Once one learns that film scholar/bloggerMark Fertig has authored Film Noir 101: The 101 Best Film Noir Posters, a new Fantagraphics coffee table book, there is only one logical option. Interview him about it. Enjoy Fertig discuss the book and much more about film noir. I wish all my interviews were this content rich. Speaking of content, when discussing certain films, Fertig was kind enough to share links to his blog, Where Danger Lives, pleasebe sure to click on all the links for even more great reading.
Tim O’Shea: You dedicated the book to your late mother. Did she live long enough to know you became a film scholar?
Mark Fertig: Unfortunately my mom passed away when I was still in my twenties; at the time I was slogging it out as an adjunct graphic design professor. However she remains the driving force behind my interest in classic films. Anyone who has ever cultivated a passion for old movies can tell you that it’s difficult to find others out there with the same interests. For me, that person was my mother. We spent countless hours watching dusty VHS tapes and discussing everyone from Alan Ladd to Zasu Pitts. Remember Mia Farrow in those last few moments of The Purple Rose of Cairo? That was my mom.
Titles are important; I have them before I have books that belong to them. I have last chapters in my mind before I see first chapters, too. I usually begin with endings, with a sense of aftermath, of dust settling, of epilogue. I love plot, and how can you plot a novel if you don’t know the ending first? How do you know how to introduce a character if you don’t know how he ends up? You might say I back into a novel. All the important discoveries—at the end of a book—those are the things I have to know before I know where to begin. I knew that Garp’s mother would be killed by a stupid man who blindly hates women; I knew Garp would be killed by a stupid woman who blindly hates men. I didn’t even know which of them would be killed first; I had to wait to see which of them was the main character. At first I thought Jenny was the main character; but she was too much of a saint for a main character—in the way that Wilbur Larch is too much of a saint to be the main character of The Cider House Rules. Garp and Homer Wells are flawed; by comparison to Jenny and Dr. Larch, they’re weak. They’re main characters. Actors know how they end up—I mean how theircharacters end up— before they speak the opening lines. Shouldn’t writers know at least as much about their characters as actors know? I think so. But I’m a dinosaur.
Back in 2001, librarian and novelist SaraRyan captured folks’ attention with her young adult novel, Empress of the World. The book (described as “about friendship, love, and the sometimes blurry lines between the two”) is an Oregon Book Award winner, an ALA Best Book for Young Adults and was a finalist for a Lambda Literary Award. Recently the book was re-released in an expanded edition. Ryan and I conducted an email interview about it, as well as delving into her upcoming comics work, which includes Bad Houses, a collaboration with Carla Speed McNeil. This interview goes in some pleasant directions and I was lucky to get to interview Ryan.
Tim O’Shea: In researching our interview, I searched for your Tumblr page but accidentally discovered the number of people that quote your work (and hashtag it “Sara Ryan”). I think it safe to assume that any writer wonders how much their work resonates with people. How affirming is it when you see people quoting your work?
Sara Ryan: Here’s where I expose my ignorance of the finer points of Tumblr. Until you pointed it out, it hadn’t occurred to me to check if anyone had tagged posts about me/my work. Now that I know said posts exist, I’m certainly pleased!
Speaking of Tumblr, visiting your Tumblr page it becomes obvious (at least to me) that you love the power of photography.
I do. Photography actually connects very much to comics writing for me; I can’t draw, but I can compose images with my camera. I try to use that same visual sensibility when I write panel descriptions — while leaving enough room for the artist to bring their own interpretation, of course.
In the wake of his death, I went looking for an interview with Sobol. I was fortunate enough to discover Just My Show: The Retro Pop Culture Podcast. Back in 2007, the show interviewed him and he shared how he kept the books ageless. He noted that he once referred to an expensive car in one of the earlier books and quoted the cost of the car ($5,000). Of course, by today’s standards, that’s not a substantial amount for a car–and Sobol expressed his appreciation that in revised releases of the book the cost had been edited.
Also in the interview, Sobol referenced newspaper column of his, the Two-Minute Mystery, that lead to him pursuing Encyclopedia Brown. Thanks to Google News’ archives, I was able to find one of the columns from 1967.
Next Friday, May 11, Anna Trodglen, creator of the online comic strip Biscuits & Bellyrubs, will unveil her translation and illustration of Little Red Riding Hood, the classic children’s story, from the original German. The book celebration is set to be held at the Young Blood Gallery (636 N Highland Ave. Atlanta, GA 30306/404-254-4127), from 6 to 9 PM. As befits a children’s book, kids are encouraged to attend (bring the parents of course) the gathering, where snacks and sodas will be served. As an added bonus, Anna’s musical collaboration with husband Dugan Trodglen and John Armstrong (aka the legendary band, DQE) will perform a set. In anticipation of the event, Anna and the book’s designer/letterer Anthony Owsley allowed me to email interview them. (Eagle eye readers will note this marks the second time I have gotten to interview Anna [the first time being in 2010]) My thanks to Trodglen & Owsley for the interview.
Tim O’Shea: What inspired you to tackle Little Red Riding Hood, rather than translating one of the myriad other German folklore tales?
Anna Trodglen: I wanted to do Little Red Riding Hood because I was really drawn to the Wolf. He seemed very interesting and as a dog relative he was appealing to me. I also liked the limited number of cast in the story and that there were three distinct female characters.
When a mutual friend told me about Young Adult novelist Crickett Rumley‘s 2011 book, Never Sit Down in a Hoopskirt and Other Things I Learned in Southern Belle Hell, I immediately decided I had to email interview the author. Here’s the official scoop on the book: “Expelled from thirteen boarding schools in the past five years, seventeen-year-old Jane Fontaine Ventouras is returning to her Southern roots, and the small town of Bienville, Alabama, where ladies always wear pearls, nothing says hospitality like sweet tea and pimento cheese sandwiches, and competing in the annual Magnolia Maid Pageant is every girl’s dream.
“But Jane is what you might call an anti-belle, more fishnets and tattoos than sugar and spice. The last thing on her mind is joining the Magnolia Maid brigade and parading around town in a dress so big she can’t fit through a door. So when she finds herself up to her ears in ruffles and etiquette lessons, she’s got one mission: ESCAPE.”
This interview was conducted in late 2011. My thanks to Rumley for her time and humor.
Tim O’Shea: When did you first realize you derived creative satisfaction from writing teen comedy?
Crickett Rumley: Being a teenager is one of the most terrifying states of existence on earth. At least it was for me. On some level, everybody feels awkward and is searching for who they are, whether they are the most popular girl in school or the computer geek who hides in the corner and only comes out to answer calculus questions. Under those conditions, emotions run at full velocity – the highs are stratospheric, the lows are deeper than the sea. Everything means everything. So I’ve always felt that period in a character’s life is ripe for story-picking.
Tom Williams’ novella, The Mimic’s Own Voice, was released in 2011. Williams was kind enough to entertain a few questions of mine in this email interview (conducted in early December 2011). Williams’ story is a quirky consideration of mimicry and biography. And I’m not just saying that because of the kind sentiment he expresses at the start of the interview. As noted in his bio: “A former James Michener Fellow, he has received individual artist fellowships from the Wisconsin Arts Board and the Arkansas Arts Council. He currently is an associate editor of American Book Review” and Department Chair/Professor of English at Morehead State University. My thanks to Williams for his time and thoughts as well as Susan Henderson for helping to arrange this interview.
Tom Williams: Tim, let me first say thanks for agreeing to do this interview. One of the great things about having a small press book is that I’ve been required, pretty much, to do a lot of my own publicity. Yet I get to meet (in this virtual way) people like yourself, who do so much for writers and, it seems to me, receive so little in return. I hope I don’t stumble too much over these great questions.
Tim O’Shea: In developing this story, how early did you realize it was best suited as a novella, as opposed to a novel or short story?
Williams: As evidence of my unerring commercial intuition, I knew almost right away that it was a novella. The opening lines had a certain kind of tone and were pointing toward an almost historic sweep. I thought for a time it might be a novel but sensed the appropriate length was short of novel length after I had gone through, for the first time, my comedy history–from the one liner royalty to the vernacular story tellers to the mimics to the social critics to, finally, the observational comics. To flesh it out too much would, I thought, ruin the joke, and to try to bring it in under 30 pages would leave too much out.
This email interview with Afghan Women’s Writing Project (AWWP) founder, award-winning author Masha Hamilton, was set months ago, but I dropped the ball. In a sense, though, I am glad that this interview was delayed. This time of year, I like to think people are more charitable. So once you read about the AWWP, an organization devoted to giving Afghan women the ability to voice their opinions without the filter of male relatives or the media–and visited the AWWP website–I hope you consider donating to its cause. My thanks to Hamilton for her time and thoughts, as well as to AWWP’s Lynn Harris for helping to arrange this email interview.
Tim O’Shea: In a sense, do you think mentors benefit almost as much from the experience as the contributors?
Masha Hamilton: Absolutely. A bridge is being built between Afghan women and both mentors and readers abroad that I think is important to both sides. To read some of the mentors’ comments on our site, look here. Here is one quote from Stacy Parker Le Melle, but you can pick any one you’d like:
“Magical. How else to describe sitting at my computer in Harlem, USA, and connecting with young women in Afghanistan, women who want to better themselves as communicators so that they can be heard at home and all over the world? I cannot thank Masha Hamilton and her partners enough for creating this cyberspace classroom. At times, it feels like we’re meeting in our dreams.”
Katie Roiphe’s essay about the late David Foster Wallace’s syllabuses at Slatefascinates me on two levels. First, that in this digital age, with one click of the button I can access the syllabus of a professor (for a class I never took at a college I never attended). Secondly, the content of the documents themselves are eye-opening, for the assertive way (noted by Roiphe) that Wallace addresses his students. Consider this excerpt:
Students of course love teachers who step out of the formality of academic life, who comment on it, but very few do so as more than theater. Very few commit to it the way David Foster Wallace commits to it. “This does not mean we have to sit around smiling sweetly at one another for three hours a week. … In class you are invited (more like urged) to disagree with one another and with me—and I get to disagree with you—provided we are all respectful of each other and not snide, savage or abusive. … In other words, English 102 is not just a Find-Out-What-The-Teacher-Thinks-And-Regurgitate-It-Back-at-Him course. It’s not like math or physics—there are no right or wrong answers (though there are interesting versus dull, fertile versus barren, plausible versus whacko answers).”
Go read the article, follow the links. It’s fun stuff.