Anybody who’s remotely interested in the art of/work of writing should pick up the current issue of The Paris Review and flip to Dennis Cooper’s interview. It is pure inspiration.
In theaters tomorrow and On Demand on the 29th. Don’t miss this film. Some more whet:
–Steve Erickson interviews Noé: “I saw “Lady in the Lake” on mushrooms and became fascinated with the idea of depicting a character‘s perspective while he’s on hallucinogenic drugs. I also read about astral projection, and the afterlife. I don’t believe in it, but as a collective dream, like flying saucers, I wanted to depict it properly.” and “I want to make a movie that will be very sentimental and sexual. I have a long treatment now. It’s a love story. I want to film sex as I’ve experienced it, which I haven’t seen accurately represented in erotic or pornographic films.”
“Art is just a one night stand.” You agree?
Luca makes films, makes paintings, makes stories. He recently moved from New York to North Carolina, where he has become a visual artist full time. We talk about this recent decision, the relationship of art & commerce, art as work, and what is beautiful/not pure.
KB: So, what I’m immediately curious about is your thought process before you moved to North Carolina and decided to make art your primary business. Was there a definite moment in which you decided this?
[Parts 2-10 available from the end of part 1. Thanks Gene Kwak]
We did the interview in a hotel in midtown Manhattan. He was slender and well-dressed with a beard the color of Malamute fur. As others have observed, he’s disarmingly pleasant in person—even jolly. If he weren’t so thin, he could be Santa Claus.
Our Q & A is below. I’ve condensed some of my questions and remarks to streamline/clarify, and so you don’t have to read as much from me, but I’ve preserved just about every word Haneke said, intelligibility of the tape allowing. His English is fairly good, but unless otherwise noted, he’s speaking through a translator.
I’m pretty sure John Dermot Woods hasn’t killed any presidents, but he still opts to use his assassin name on the cover of his book, The Complete Collection of People, Places & Things (BlazeVOX 2009).
That’s a title worth remembering, but I don’t blame anyone who can’t do it. I always call it The Complete List of Stuff, even though John’s title is better. I like how he places no limit on what is included. Apparently, it is the complete collection of everything and everyone, everywhere, ever. Continue reading “Interview with John Dermot Woods”
Q: Bob, what about the situation of American poets. Kenneth Rexroth has estimated that since 1900 about 30 American poets have committed suicide.
A: Thirty poets! What about American housewives, mailmen, street cleaners, miners? Jesus Christ, what’s so special about 30 people that are called poets? I’ve known some very good people that have committed suicide. One didn’t do nothing but work in a gas station all his life. Nobody referred to him as a poet, but if you’re gonna call people like Robert Frost a poet, then I got to say this gas station boy was a poet too.
WSJ: Does this issue of length apply to books, too? Is a 1,000-page book somehow too much?
CM: For modern readers, yeah. People apparently only read mystery stories of any length. With mysteries, the longer the better and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore and people need to get used to that. If you think you’re going to write something like “The Brothers Karamazov” or “Moby-Dick,” go ahead. Nobody will read it. I don’t care how good it is, or how smart the readers are. Their intentions, their brains are different.
Interviews with novelists seem to always run the risk of being completely inane. (So…. how’d you come up with the plot of your book? Your protagonist is craa-aazy! How ’bout that? ) A lot of interviews have the same confused, polite tone. If you haven’t read the book they’re talking about then the interview might not make any sense but if you have read it, the interview might be boring. Either that or the writer ends up just talking about their “process” (3 hours every day, only after midnight, in the bathtub… blahblahblah…) which can be interesting sometimes but is often dull.
Somehow, though, I like reading these interviews despite having a lot to complain about. Rivka Galchen gives particularly good ones so I’ve decided to give her three highly arbitrary HTMLgiant awards based on one interview in The L Magazine.
Best alternative to just saying “Um, No.”:
The L: The omnipresent character Tzvi Gal-Chen is named after your father. Is there significance behind the names of any of the other characters?
RG: If you take all the letters of the names of the different characters, shuffle them, then transpose their value an X increment, it reveals the terrifying and silent name of the God of our divine disorder.
Continue reading “The Interview Awards: Rivka Galchen”