists to work with. And I was lucky to find some of the very best artists while I was living in France. Had I not been living in France, it probably would never have happened.

A SUIVRE, a Franco-Belgian comics magazine published from February 1978 to December 1997 by the Casterman.

Your work in comics began with your connection to the comics magazine, A SUIVRE.

Yes, the title means to be continued. It was an extraordinary magazine. It lost its circulation, which can happen as you move from one generation of readers to the next. The magazine reviewed one of my novels. I was sent a copy of the issue with the review and I was exposed to some of the most extraordinary art: Tardi, Bilal, and José Muñoz, a master of black & white. I wrote a letter to the editor, Jean-Paul Mougin, a wonderful editor. I wrote to him about my desire to work with an artist. He found for me François Boucq, and we were able to collaborate on several graphic novels, including “The Magician’s Wife.”

When you were entering into this collaboration, were you at all thinking that you were about to a make your mark on this exciting and emerging comics art form or were you thinking more of it as an interesting experiment?

I would say it was both. To declare that I was making my mark would have been thinking too far ahead. I adored the work Boucq did. I remember working in television for the first time twenty-five years ago. And I recall thinking that I would love hearing the lines that I wrote for the pilot, adapted from one of my novels. And I didn’t love it at all. But when I saw the art that François Boucq did, I almost cried. He took a story that I wrote and interpreted it in his own way. The results felt totally personal. On television, the words each actor and actress spoke had no relation to me whatsoever. I was startled. I’d seen the rushes. I thought I would really enjoy it. It was dead to me.

Do you recall what televsion show that was?

Yes. It was an adaptation of “The Good Policeman.”

I wanted to build a little more on what you’ve said about comics, that it comes in and out of reality. And you’ve talked about how one can linger upon a panel. The framework of comics is unique, is magical.

Yes, it is magical. It has its own framework, like a house. It’s architecture. The panels are pieces of architecture. Also, you can move them around and shift the logic. You can possibly do that in a novel but it’s going to be difficult for the reader. You see how I do that in “Jerzy.” I shift the narrative, in a way. It seems to me, going back to Krazy Kat, you move from panel to panel and you’re in a different landscape. That, to me, was very exciting. In other words, there were no rules. You could tell the story in any way you wanted.

“Once Upon a Droshky” by Jerome Charyn. Cover art by Edward Sorel.

I wanted to chat with you about your first novel, “Once Upon a Droshky,” published in 1964. It has beautiful cover art by Edward Sorel.

I really love that cover. I’m disappointed that I never worked with him again. I chose one of my friends to do the cover for my next book. That was a mistake since you shouldn’t mix friendship with art.

Is there anything you can share with us about Edward Sorel–did you guys socialize?

I think I did meet him. I do adore the cover. I don’t know why he was chosen. He was a young man at the time. It is simply a wonderful cover as it fits the book perfectly. I was delighted to learn that you had just interviewed him. Not only that, we both have the same publisher, Liveright.

You guys should have coffee some time.

I hope so. I would love to meet him. I always wanted to be a writer and, when you see your first book, it doesn’t seem real. I’m holding it in my hand right now and it still doesn’t seem real!

You seem to have anticipated my next question. I wonder if you could give us a window into that time, at the height of the modern era. Sorel could create the Great American Illustration and you could create the Great American Novel.

“Great American Novel,” no, but it was a time when serious literature thrived. Hemingway was still alive. I believe, Faulkner was still alive. Literature was at the center of the culture. It meant something to the culture. In other words, when I went to Columbia College, we spent four years just reading books. So, one did not talk about the possibility of whether or not you might become a doctor or a lawyer. That was incidental to the idea of learning a way of life. And that has remained with me. The greatest gift I ever had was spending four years studying books. We had a colloquium of ten students and two professors. In the colloquium there was a student who would go on to win a Nobel Prize, another student who became a professor of philosophy at Harvard, etc. These were all very serious guys with a murderous intellect. And literature was a kind of religion. It’s difficult for me to speak about the current generation. But I know that, at that time, literature was at the center of the culture. It meant something.

It’s always been a relatively small group of serious readers. Literature used to mean more to the general public–we’ve lost that.

We’ve lost a lot. There are fewer book reviews and fewer bookshops. It’s the same thing that’s happened to the movies. They’re just remakes of superhero flicks and a few small films. The small has disappeared. It’s the mega-book. It’s the mega-bomb, you know. And that’s not the kind of art that I want to do.

There’s something that Marilyn Monroe said toward the end of her career, and it’s my credo. She said, “I don’t want to be rich. I want to be wonderful.” I feel the same way. I love Marilyn Monroe but she had no idea how to live her life. When she moved back to L.A., she didn’t know how to furnish her house. All she had was a bed and a lamp. It’s kind of sad but also poetic at the same time.

You have an amazing formal education. But, first, you had comic books and the movies. Do those two forces strongly influence your work, the magical realism that keeps popping up?

Yes. Remember, when you grow up with films, you have a visual sophistication that you don’t have in real life. I came from a very poor family. I remember going out with a girlfriend of mine. She came from a very aristocratic background. She was chastising me for not holding my knife the correct way. I seldom get angry. But I really exploded. I said that I lived all my life being told what to do and I didn’t want to be told how to eat. I didn’t have her table manners. I didn’t have her customs. I grew up like a kind of wolf.

But, on the other hand, I had this visual sophistication from a very early age. Joyce Carol Oates explained it to me. I thought that maybe I’d just seen so many movies. She said that maybe my brain was wired in a special way. In other words, I can distinctly remember the back of an actor’s head I had seen in a film thirty years ago. I don’t have to see the front of his face. That crazy visualization was imprinted in my brain.

There were no books in the house. It was comics and movies. That was my education. School didn’t give you much, just little things like how to spell.

“The Secret Life of Emily Dickinson” by Jerome Charyn

What can you tell us about your debut novel. What led you to choose the subject behind “Once Upon a Droshky”?

My grandparents came from the Lower East Side. You have to remember, I’d never traveled. I’d never been anywhere. Even as a kid, I very rarely went into Manhattan. Even though I was sophisticated in terms of what I read, I could not, at that point, take what I read and turn it into what I wanted to write. I had to find a theme, or a group of characters that made sense to me. I remember walking around the streets where my grandparent lived on the Lower East Side. And I can still recall the Yiddish theaters—the marquees and the actors. So, in my first novel, I picked a Yiddish actor who is unemployed. And I was able to move into that world and find his voice. Voice is critical. Writing is music. There’s nothing else but the music.

I certainly enjoyed reading your first novel. I would encourage everyone to grab an existing copy while you still can. It would definitely make sense for this book to come back in a new edition.

That’s when you get into issues of commerce. At some point, things will either work out or not. I’m grateful that I was able to do it. Someone will ask me about how I wrote that novel. Well, I found the music for it. And, for a long time, while I was living in Europe, I’d lost the music. I really wasn’t able to write. I was only able to write about New York. I was able to write stories about New York but I wasn’t able to be more adventurous. Language is a gift that can disappear as quickly as it can reappear. It’s almost magical. You write in a dream. It’s really a dream state. I don’t know how artists draw. I can only tell you how I write. You’re writing in a dream.

Your body of work is breathtaking. When someone goes over the many titles and considers the quality of the work, it’s stunning. A recent example is “The Secret Life of Emily Dickinson.” I had not read that much of Dickinson prior to reading your book. But I have now. And your novel is quite beautiful.

Thank you. I like that book a lot. I was chastised for writing in a woman’s voice. I’d rediscovered Emily Dickinson rather late. I’d never read her letters before and they are just as extraordinary as her poems. I knew I wasn’t finished with her. So, I started “A Loaded Gun.” The wondrous fact is that she never wanted to publish her work. She was like Kafka in a way. She had a secret self that was very tough. People don’t recognize her toughness. And this is what I wanted to write about.

“Bitter Bronx: Thirteen Stories” by Jerome Charyn

I wanted to ask you about your story collection, “Bitter Bronx.” I would recommend that as a wonderful point of entry. I love the fable-like quality to the stories. They remind me, in a way, of J.D. Salinger.

I’m not a great admirer of “Catcher in the Rye.” But I love “The Nine Stories.” I read them in high school. There are three or four of those stories that can make you cry with sadness and delight. The important thing is a book that you can reread and still feel the same affection: Ernest Hemingway’s early stories, Flannery O’Connor, Grace Paley, Isaac Babel. The thing about “Bitter Bronx” is that I had to relearn the craft. My editor in France suggested that I write a collection of stories about the Bronx, and like Yankee Doodle, that became my quest.

I want to call attention to the four recent graphic novel re-issues, translated in English, by Dover Publications. Readers can follow up on my previous reviews for that. I also want to call attention to FAMILY MAN, a crime noir graphic novel that will receive a deluxe reprint from IT’S ALIVE Press led by Drew Ford.

We currently have a Kickstarter campaign for “Family Man.” Drew Ford has not received the recognition that he deserves. He is a shrewd editor and gets exactly what he’s looking for from a project.

Page from FAMILY MAN by Jerome Charyn and Joe Staton

Tell us about “Family Man.”

Andy Helfer was the editor at DC Comics. I was interested in writing a Batman story but they had other ideas.

I’ll bet you could get your Batman story today.

Yes, but I’m no longer interested. Jeanette Kahn, president of DC Comics, was interested in one of my novels for a comics adaptation. At the time, in the very small printed format for “Family Man” in three stingy booklets, I didn’t like the art. However, when I finally saw the original art, I loved it.

The deluxe edition is faithful to all the duotone details of the original work.

Exactly.

My quirkiest question for you: You have these leather masks that all the trainees wear in “Billy Budd, KGB.” Where did you get those masks?

They just came from my head!

Well, they’re very arresting visuals!

Trump cartoon by François Boucq for Le Monde.

The thing is that Boucq is an extraordinary artist. When he focuses in on a subject, he gets extraordinary results. These days, he also does political cartoons for Le Monde. For “Billy Budd, KGB,” Boucq made certain changes in the story. Mine was more of a straightforward spy story. Boucq added in the Native American spiritual quality.

That reminds me of your Isaac Sidel stories. What can you tell us about the “Hard Apple” animated series based on your crime series?

We hope to get eight half hour narratives based on the first book, “Blue Eyes.” Then continue from book to book. I’ve done what they call the bible which is a summary of the characters. And soon I will be working on the pilot. I am excited about it. I didn’t realize how lyrical one could be in that animated format. The original idea, six or seven years ago, was to do a live action series. When we moved from that to animation, that’s really my country.

Then you have “Winter Warning” coming out.

Yes, the twelfth book in the series. It may be the last but at least we’ve completed the series. As you know, the main character ends up becoming president of the United States. He’s a Trump-like character. In his case, he’s a Trump of the left, rather than of the right.

Do you think that Donald Trump would make an interesting character to write about or are the people working for him more interesting?

I really don’t know. He’s a phenomenon we never thought would have happened, coming out of reality television. The country has changed so much that now a television star can become president and there will probably be other television star presidents. Say what you will about him, but he was able to speak to the American people in a way that the other candidate could not, except maybe Bernie Sanders.

I hope we may see a re-issue of “Panna Maria.”

Yes, everything in its time. If you shove to hard, you lose everything. You have to see it within its own sequence. If “Family Man” works, then everything else will work.

Things need time to breathe.

Yes. Right now, I’m working on a sequel to “Little Tulip.” I have a wonderful Belgian editor. And we’re at work on a graphic novel of Charlemagne.

It’s great how you rekindled your relationship with François Boucq.

That was through this editor. François Boucq had moved from Casterman to Le Lombard. And that editor, at Le Lombard, said that he grew up on “Billy Budd, KGB” and wanted us to work together again. Let’s say it was my stupidity that had led to our falling out. It was a pity since we could have done wonderful work all this time.

That was through this editor. François Boucq had moved from Casterman to Le Lombard. And that editor, at Le Lombard, said that he grew up on “Billy Budd, KGB” and wanted us to work together again. Let’s say it was my stupidity that had led to our falling out. It was a pity since we could have done wonderful work all this time.

And I look forward to the “Hard Apple” animated series. That’s being put together by Tomer and Asaf Hanuka, who created art for the animated movie “Waltz With Bashir.” They’re twins. One does covers for The New Yorker. It’s going to be a wonderful animated series. It’s a chance to do something that’s never been done before.

It would be great to pick up the thread again sometime, especially leading up to the next, perhaps last, Isaac Sidel book.

As you can see the discussion is endless: the relationship between comics and novels, the whole notion of graphic art, the notion of narrative in every form, we could be talking for days.

Your book, “Movieland,” there’s an hour of conversation right there.

Exactly. You should pick up a copy of “Metropolis,” my book on New York, when you get a chance.

I will.

I really appreciate your interest. And we’ll talk again.

Thank you for your time.

Thank you.

“Winter Warning,” Book 12 in the Isaac Sidel crime novel series.

Click the link below to listen to the podcast interview right here.

Be sure to visit the Jerome Charyn website here. And be sure to check out the FAMILY MAN graphic novel Kickstarter campaign, running thru May 21st, right here.

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Filed under Comics, Crime Fiction, Donald Trump, Fiction, Interviews, Jerome Charyn, Jerzy Kosinski, New York City

Todd McFarlane Playboy Interview: 25 Years of ‘Spawn’ and Image Comics

Todd McFarlane

It was such a pleasure to listen to Todd McFarlane speak at a reunion of Image Comics founders at Emerald City Comicon. One thing is clear, Todd is not shy. No, the guy is a master at public speaking. The running gag that Mr. MacFarlane ran with at the ECCC panel discussion involved co-founder Jim Lee having jumped ship and returning to DC Comics. When you help to found a comic book publisher all about creator-owned independence, returning to the place you ran away from in the first place is not exactly taken lightly. That said, McFarlane had a great time describing Lee’s lack of a baseball pitching arm. It’s a long story but one that only McFarlane can tell, and ultimately tell with a good sense of humor and regard for his old friend.

Yes, it was 25 years ago that seven Marvel and DC Comics artists and writers, seeking creative control and a better deal, jumped ship and built their own which they christened Image Comics. The driving ethos was that all of their titles, released through their own individual studios, were creator-owned and controlled. Among the rebels from the Big Two was Spawn creator Todd McFarlane, and the upstart company quickly rose up in the business, with several of their series, including Youngblood, The Savage Dragon, and Wildcats, reportedly selling hundreds of thousands of copies or more per month.

Well, to know that McFarlane recently sat down for a Playboy Interview instantly caught my interest. In the interview, McFarlane looks back on his first 25 years at Image Comics. He also offers his own hard-won advice on how to push forward as an industry insurgent by stating, “People-pleasers don’t change the world. It’s the rebel, it’s the dick, it’s the troublemaker. There are a lot of labels for us. You have to say at some point, ‘I don’t care.’” Ah, that certainly sounds like vintage McFarlane.

Read the entire Todd McFarlane Playboy Interview right here.

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Filed under Comics, Image Comics, Interviews, Playboy, Todd McFarlane

Interview: Edward Sorel and a Grand Career in Illustration

Edward Sorel in his studio.

Edward Sorel in his studio.

Anyone interested in illustration, art, satire, or the specific art of drawing, will know something about the career of Edward Sorel. The work of Edward Sorel covers a wide spectrum resulting in a hefty portrait of the human condition, with a notable eye to speaking truth to power.

My interest in Edward Sorel runs deep. I checked out from my school’s library Sorel’s 1972 collection, “Making the World Safe for Hypocrisy.” It was 1973 and I was a sensitive and highly impressionable lad of 10 years-old. I was filling sketchbooks with portraits of Watergate personalities, both villains and heroes. I tore into that book and marveled over Sorel’s distinctive crosshatching and his lively expressive line work. I was in awe with how he brought to life various dignitaries, politicians, and movie stars. The gold standard had been set in my mind and it hasn’t changed ever since. What really wows me now goes back to my early introduction to the work of Edward Sorel.

Quotes from reviews for Mr. Sorel’s new book, “Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936,” published by Liveright/W.W. Norton & Company:

“Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to ‘Moose Murders.’ Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. Not only does he then write a terrific book, but he illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading, but in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny, and in the end, touching.”
—Woody Allen, The New York Times Book Review (cover review)

“Rapier-sharp…With a tip of his pen to Daumier, the artist evokes the quaint, febrile glamour of Astor’s Hollywood, and his affectionate, conversational prose gives Mary and her story a kind of valiant dignity never bestowed while she lived.”
—Edward Kosner, Wall Street Journal

“Delightful, colorful, and occasionally cheeky.”
—Allison Sadlier, Entertainment Weekly

From "Mary Astor's Purple Diary" by Edward Sorel

From “Mary Astor’s Purple Diary” by Edward Sorel

Edward Sorel (born Edward Schwartz, 26 March 1929, The Bronx) has recently released a book from Liveright/W.W. Norton. The book, entitled “Mary Astor’s Purple Diary” is about his lifelong obsession with film star Mary Astor but it’s also a memoir of a sort. You may have read Woody Allen’s review of the book in The New York Times Book Review. Allen had the honor of introducing many new readers to the opening story in the book: It is 1965 and Edward Sorel, newly married and settling into new digs, is left with the task of replacing the old linoleum kitchen tile. Lo and behold, buried underneath is a stash of old newspapers chronicling the scandalous 1936 custody battle of Hollywood star Mary Astor. Well, the rest is history and this most engaging book.

I interviewed Mr. Sorel this last Wednesday, February 8th. I hope you enjoy it.

HENRY CHAMBERLAIN: Turning our attention to Mary Astor, what is intriguing about her is that she had a life where one plus one kept equaling three. Despite a series of bad choices, whether in lovers or career options, Mary Astor managed to persevere. Is that part of the appeal, that she took such an offbeat path?

EDWARD SOREL:
The appeal came when I read her memoir. She was a self-denigrating and witty writer. Very observant. Somewhat cynical about Hollywood. She had an intelligence that appealed to me. Then I started seeing her movies and I was hooked on her. Her bad decisions that you refer to have to do with having had an abused childhood, not in any physical way but in a mental and psychological way.

Her father kept her from having friends because he didn’t want her to see how Americans lived, how Americans treated their children. He wanted to be the dictator of his home. And he succeeded. She was unable to break free from him until quite late in her life. And it kind of ruined her. And God knows she made a lot of terrible mistakes in her life.

Marry Astor and John Barrymore.

Marry Astor and John Barrymore.

I was watching 1924’s “Beau Brummell” and I am intrigued by the relationship Mary Astor developed with her co-star, John Barrymore, of all people. In their case, the twenty year age difference was inappropriate. However, it was what it was. And it was through Barrymore that Mary Astor learned a lot and gained self-confidence.

He did do her a lot of good but not for any altruistic reasons. He was out to nail her. He was on his way to Hollywood on the 20th Century Express. He had just completed the most successful run of “Hamlet” that America had seen. He was acclaimed as America’s greatest actor. He was on his way to the coast to make “Beau Brummell” for Warner Bros. because they were paying him a lot of money. And he picks up a magazine that has a photograph of Mary Astor about the age of 16 and under the photograph it said, “On the Verge of Womanhood.” Barrymore had a particular liking for virgins.

As I pointed out in the book, it was Barrymore who had his way with Evelyn Nesbitt, who later married Harry Kendall Thaw. And it was Thaw who shot Stanford White, America’s great architect, because he thought Stanford White had taken his wife’s virginity–when, in fact, it was Barrymore. That is a sidebar I’m proud of since I pieced together that bit of information.

According to Mary Astor, Barrymore really believed that he was going to marry her. And maybe he did plan to. But when Mary would not break free from her parents, after Barrymore offered her starring roles, because her father forbade it, Barrymore realized that she was just a child. She was completely under the sway of her father. Marrying a woman twenty years younger was one thing but marrying a child was something else. He broke her heart by calling it off.

I think it’s a cartoonist thing, as I’m a cartoonist, that we keep seeking out the offbeat. So, in the spirit of that I throw out a curveball, and ask you about your changing your last name to Sorel. You are referring to Stendhal’s “The Red and the Black.” I loved that book and the main character, Julian Sorel. Is there something interesting going on there with that connection?

I liked to think that I saw myself in Julian Sorel because he was like catnip to women, which I really wasn’t, and he hated the corrupt society of his time, as I hated mine. The first election that I voted in was the one between Eisenhower and Stevenson. I took a dim view of both of them and voted for a third party.

The other thing about Julian Sorel was that he hated his father. God, I certainly hated mine, not only because he tried to discourage me in wanting to be an artist but because he was a mean-spirited ignorant man not kind to my mother, not kind to anyone. And I didn’t want anything to do with him. I was going to be a cartoonist and I didn’t want to sign my name, Schwartz, in the right-hand corner. And I chose the name, Sorel, because of the novel. It seemed as good a name as any.

"Stagecoach." 1980 illustration for Esquire magazine.

“Stagecoach.” 1980 illustration for Esquire magazine.

I think back to myself as a boy wondering about how you created your work. You’ve spoken about “finding lines.” Could you share a little bit about that?

When you work commercially, and you’re taking assignments, you have to show the art director what you plan to do. So, you do sketches of the drawing you plan to do. And, after a while, I began to notice that my sketches had more vitality and life than my finishes did. My finishes were often dead and overworked. And so I tried to emulate the quality that I had in my sketches which meant doing it without tracing. In point of fact, that’s impossible to do if you’re doing very complicated scenes. You can work direct if you’re doing a face, a figure, a still life, or anything relatively simple. You can work direct without tracing and the work has a vitality to it. But when you’re doing complicated scenes, with many different elements, you really do have to know where you’re going. So, I found out that if I just had a light outline of where I wanted the elements to be, and didn’t trace, I could keep this sketchy quality that I think gave my art work some distinction.

"The Goodwood Races," 1939, by Feliks Topolski (1907-1989).

“The Goodwood Races,” 1939, by Feliks Topolski (1907-1989).

That quality of your art has influenced so many artists, whether they realize it or not. And, certainly, there have been other artists who have used an “expressive line.” You have talked about some of your favorites, like Feliks Topolski. There’s a certain sensibility that you both share.

Yes, well, he wasn’t trying to be funny like I always have. But his work has spontaneity, which I value in every artist. Wether its Bemelmans or Topolski. What shocks me now is to find so many artists who enjoy doing art work with a computer. I’ve seen some very nice computer art. You can get that nice flat color and can do all sorts of tricks that you can’t do by hand. But, to me, it doesn’t seem like fun. It seems like working on a machine. I just love the act of drawing. I’m a throwback. Most of the illustrations that you see today in magazines, and God knows you don’t see too many, are computer-generated in some form or another.

One compromise is for the artist to draw some of the illustration by hand, scan it, and do the rest on a computer.

It doesn’t seem fun to me but it must seem fun for them. I don’t cast aspersions on their way of doing it.

I think it boils down to being a time-saver. And, once a routine has set in, that’s the way it’s done and that’s it.

The other thing about computer art is that there’s nothing original, nothing to hang on the wall. You could have a show but it would only be prints. To each his own.

"Pass the Lord and Praise the Ammunition," 1967, by Edward Sorel

“Pass the Lord and Praise the Ammunition,” 1967, by Edward Sorel

I wanted to touch on one of the all-time classics, your 1967 anti-war illustration, “Pass the Lord and Praise the Ammunition.” The real life punchline there is that you were all set to roll out a poster when the focal point of the piece, Cardinal Spellman, passed away rendering your satire unsellable. Now, there’s some divine intervention.

The day it came off the press is the day he died. It never sold in any store in America. It is in a museum in Amsterdam. One store in Chicago tried to sell it and had its window broken. Apparently, Cardinal Spellman had some fans in Chicago. That was a bad break. You get some bad breaks and you get some good ones. I was the recipient of Woody Allen’s praise on the front page of The New York Times Book Review. That was the best break I ever had.

From "Edward Sorel: Nice Work If You Can Get It," 2011, by Leo Sorel.

From “Edward Sorel: Nice Work If You Can Get It,” 2011, by Leo Sorel.

I encourage everyone to check out the short film on you that your son, Leo, did. That is quite informative and a treat. It shows you in your studio. And then the Q&A afterward with illustrator James McMullan is very impressive. Towards the end of that, you talk about the pen you favor, a Speedball B6. I’ve always had a devil of a time with steel point dip pens. But the Speedballs I could manage. And then you flip it backwards to get the crosshatching.

Yes! That was my secret. The Speedball does move and it allows you to be kind of spastic over a piece of paper.

"Nixon and Mao," 2007, The New Yorker.

“Nixon and Mao,” 2007, The New Yorker.

I wanted to ask you about Donald Trump. There was that drawing of him as Medusa you did last year. The big news at the moment is all about Mitch McConnell silencing Elizabeth Warren. I could see that as perhaps triggering an Edward Sorel drawing.

I can’t cope with Donald Trump. I haven’t done political cartooning in a number of years. I can’t deal with him. With all other presidents, you could make fun of their hypocrisy and have fun with them. But Mr. Trump is kind of crazy. And he’s dangerous. He’s cruel. Making fun of him doesn’t seem what’s called for. It’s trivializing him. He shouldn’t be trivialized. He’s really a danger. People are really scared. They wake up with Donald Trump on their mind and they go to bed with him on their mind. He’s a heavy presence in our lives now. I don’t know how to deal with that.

You can’t call him the new Nixon. At least with Nixon, there was a mind at work. It’s being very generous, but there was some sense of integrity compared to Trump. Nixon you could call a president. But, with Trump, he’s president only by title.

He seems unhinged. I think it was Bernie Sanders who called him unhinged. He seems too crazy to be in that office. I don’t know what else to say about him.

Donald Trump illustration, 2016, for Vanity Fair.

Donald Trump illustration, 2016, for Vanity Fair.

Especially living it right now. It is stomach-turning. I won’t talk about him anymore. But I do need to mention Melissa McCarthy’s impersonation of Sean Spicer. Have you seen that?

No, tell me about it. I’ve been trying to avoid the news lately.

Well, Melissa McCarthy is a comic genius and she was on Saturday Night Live last weekend. She did a spot on impersonation of Sean Spicer, had the look and mannerisms down.

Oh, wait, I did see that! A friend sent that to me.

I think that has the power of a political cartoon and then some. It captivated everyone. It was an emotional release for everyone to see that.

Yes, I’m sure it was. It was very funny.

It seems to me that every artist needs a hero, someone to play off of. I see your book, weaving your life with Mary’s, as following the artist’s struggle. I think of how Mary evolved. I think of how Mary and Bette Davis were able to rewrite “The Great Lie,” turning that around into a notable film.

She did become a very fine actress. But she also became a little bit like her father, terribly obsessed with money. She twice turned down contracts for starring roles since she believed supporting roles would provide a longer career. She did indeed have a long career. She was in over 100 movies. And she was going strong until about 1959. She didn’t take chances. Maybe she didn’t believe she was a good enough actress. She missed having a chance at great roles and great performances. That was too bad.

My obsession with her has to do with my thinking I wasn’t a great artist because I didn’t have an obsession. So, I was very grateful when people called my interest in Mary Astor an obsession. Yes, it was an obsession and I do think it helped produce my best work.

"Mary Astor's Purple Diary: The Great American Sex Scandal of 1936" by Edward Sorel

“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” by Edward Sorel

Can you tell us about your connection with Boston University?

I was very lucky to have Boston University buy my entire work, my oeuvre, as we say. In March, they’re having a retrospective of all my work and, as a matter of fact, I’m still packing up things to send there.

The Howard Gottlieb Center at Boston University has one of the finest collections from all walks of life. They have the second largest Martin Luther King collection. They have many of America’s great writers. They have Fred Astaire and Ginger Rogers. They have most of the actors and actresses from the golden age of Hollywood. I’m very delighted to be part of this collection.

Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.

Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.

I heard a siren in the background. It brings back my visits to New York. You are a lifelong New Yorker and I know how much you love New York. Could you share some of your thoughts on the city?

I do love New York. I don’t love the crowds anymore. I do worry. When you live in a city like New York, you do begin to see a kind of science fiction future: crowds everywhere, lines everywhere. New York is kind of becoming that. They keep building these enormous skyscrapers without thinking about how the city will accommodate it. They’re not building out, like they did in Los Angeles. They’re building up. It used to be that the only crowds were in midtown but now crowds are all over. And you find yourself walking in the gutter because there’s too many people on the sidewalk.

So, yeah, I love New York. The New York that I grew up with, where the museums were free and everyone went to public school, seems to have vanished. Everything is expensive now, including the museums. It’s very difficult for young people. When The New York Times that I used to buy for three cents is now $2.50, The New Yorker which I used to buy for ten cents, is now something like $7, it’s bizarre. And, of course, the wages that young people get are pitiful. So, yeah, I love New York but I don’t like the time particularly.

Is there anything else that you’d like to add?

I can tell you about my next book. It’s going to be similar in structure to the Mary Astor book. It’s going to be a memoir. It will be about my growing up in New York. And it will be about the thirteen presidents that I’ve lived through.

My point is that every one of these presidents, whether I liked them or not, committed illegal acts, overthrew governments illegally, and did unconstitutional things. Starting with Dwight D. Eisenhower, who became enamored with Billy Graham. It was through those machinations that they put “In God We Trust” on our currency and inserted “Under God” in our oath of allegiance. Somehow, I regard that point in history as the slope we’ve been sliding ever since.

Now, it’s done so garishly with someone like Trump.

Right. Trump, the great Christian, who apparently was much loved by the Bible Belt. I don’t think there’s anything more derogatory I can say about organized religion than that they were responsible for the election of Donald Trump.

Is part of the new book you’re working on sitting on your drawing board?

Not yet. A little bit is sitting on the computer. Nothing has been drawn yet.

I wish you well on that. It’s been exciting and quite a treat to get a chance to talk with you for a bit.

You’re very kind. Thank you so much.

You can listen to the interview right here.

“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” is a 176-page hardcover, with full-color illustrations, published by W.W. Norton & Company. For more details, visit W.W. Norton & Company right here.

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Filed under Art, Cartooning, Cartoonists, Donald Trump, Edward Sorel, Illustration, Interviews, New York City, Political Cartoons, politics, Richard Nixon

Interview: WREN McDONALD on Comics, Illustration, and SP4RX

Wren McDonald self-portrait

Wren McDonald self-portrait

Wren McDonald is a cartoonist and illustrator. His illustrations appear in The New York Times, The New Yorker, GQ, The Washington Post, The Hollywood Reporter, and many other places. His first full-length graphic novel, a quirky cyberpunk thriller, “SP4RX,” was recently published by Nobrow Press.

If you are in the New York City metro area this weekend, you can see Wren at Comic Arts Brooklyn. CAB is taking place this weekend with the main event this Saturday, November 5th, at Mt. Carmel Gymnasium, 12 Havemeyer Street, from 11am to 7pm, in beautiful Brooklyn! You can find Wren at CAB, downstairs at Table D31.

Wren McDonald has shot like a rocket since graduating from Ringling College of Art and Design in 2013. Wren has a refreshing take on both comics and illustrations: a rare set of skills, talent, passion, and drive. So, without further ado, here is my interview with Wren McDonald, recorded this Wednesday, as he prepares for Comic Arts Brooklyn.

HENRY CHAMBERLAIN: Wren, if we were to do a virtual tour of your studio, what would we find there?

WREN McDONALD: Well, my studio is my bedroom. So, here’s my bed and here’s my desk. That’s my studio! (Laughter)

That’s the set of circumstances for a lot of cartoonists and illustrators, isn’t it?

Yeah, especially living in New York. It just doesn’t make much financial sense to have a separate studio. But I have plenty of room here. It’s pretty spacious. I can spread out and get my work done. I have a super big desk and an iMac. And I actually have (laughs) the extended studio in the living room! There I have a Lasergraph copier where I print out my mini-comics and zines.

That’s for serious cartoonists.

Oh, yeah!

“Did Trump and Clinton Get a Pass on Education?” illustration for The New Yorker by Wren McDonald

“Did Trump and Clinton Get a Pass on Education?” illustration for The New Yorker by Wren McDonald

I direct folks who are new to your work to go to your website, wrenmcdonald.com. There you will find a cornucopia of stuff. I’m focusing on one of your current illustrations of Trump and Clinton and they are both sitting in a classroom. These two are hyperreal, larger-than-life, cartoonish. You can’t make them up. Could you give us a window into how you created that illustration?

That illustration was funny because I got the assignment the day before it was due, which was also the day before I was traveling to MICE Expo in Boston, a comics show that I was just at this last weekend. That was like a super rush job which was really intense. The art director at The New Yorker, Rina Kushnir, who is super great, I work with her a lot, she emailed me the article. She said it was last minute but she asked if I could do it. And I said, yes, of course.

Rina needed sketches in the morning and then the final that evening, around 5pm or 6pm. So, that morning, I sent in like four sketches. They were sort of goofy and funny. Like you say, these candidates are already cartoony so it’s easy to characterize them. Rina chose the one she liked. That was at noon. From that point, I got to work on the final and sent it over in the evening.

Those jobs are always pretty stressful but I enjoy doing them a lot because I feel that I work really hard and get a real day’s work in and have something to show for it.

It’s a beautiful illustration.

Thank you.

I wanted to ask you about your evolving into the illustrator you are today. Your work is appearing everywhere. Only a few years ago you were in Florida just starting out. Could you give us the cook’s tour of how you got where you are today.

Sure, I graduated from Ringling College of Art and Design, which is in Sarasota, Florida, in 2013. When I was in school, I had a website and was posting things on social media, like Tumblr, and I think that helped me get my feet off the ground in terms of people seeing my work.

From that point, I started going to comics shows like TCAF in Toronto, Comic Arts Brooklyn, and MoCCA. I tabled at TCAF and other shows I would just go to. I’d have mini-comics to give out to help make people aware of me. It’s two different paths, comics and illustration, so I’ll talk about them separately.

The illustration stuff is, like I say, social media and tracking down email contacts and networking. And a lot of promotional stuff. You want to create a portfolio that really looks like editorial illustration. Editorial work has a snowball effect. You start to get jobs and you’re seen as a professional.

CYBER REALM by Wren McDonald

CYBER REALM by Wren McDonald

The comics stuff is going to shows and socializing. I was approached by Peow! Studio, based in Sweden, about publishing one of my short stories in of one of their anthologies, “Time Capsule.” I thought that was super cool since I was familiar with their work. I was super excited. I think that was the first comics story that I had published out in the world besides my own stuff online, on Tumblr. Soon after that, I talked to Nobrow about doing a short story (CYBER REALM) for their 17×23 series which is a platform to try out new talent. That’s a small format, just 24 pages. We did that and enjoyed working together. So, Nobrow said they wanted to try something longer. That’s what I wanted to do so it worked out that way.

It’s amazing how quickly things came together. Did you already have an idea of what SP4RX was going to be like while you were working on CYBER REALM or did one work just follow the other?

I didn’t have one story cocked and loaded beforehand. I always hear other cartoonists, or writers, when they talk about their work, saying they had this story they’d been working on since they were 10 years-old and it’s part of an epic world they’ve created. I’m not one of those people. When I sit down to write a story it’s about brainstorming and anything that peaks my interest.

For SP4RX, I’ve always been interested in the cyberpunk genre, especially movies and comics. I wanted to work in that genre. I was already creating work dealing with technology, robots, and dystopian settings. I think it just made a lot of sense to me.

We’re always hearing about the digital versus the physical. I direct people to the comic you did for The Comics Journal. How did that come about?

I’m not sure if Nobrow contacted The Comics Journal, or the other way around, but The Comics Journal approached me about doing one of their A Cartoonist Diary columns. I was all for it since I have the attitude of wanting to try something out and make it work. I had not done diary comics before so I had to think about how to do this. Mine is not a traditional diary comic since it has these fantastical elements to it. Despite it being involved with things I was experiencing, the more apt title to it turned out to be “Not A Cartoonist Diary.” That was a fun project.

Over the years, illustration is deemed dead and then it comes right back. It all runs in cycles. You’re firmly in both the world of comics and illustrations. Some cartoonists, I know, have never printed mini-comics nor done the comic fest circuit. But you love that.

Right! I love making comics, reading comics, and telling stories. I am passionate about my comics work because I am able to draw what I want to draw. Illustration is a fun back and forth since it involves work that I would not necessarily choose to draw: it’s more like a puzzle. Okay, how do I use these images to convey a specific idea, very concisely, to pair with the article? It’s a fun back and forth. Maybe I’ve been working on comics for two weeks straight, and then I get an editorial assignment. That’s great, I can take a break from comics and do an illustration, take a break from having my face too close to the page and switch my train of thought–and vice versa.

SP4RX by Wren McDonald

SP4RX by Wren McDonald

If we were just chatting, we’d end up talking about books and movies, especially science fiction and cyberpunk. I imagine that “Videodrome” must be a favorite for you.

I do love “Videodrome.” David Cronenberg is amazing but I don’t think that “Videodrome” had a specific influence on SP4RX. Instead, concerning SP4RX, I had just read William Gibson’s “Neuromancer,” which I thought was like the coolest book ever. It is considered “cool.” I wanted to make something “super cool” like that! I’d always been into “Akira” by Katsuhiro Otomo. And “Ghost in the Shell” by Masamune Shirow and his Appleseed series. And movies like Paul Verhoeven’s “Total Recall” or “Robocop.” Or James Cameron’s “Terminator II.” “The Matrix.” “Aliens.” Stuff like that. I wanted to do something in the vein of that genre.

Let’s focus back on SP4RX: a super hacker going up against corporate enslavement. How close are we today to corporate enslavement?

There’s a lot of parallels that I was drawing from. Basic stuff that I’d see on the news. Even just going about my day-to-day, going shopping or whatever, that would end up in SP4RX. It’s a world with hover cars and sci-fi elements but there are plenty of parallels to our real world throughout. For example, I’d be watching some crazy video on YouTube with one newscaster harassing another newscaster and I would basically copy and paste that into the book. Within a sci-fi setting, you can focus on the human element. You don’t get caught up in a specific nation or political agenda. It’s just people in this science fiction world.

Everyone may not get a hover car but we’ve got plenty of the weird and nefarious stuff already. What do you think about Edward Snowden and us being monitored? The future is here.

Yeah, it makes me think that the cyberpunk genre and movement is more relevant than ever. When the internet was first coming about, that genre seemed so cheesy. It’s fun to laugh about it but there’s so much of it that’s relevant. Like you say, that NSA stuff is really happening. It’s important to pay attention to that and be aware.

Panel excerpt from SP4RX

Panel excerpt from SP4RX

Is there anything you’d like folks to know about that you are currently doing?

It depends upon when you think this post will go up. There’s Comic Arts Brooklyn this weekend.

I can push things up and get this out by Friday. I’d love to go to CAB. I have my own book I’m working on that is very much science fiction oriented. It’s about the science fiction writer George Clayton Johnson. His career and life’s journey has a very intriguing arc. He began with writing the story for the Rat Pack classic, “Ocean’s Eleven” and crescendoed with co-writing the novel that was the basis for the cult classic, “Logan’s Run.”

Oh, yeah, that movie has a nice sci-fi cheesy quality.

Well, the thing with George was that he kept to his set of values and the integrity of his storytelling. “Logan’s Run” is an example of a big studio having its own ideas on what the story should be. It’s totally fun though and I think a remake would be great. The original novel is very different. I think you’d enjoy it.

I will check it out.

Comic Arts Brooklyn

Comic Arts Brooklyn

But getting back to CAB.

Yes, I will be at Comic Arts Brooklyn this Saturday, November 5th. You can find me downstairs at Table D31. So, come by and say hello! And I have a new mini-comic that will debut at CAB and then be available on my site which is called, “Dirt Dart,” a 12-page story about a soldier lost on another planet.

Well, it’s been fun talking with you, Wren. I know that you’re having the time of your life.

Yes, staying busy!

Thanks so much, Wren.

Thank you, Henry. When you’re in New York, stop by and we can have a drink.

Will do.

You can listen to the interview by clicking the link below. I did not make any edits so you’ll pick up on some slight differences from the transcription which is a smoother read. One thing to mention here is that I was not aware of the title, SP4RX, being pronounced “Sparks.” I must have been firmly in the mindset of George Lucas and his 1971 classic, THX 1138:

SP4RX is out now. Find it at Nobrow Press right here. Visit Wren McDonald right here. And, if you are in the New York City metro area, be sure to visit Comic Arts Brooklyn this weekend. Visit CAB right here.

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Filed under Brooklyn, Comic Arts Brooklyn, Comics, Cyberpunk, George Clayton Johnson, Graphic Novel Reviews, graphic novels, Interviews, Logan's Run, New York City, Nobrow Press, Sci-Fi, science fiction, The Comics Journal, Wren McDonald

Interview: Jennifer Daydreamer: Comics and Beyond

Jennifer Daydreamer

Jennifer Daydreamer

Jennifer Daydreamer has been published by Top Shelf Productions and regularly contributed illustrations to the Seattle alt-weekly, The Stranger, in the late ’90s. In the course of a creative life, Daydreamer has seen her path take an interesting trajectory. I share with you now a conversation with artist and writer Jennifer Daydreamer on her new project, “Mack Stuckey’s Guide to the Center of the Universe.” A Kickstarter campaign in support of a print run to the book is going on now thru August 28th. You can find it right here. She is the author. Full disclosure, I’m the illustrator for the book, and I contributed to the story. And she’s my partner.

HENRY CHAMBERLAIN: Let’s begin, Jen. We can jump in to the very beginning of the Mack Stuckey project.

JENNIFER DAYDREAMER: You certainly did contribute to the prose. There are details in Mack, plot points, character names and so forth, that you came up with. We are both illustrators but you were the instant choice of illustrator. Although I can draw fast, I don’t normally paint in quick thick brush strokes, the kind you do, and so I was excited about a real artistic collaboration with you. Probably our first. I think after you’ve been blogging for ten years, this has been the first time you have interviewed me. So, thanks!

What was the impetus to writing Mack Stuckey?

Well, before 2008, I could score a job pretty easily. I’m a creative type but I have a detailed part of my brain that does well with accounting. I actually enjoy accounting because I find it meditative and so for most of my career I have been able to do accounting work for my jobs. I was in a series of job layoffs. One, the company went out of business, the next, the company transferred my position out of state, another one I was a new hire and when they do layoffs, the new hires usually get cut first. In a nutshell, the book is about the economy and expressing my frustration about it, in a creative way. I just don’t want to spend my time venting at this point. I have expressed my employment dilemmas to my friends over the years. At this point, I’d rather be joking.

Illustration for "Mack Stuckey" by Henry Chamberlain

Illustration for “Mack Stuckey” by Henry Chamberlain

Jennifer Daydreamer quote

Where does it take place?

It takes place in Seattle. Poor Seattle. The inspiration to write the book is my need to express myself in regards to the economy and state of housing and living in our city with a disappearing middle class. The story takes place in 2014, by the way, and so, any uptick of the economy happening today, I hope is really happening. I digress. Seattle happens to be the fall guy, the theatrical back drop of the story and so, we make fun of Seattle. Specifically, Fremont. We venture into Ballard, Downtown, and the U District.

How so?

For one thing, I create a feud between Ballard and Fremont, either real or imagined. I examine the tension that I think exists between the two locales because when you want to buy something practical in Fremont, like pens and a pad of paper there is only one or two small places to go. There are no standard drug stores allowed in Fremont (I think from building codes) so you have to take your car or the bus or your bike and dip into Ballard for practical needs.

What else is the book about?

Well, we describe the book succinctly on our Kickstarter page! Basically, I created a love triangle between a woman and two men, representing the upper, middle, and lower classes. I don’t come right out and say that in the book, because that would be too explicit, but that is one of the themes. I think there is something for everyone in the book, if you like humor, a sexy romance, or interest in the local icons. I try my hand at what I call comedic erotica.

Tell us about what you’ve been up to in the last few years.

After drawing comics, I was inspired to write a screenplay because that imprint, what was it called?

Minx.

Yes, Minx, from DC Comics, asked me for some ideas. They cancelled the imprint. One of my ideas was for a dystopian novel about the separation between a guy and a girl and killing in the army, that someday I should write. They really did not like it, too macabre, and then Hunger Games comes out later. I remember believing them at the time that the story pitch is not good, so its a reminder to believe in myself. I wrote the screenplay for the humor submission that they did like. Then Minx was cancelled. I never had a contract, just a “that’s funny, I like that one.” So, I spent about a year studying how to write a screenplay and it took me about 1.8 to finish it, because it was my first screenplay.

Where did that leave you?

With one foot halfway in the door! It left me with one manager who switched companies and his job position and so he could not represent it. Then I found an agent who read it, she is known in the industry and so I felt lucky. She was encouraging. She said I needed edits and she gave me her manager contact and said to try and do edits with him and then resubmit it to her. But her manager nixed it. By the way, I respected how he communicated with me, as he got to it, read the script promptly and let me know his opinion. Everyone I submitted it to over a year’s time or so, was very nice, frankly. I know there is crap that happens in Hollywood, but, somehow, I felt encouraged by people in the business I was in contact with. Most did not have room or time to read it and some commented that my pitch was great and so to keep at it. So, I got my foot in the Hollywood door about an eigth of the way. A toe.

Interesting visual, one toe clinging to a door. But, seriously, it put you in an interesting situation. You were in the thick of transitioning from comics, moving beyond comics.

It was fun to try. I felt a cartoonist could get a foot in the door because comic book movies were taking off. I had an agent/lawyer to make some pathway, also, when I submitted, so I was not completely unprofessional and just cold called everyone. I think the writing contributed to writing Mack – the more you create the better you get. Mack has taken 2.5 years to write and I still have some details I want to round it out with. Its basically done. Besides those projects, I have spent a lot of time writing and sketching out a four book Young Adult Fantasy Series which I am eager to launch on social media. For this YA series, I really think a book agent, editor or editors and publishing company is necessary. You need help to keep detail accurate when you are world building.

After Mack, I have one very odd book, I have to get off my chest, then I will launch my YA series. I have spent a year on it. Its not complicated like writing a story but I am scared of publishing it, and so, I have to publish it. I’m scared as I have to dip into some religious and societal explanations. I had an out of body experience or an altered state from drawing my mini comics long ago and it was not until recently when I studied Jung in detail and some Jungian psychologists that I realized there is a biological explanation or a science explanation for it.

Lots of room to dig deeper.

Usually the explanation in our society, is something spiritual or “occult” and so I am eager to lay out my idea to disprove the occult notions, that there may be a more reasonable or logic based explanation. I have not completely ruled out a spiritual component. I think there is a spiritual component, I understand the shamanic explanation for something like that, but I think there is a middle ground, because the explanations from psychologists are so clear and sound. There’s compelling commentary by Oliver Sacks on YouTube (13.45). Maybe you can link the video for our cartoonist friends because it’s interesting if you draw comics.

Yes, consider it done. It will run right below these comments.

Great!

What Oliver Sacks has to say I am relating to my experience in the book. I think the brain is activated because of the archetypal nature of comics. What archetypal nature is, should be explained more but there is not room in this intervew to go into that kind of detail.

“There is another part of the brain which is especially activated when one sees cartoons. It’s activated when one recognizes cartoons when one draws cartoons and when one hallucinates them. It’s very interesting that that should be (so) specific.”

–Oliver Sacks

Are you still drawing comics? Where would you say you are today in relation to comics?

I love comics. I am following my heart and my heart wants my YA series to be prose – just words – and my illustrations. And so, no, its not comics. I would like to draw comics and be in anthologies, but there is no time at the moment. I am really focused on the projects listed above. I have the door open on comics, the door is not closed. Same with, you know, doing another humor book like Mack. When I was in high school I was the kid that made fun of all the teachers and drew riffs on them and passed them to my friends in class. I have a humor side and I have the side that loves to create long fantasy.

Anything else you’d like to add?

One last word. We make fun of some drug usage in Mack but I don’t do drugs. I am a very very square cat when it comes to things like that. It’s important for me to be clear on this because I don’t like my out of body experiences nor my illustrations to be accused of being “drug influenced.” Because I think fantasy story and art is related to healing and I want to contribute to that. I want to explore more in the future on the connection to drawing comics and naturally based hallucinations.

Thanks, Jennifer!

Thank you, Henry!

Be sure to visit Mack Stuckey right here. To go directly to the Kickstarter campaign on thru 8/28, go right here.

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Filed under Comics, Humor, Interviews, Jennifer Daydreamer, Kickstarter, Satire, Seattle, writers, writing, Young Adult

Interview: Eric Heisserer, LIGHTS OUT, ARRIVAL, and the Art of Storytelling

Eric Heisserer

Eric Heisserer

"Lights Out"

“Lights Out”

Eric Heisserer is a screenwriter you want to follow. He is known for “The Thing” (2011), “Final Destination 5” (2011), “A Nightmare on Elm Street” (2010), and “Hours,” (2013) his directorial debut, starring Paul Walker.

You will see his work this year in “Lights Out,” a supernatural horror film directed by David F. Sandberg; and “Arrival,” a sci-fi thriller directed by Denis Villeneuve. “Lights Out” is in theaters starting July 22, 2016 (USA). “Arrival” will open wide on November 11, 2016.

In this interview, we chat about storytelling and we begin with “The Dionaea House,” an online project that launched Eric’s professional screenwriting career with its sale to Warner Bros. in 2005.

Continue reading

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Filed under Comics, Dark Horse Comics, Eric Heisserer, Horror, Interviews, movies, Ray Bradbury, Sci-Fi, science fiction, Screenwriting, Valiant Entertainment, writers, writing

Interview: Brian Christian and ALGORITHMS TO LIVE BY

Brian Christian at Elliot Bay Book Company, Seattle, Washington

Brian Christian at Elliot Bay Book Company, Seattle, Washington

Science writer and poet Brian Christian (author of “The Most Human Human,” a New Yorker Favorite Book of the Year) read at Elliott Bay Book Company, here in Seattle, over the weekend. It was my pleasure to sit down with Brian and discuss his latest book, co-authored with Tom Griffiths, “ALGORITHMS TO LIVE BY: The Computer Science of Human Decisions,” published by Henry Holt and Company.

Algorithms to Live By Henry Holt 2016

I begin our conversation my relating the work of Malcolm Gladwell to what this new book has to offer: opportunities to help people reach their eureka moments. You can read my review here.

You can watch the video to the interview below:

“ALGORITHMS TO LIVE BY: The Computer Science of Human Decisions” is a 368-page book available in hardcover, paperback, and as an e-book. For more details, visit Henry Holt and Company.

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Filed under Brian Christian, Computer Science, Elliot Bay Book Company, Interviews, Seattle

Interview: William F. Nolan and the True Meaning of Fiction

William F. Nolan and Ray Bradbury

William F. Nolan and Ray Bradbury

Great fiction comes from all over: horror, dark fantasy, mystery, and so on. William F. Nolan writes in various genres. You may know him from his work with Dan Curtis, such as the classic horror film, “Burnt Offerings.” Or perhaps you know him from co-writing, with George Clayton Johnson, the classic dystopian novel, “Logan’s Run.” Mr. Nolan has gained great recognition and won numerous awards and honors. Just last year he was named the Grand Master at the World Horror Convention in Atlanta. In this interview, we spend a good time chatting about horror as well as fiction in general. And we definitely visit the subject of the Southern California Sorcerers, otherwise known simply as The Group.

"Burnt Offerings" from 1976

“Burnt Offerings” from 1976

During our conversation, Bill shared a very special moment regarding his friend and fellow writer, George Clayton Johnson, who passed away this last Christmas. He offers up for us a picture of a fresh-faced, and beaming, young George bursting upon the scene, circa 1957. He has shown up at a meeting of The Group and asks if he may join in with the illustrious and ambitious writers. Someone asks George what he has to show for himself. And, George, just having received his box of author copies, proudly shows the men what he’s been up to. “Hey guys,” George says, “I co-wrote this really cool thing called, ‘Ocean’s Eleven!'” And the rest is history!

This interview was conducted Monday, February 22nd. William F. Nolan is going strong, just shy of his 88th birthday on March 6th. If you love a good story, or if you are an aspiring writer yourself, or if you’d like to know something about the Sixties zeitgeist, then this interview is for you. In the span of about twenty minutes we cover a lifetime of observations and insight.

Henry Chamberlain: Thank you for getting together with me, Bill. I wanted to cover the writer’s life with you in this interview. First off, a good horror story has been compared to placing a frog in gradually boiling water. What can you tell us about the boiled frog method of storytelling?

William F. Nolan: Allow me to veer off a bit from the boiled frog to tell you how I approach telling a story. Really, how I tell a story is like the other night when I was in bed, half asleep and half awake, a state where I get all of my ideas. I was thinking of these deadly flowers. They had the power to stop the human heart. They were alive and, if you didn’t treat them right, they could turn against and stop your heart. There’s this couple who decide to rent this place on the beach. It looks like a great place. The owner lets them know that they have to take care of these special flowers but the couple ignore him, they don’t do it. And they end up being killed by the flowers. Their dead bodies are found on the beach. That’s how I form an idea for a story. I get an opening in my head for the concept and then I get the ending. Finally, I fill in the middle. That’s how I write a horror story, or any other kind of story.

Discoveries Best of Horror and Dark Fantasy edited by James R. Beach and Jason V Brock

Discoveries Best of Horror and Dark Fantasy edited by James R. Beach and Jason V Brock

HC: There’s a story of yours, “Stabbed by Rob,” in the recently published collection of dark fantasy from Dark Discoveries, edited by James R Beach and Jason V Brock. That story is a perfect example of that boiled frog method. There are a number of touches of humor, including your mentioning a glow-in-the-dark statue of Jesus. And the story keeps turning up the heat to the very last sentence.

WFN: Well, I believe you really can’t get away without some humor in a horror story. Horror is too stark, raw, and unflinching. You need to be able to live in it. You’ve got to lighten it with some humor. All my horror stories have elements of humor. You need to let the reader breathe. You can’t go from the first page to the last and do straight horror. That’s the problem with H. P. Lovecraft for me. Lovecraft has no sense of humor. He was a brilliant writer. He was a brilliant innovator. But no sense of humor. By the time you finish “The Shadow over Innsmouth,” you’re exhausted. I want my readers to relax a little, to breathe, and have a good chuckle while they’re being frightened. That’s my method of writing horror.

HC: I’m glad that you mention Lovecraft because I’ve had difficulty with him too. Your adaptation with Dan Curtis of Robert Marasco’s 1973 novel, “Burnt Offerings,” has just the right touches of humor at the start, and they give way to a more sinister mood. There’s a balance.

WFN: Yes, that was adapted from the Marasco novel which had no humor whatsoever. I told Dan Curtis, who directed, and produced the film with me, that we were going to need to lighten up the material because it was too stark. I’m glad that you appreciate the humorous elements in the film. As I say, I just don’t think you can do horror without lightening it up a little bit.

HC: Then there’s Ray Russell’s work. Perhaps more of a touch of elegance than humor. I love the way Ray Russell masterfully brings up a lot of pretty grim stuff in his work. He knows what to leave in and what to mostly imply. I’m thinking of “Sardonicus,” “Sagittarius,” and “Sanguinarius.”

WFN: Ray Russell was one of my closest friends for years. We would talk about how to write in terms of horror. And we both agreed on the same thing that you’ve got to put some humor into it in order to lighten the whole thing. I love Ray’s work. He passed on some years back. He would be happy to hear that you enjoy his work.

Just Part of The Group: Charles Fritch, Chad Oliver, Charles Beaumont, Richard Matheson, and William F. Nolan, circa 1954.

Just Part of The Group: Charles Fritch, Chad Oliver, Charles Beaumont, Richard Matheson, and William F. Nolan, circa 1954.

HC: There were all of these amazing writers that you got to be close with in social settings and in work sessions. All of you together were the Southern California Writer’s Group.

WFN: There were eleven of us. We didn’t think of ourselves as anything special. We were all trying to make a living, pay the rent, pay the mortgage, stay afloat. We wrote science fiction and fantasy in a modern vein. We took it away from the Lovecraftian type of fiction and wrote a modern type. It was sort of pioneered by Richard Matheson and Ray Bradbury who were part of our group. We all worked from the same principle: you can do modern horror but it has got to be something that people can believe in. It has to be realistic. It should happen today, in somebody’s kitchen. It could happen in a kitchen. You don’t have to go to a haunted castle, back in Transylvania, to have horror. Horror can happen on your doorstep. Horror can be a terrorist with a submachine gun that sprays lead over you while you’re eating in a restaurant. That’s horror. Horror takes many forms. We all tried to work within that scope.

Yeah, eleven of us. Matheson, Bradbury, myself…Charles Beaumont was sort of the hub of the thing. We had Jerry Sohl. We had Robert Bloch, known for “Psycho.” We’d all gather together at each other’s houses, at all-night coffeeshops and talk shop, editors, and markets. We were quite a group. All these years later, people look back on us as pioneers in the field. And that’s nice but, at the time, we were just trying to make a buck, just trying to make a living.

HC: Well, sure, you guys were so close to it all. You would need to stand back to see it clearly. What you guys did was take gothic literature and give it a modern cool. That’s essentially it.

I AM LEGEND by Richard Matheson

I AM LEGEND by Richard Matheson

WFN: Yeah. I still think that you can credit Richard Matheson for a lot of that. Stephen King said that he was influenced more by Richard Matheson, than any other author, because he took horror out of the castle and brought it into the kitchen. And I agree with him. We all tried to do that. We all felt that was the way to go. We weren’t interested in something ancient. We wanted something real, something of today.

HC: You list eleven members of The Group. Was there any time that all eleven of you met under one roof?

WFN: Three or four of us were into auto racing. Richard Matheson, Jerry Sohl, and Robert Bloch didn’t care at all about that. But Charles Beaumont, John Tomerlin, and myself were heavily into Grand Prix sports car racing both here and in Europe. We actually flew to Monte Carlo one year for the Grand Prix. And we went to Sebring Raceway in Florida for the races there. The Beaumont kitchen in North Hollywood, his upstairs kitchen, is where most of us would meet. George Clayton Johnson was part of that group too. We would meet there. But there was never a meeting of all eleven of us at one time. It was three or four of us at at time at different places. We’d go to movies together. We’d meet in coffeeshops.

Musso and Frank Grill

Musso and Frank Grill

HC: I imagine that you guys enjoyed Musso and Frank Grill.

WFN: We loved Musso and Frank Grill. It has all that history: Hemingway, Fitzgerald, and William Faulkner. The murals never changed. The seats are the same. When you’re sitting there, it’s like you’ve gone back in a time machine. We loved it. I still love it. I love to go whenever I’m in L.A.

HC: You touched upon George. I have to say that I can imagine that he loved the fact that he got to pass away on Christmas Day. Such a magical thing. Such an act of will.

WFN: That was no accident. He was ill. He was in hospice care for about a week before that happened.

HC: Oh, yeah.

WFN: The doctors were saying that he could go at any minute but George, subconsciously, since he couldn’t verbalize it at that stage, was saying that the doctors couldn’t tell him when he was going to die. He was always an independent guy. He was saying: “I want to die on Christmas Day since that was the birthday of Rod Serling, who made me famous for my writing for The Twilight Zone.” He was able to die three days past when he was expected to die. He was able to fool all the doctors. That was no accident.

George Clayton Johnson and William F. Nolan, circa 1957

George Clayton Johnson and William F. Nolan, circa 1957, illustration by Henry Chamberlain

HC: Yes, that’s what I meant. I was honored to interview George a number of times and got to meet him in person. Would you share with us a little more of the flavor of the era and a picture of George at one of these bull sessions at The Group that may come to mind?

WFN: Four or five of us were sitting in the living room of the upstairs apartment of Charles Beaumont one night. There was a knock at the door. This is around 1957. The Group was around from the ’50s to ’60s. So, there’s a knock at the door. We open the door and there’s George Clayton Johnson with a package under his arm. He said, “I’m George Clayton Johnson. I want to join you guys. I want to be with you. I’ve heard about you and I want to join you.” Someone asked, “Are you a writer?” He said, “Yes, I am,” and he held up the package, “It’s called, ‘Ocean’s Eleven’ and I just sold it to Frank Sinatra!” That’s what got him started with The Group.

HC: That’s beautiful. I wanted to ask you about the literary tradition that The Group worked from. I’m sure that Nathaniel Hawthorne, Mary Shelly, all the gothic writers, were subjects of conversations for all of you.

WFN: You can’t write out of a vacuum. We’re all influenced by other people. Ray Bradbury was influenced by Herman Melville, William Shakespeare, and George Bernard Shaw. We were influenced more by such horror writers as Arthur Machen and Algernon Blackwood. I started out reading H.G. Wells’s “The Time Machine” and “War of the Worlds” when I was a boy growing up in Kansas City, Missouri. And then I discovered Bradbury and Weird Tales. Ray Bradbury and I became close friends and that lasted 50 years. We’re all standing on the shoulders of other people. We all read Hawthorne and Robert Louis Stevenson. We were influenced by them but we wanted to take our fiction into a modern setting and move it forward and I believe we succeeded.

Photo by Ralph Morris, Hollywood Blvd. 1960

Photo by Ralph Morris, Hollywood Blvd. 1960

HC: I wanted to close out by asking if you could give us a little more of a flavor of Los Angeles in the ’50s and ’60s. I can just imagine: you had the ghost of Raymond Chandler; old Hollywood giving way to new Hollywood; Forey Ackerman and the rise of geek culture. L.A. in the Sixties, it doesn’t get much better than that.

WFN: I read Raymond Chandler, Dashiell Hammett, the hard-boiled school, James M. Cain. I’ve read books on Chandler and Hammett. I’m a big hard-boiled fan. Los Angeles was a hard-boiled city in those days. Dashiell Hammett glorified San Francisco. But Los Angeles was also part of that era where corruption ruled in high places. It was a violent and colorful era captured beautifully by Raymond Chandler. If you read the work of Raymond Chandler, you’re learning a lot about Los Angeles as he experienced it.

I can tell you that there was a lot of smog. I used to live in Burbank, right against the mountains. The smog was terrible. I did move around different parts of Los Angeles. It changed quite a lot during the many years I was there. It’s not the same city that it used to be.

HC: I love Los Angeles and love looking for signs of yesteryear. They’re around if you know where to look for them.

WFN: If you go to Pasadena, there’s the old bridge that Raymond Chandler wrote about in one of his novels. The bridge that Philip Marlowe drove over at night. It’s still standing there. I wrote a piece entitled, “Marlowe in Los Angeles.” I toured all the places he used to go to, including Musso and Frank Grill. Chandler was an insatiable researcher, always moving around, and usually within the greater Los Angeles area. He grew to know it beautifully. Hammett made San Francisco famous with “The Maltese Falcon.” Chandler did the same for Los Angeles with “The Big Sleep.”

HC: I wish you a great year ahead, Bill. Any projects we can look forward to soon?

WFN: I had a collection of my poetry come out last year. This year we’ll have a new collection of my essays. I’m working on a new collection of short stories. I just wrote three new stories this month. So, even though I’ll be turning 88, I feel like I’m still 28.

HC: I can feel the energy. Thanks again, Bill.

WFN: I really enjoyed this. Thank you.

You can listen to the podcast interview by just clicking the link below:

Keep up with William F. Nolan at his website right here.

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Filed under Charles Beaumont, George Clayton Johnson, Interviews, Jason V. Brock, Richard Matheson, Rod Serling, Sci-Fi, science fiction, The Twilight Zone, William F. Nolan, writers, writing

Interview: Olivia Olson and ‘Adventure Time: The Enchiridion & Marcy’s Super Secret Scrapbook!!!’

Marceline-Adventure-Time

Olivia Olson has much to celebrate and share with fans. She is in the unique position of getting to do a lot of cool and creative stuff with her dad, comedy writer Martin Olson. For starters, both are voice talent on the animated series “Adventure Time” on Cartoon Network. This is one of the most creative, quirky, and strangest shows on television. If you know the show, all I need to say is: Marceline the Vampire Queen and, her dad, the Lord of Evil, Hunson Abadeer! It was Adventure Time’s very own creator, Pendleton Ward, who recruited Olivia Olson, and later on Martin Olson, to become part of the show and the rest is history.

Marceline Vampire Queen and, her dad, Hunson Abadeer stealing her french fries.

Marceline Vampire Queen and, her dad, Hunson Abadeer stealing her french fries

As Olivia describes in this interview, it was just a natural progression that led her to follow in her father’s footsteps into show business. Sure, it can be a harsh business but, with the right guidance, special things can result.

In the case of this father and daughter, it has led to not only performing together but also writing together. The first Adventure Time book was “The Adventure Time Encyclopedia,” written by Martin Olson. And that sparked an interest in Olivia to join in.

Olivia Olson and Marceline the Vampire Queen

Olivia Olson and Marceline the Vampire Queen

Now comes a new book that goes even further, “Adventure Time: The Enchiridion & Marcy’s Super Secret Scrapbook!!!” You can read my review here. This one is a collaboration between the two. Martin Olson focuses on the Enchiridion. And Olivia Olson focuses on Marcy’s Super Secret Scrapbook. But there’s more to it than that and we cover it in the interview.

One thing that Olivia wanted to point out is that this book is not only two books in one. When you think about it, it’s actually four books in one! You see, the Enchiridion covers two separate books: one for Heroes; and one for Wizards. And Marcy’s Scrapbook is actually two books: a journal by Simon Petrikov, aka The Ice King, the man who raised Marceline; and a journal by Marceline.

The full interview with Olivia Olson follows and includes the podcast at the end.

Adventure Time Marcys Scrapbook 2015Henry Chamberlain: I read that the idea for this book began on a subway ride in New York City with you, your dad, and editor Eric Klopfer. Would you tell us about that, what you were anticipating doing on the book?

Olivia Olson: It’s a funny story since originally I wasn’t going to be part of the writing process. I helped a little bit for our first book, the encyclopedia for Adventure Time. That was mostly my dad writing it and I had so many notes to give him because, at the time, he didn’t know too much about the show. He said, “How about if I keep the wrong information and you keep correcting me throughout the book.” That was my first little snippet of writing. We were at New York Comic Con, with the first book being so well received, and we just thought we needed to do another book. The first book had been successful. And we knew how much my dad wanted to tackle writing the Enchiridion.

At the time, we didn’t know how we were going to fuse the Enchiridion with Marcy’s Scrapbook. That came about way later. We sort of tricked our publisher, Abrams, into having me be a co-author on the book. I wrote my segments and submitted them and then, after they provided feedback, we revealed that the writing was mine.

Jake-Adventure-Time

HC: There’s such a literary quality to Adventure Time stemming from the original creators, your dad. And now you, part of the next generation. Would you describe to us growing up in that world, being exposed to all that creativity, getting to write with your dad.

OO: It’s so funny because, when I was a little girl, I always wanted to act and sing, all that kind of stuff. My dad, being in the business, did not want me to have anything to do with it since, you know, it’s hard on children being part of that. So, he frowned upon it. But here I was growing up among all these comedians and writers and actors so it was kind of impossible for him not to expose me to the world.

Not in a million years would I have thought that I’d be performing and writing right alongside him. It is such a funny coincidence as I grew up in animation. I grew up with all these people who worked in cartoons. But I never really thought that was to be my path. I always thought it would be more like Beyonce or Mariah Carey. It’s just so weird. People like Tom Kenny and his wife used to babysit me and my brother. Now I get to play a character with Tom Kenny. And I get to write with my dad.

HC: From what I observe, it looks like it’s all coming together naturally. For instance, your dad never considered himself an actor, even though he has that performing background.

OO: We joke about it. We’ve been doing this all our lives and now we have a job where we’re getting paid for it. Adventure Time has provided all these amazing outlets. I started off as an actor. My dad started off as a writer. Now, five years later, he’s an actor on the show and I’m a writer. It’s really amazing that Pen Ward, the creator of Adventure Time, gave us these opportunities to not only work as father and daughter but explore the range of our talents.

HC: You have a very distinctive voice and style for Marceline the Vampire Queen. And you bring her to life so well in this book. This is quite a unique two-books-in-one. Could you describe your take on your writing process–and how your songwriting background comes into play. I can think of some lyrics that you include in the book.

OO: There’s definitely a lot of poetry and lyrics spread throughout the Scrapbook part. It’s funny that we pitch it as a two part book because, if you really delve into it, you see that it’s a four part book. The Enchiridion side has two parts, one for Heroes and one for Wizards. And the Scrapbook has a journal by Simon Petrikov followed by a journal by Marceline.

The Scrapbook was originally going to be something completely different. I wrote summaries for every episode I’d ever done. I was following along with each episode and wrote a diary entry for what Marceline might write on that particular day. That’s what we originally submitted and then we end up scrapping all of that. We wanted to dive deeper into the backstory since Marceline is such a mysterious character. We really wanted to cover the Mushroom War and how tragic her story really is.

It was when I added the poetry that it kicked in. I had never written a work like this before. It was something new. I definitely started off by writing a lot of poetry for it. And that made me feel more connected to my character.

Marceline in "Stakes" from Adventure Time on Cartoon Network

Marceline in “Stakes” from Adventure Time on Cartoon Network

HC: What do you hope readers will get out of the Scrapbook? I am thinking that, for young readers, they will get a fuller appreciation of how a character is depicted in a different medium. You see Marceline one way in an animated format and you see her in a different way in a literary format. Can you speak to how the character can do different things in different media?

OO: I think all the work outside of the actual series, and that includes the video games, comics, anything like that, is technically not canon to the show. We worked extremely hard with everyone involved to have our contributions match as closely to what is happening on the show. And that was a huge help in having us align with “Stakes,” the new mini-series that’s just come out. It gave us a platform to jumpstart where Marceline was going next and learn more about her.

I was so excited about this since Adventure Time fans really get down and dirty with everything. That’s what is so great about the show. It sparks the imagination. Fans have all these theories about what’s going on in the show. We went through so many drafts to stay true and do justice to the show. I was really impressed with what we ended up with, being able to go deeper into the characters, taking a different approach from the random humor the show is known for. When the show began to dig deeper into the characters, we wanted to do the same.

The Girl with All the Gifts by M.R. Carey

The Girl with All the Gifts by M.R. Carey

HC: What are you reading now or what sort of books do you like?

OO: Right now, I’m reading a zombie apocalypse book. It’s called, “The Girl with All the Gifts.” It’s 20 years after a zombie outbreak. You start with all these children at a playground. You don’t know why they’re being treated so poorly. They’re half-human and half-zombie. They’re hybrids. I was drawn to it since Marceline is a demon hybrid.

I like all kinds of books. I’m definitely not someone who judges a book by its cover. I’ll be at the airport and give anything a try.

HC: What sort of music are you currently listening to?

OO: Well, I like how Apple iTunes organizes your music and makes suggestions. It has me now listening to Justin Bieber. My boyfriend wasn’t a fan but now he is. I’m also enjoying the oldies, like The Doors.

HC: Any new writing projects brewing?

OO: I don’t want to jinx it but we’re in talks with my publisher, Abrams, about a new book. And I’m working on new music. I’d say, right now, I’m not reaching a quarter-life crisis but more of a quarter-life reprocessing of what path I want to take. I’ve been so fortunate to be so successful at such a young age. So, if there are any young listeners out there, don’t worry about having to know what you’re doing since I don’t always feel that I do.

HC: I think you’re on a great path. I foresee more of the same with new discoveries along the way.

OO: Yeah, I’ve been extremely fortunate. I’m a lucky girl but I always want to top myself and find what’s new.

HC: Well, great. Thanks so much, Olivia.

OO: Thank you, Henry. This has been a great chat. Really great questions.

The podcast is below:

“Adventure Time: The Enchiridion & Marcy’s Super Secret Scrapbook!!!” is published by Abrams. Visit them right here. And be sure to catch Marceline the Vampire Queen on Cartoon Network right here.

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Filed under Abrams, Adventure Time, animation, Cartoon Network, Interviews, Martin Olson, Olivia Olson, Pendleton Ward

Review and Interview: Koren Shadmi, creator of THE ABADDON

THE ABADDON by Koren Shadmi

THE ABADDON by Koren Shadmi

Koren-Shadmi-The-Abaddon

“I’m going to smile, and my smile will sink down into your pupils, and heaven knows what it will become.”
― Jean-Paul Sartre, No Exit

THE ABADDON is a very popular webcomic and is due out as a collected work on November 12th from Z2 Comics. It’s my pleasure to share with you some observations on the work and to share with you an interview with its creator, Koren Shadmi.

You’re this young guy in a new city who is desperately looking for a room to rent. You just happen to find what looks like the best deal you could hope for: cool roomies, one a potential romantic interest, a spacious loft, and you can pay what you want on rent. Huh? How does that work? Before Ter can ask too many questions, he’s voted into the group. Little does he realize he forgot to check if he hasn’t just made the worst mistake of his life. And so begins Koren Shadmi’s very quirky graphic novel, THE ABADDON. It is loosely based on Jean-Paul Sartre’s play, NO EXIT, and is due out November 12th from Z2 Comics.

The-Abaddon-Koren-Shadmi

I took notice of Koren Shadmi’s artwork with the recent graphic novel, MIKE’s PLACE: A TRUE STORY OF LOVE, BLUES AND TERROR IN TEL AVIV, published by First Second Books. You can read my review here. Shadmi has a very appealing style that truly brings each character to life. In the case of the character-driven THE ABADDON, he runs the spectrum of personalities, all of which are quite dysfunctional. Poor Ter never had a chance, although he may beg to differ. Shadmi does a masterful job of taking us on Ter’s surreal journey. Even if he were to escape his roomies, does he seriously think he can escape The Abaddon?

The-Abaddon-Z2-Comics

Shadmi is the sort of artist/writer who is at home with asking the big questions. With a cartoonist’s instinct for concise and precise communication, he distills those big ideas into accessible and entertaining content. He’s not taking anything away from the integrity of the subject at hand; even existential matters are fair game for comics. In fact, what better subject to tackle in the comics medium that questions of why and how we exist? The Abaddon proves to be a highly satisfying read.

Z2-Comics-Koren-Shadmi

In our interview, we touch upon existential matters, what led to the creation of The Abaddon, and what lies ahead for this up and coming illustrator and cartoonist.

GOD by Koren Shadmi

GOD by Koren Shadmi

I begin by asking him about one of his most compelling illustrations: a museum exhibit with a display for God. It’s one of the illustrations that you can purchase through his website right here. Click below to listen to the podcast interview below:

THE ABADDON is available starting November 12th from Z2 Comics. You can also find it at Amazon right here.

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Filed under Cartooning, Comics, Existentialism, Illustration, Koren Shadmi, School of Visual Arts, Webcomics, Z2 Comics