Posts Tagged ‘humor’
Here’s a roundup of what’s been occupying my time these past few weeks.
St. Vincent’s new album, eponymously named St. Vincent, is out this week. If you haven’t heard her music yet, think Bjork and Tori Amos and you’re pretty close. Studio 360 spoke with her and The Guardian is streaming the new album.
New York magazine spoke with television producer Lorne Michaels about Saturday Night Live, the comedians he’s launched, and the various shows that have come out of his legendary late night program.
NY Mag: Have you ever felt restricted by the standards of broadcast TV?
LM: No. I believe that there’s no creativity without boundaries. If you write a sonnet, it’s got to be fourteen lines. If you write one that’s nine lines, it’s not a sonnet. So we have to be clever. We’re in a medium that goes into people’s homes, and, very often now, people watch our show with their kids.
Marc Maron is now dating Moon Zappa, and appears to be very happy. He tells the story of how they got together in the monologue of this episode. It’s a great reason to go back and listen to his interview with Moon from October 2013.
Speaking of podcasts, I can’t believe it took me until the 123rd episode to start listening to Throwing Shade, an irreverent comedy show hosted by Erin Gibson and Bryan Safi. Together they take on the pop culture topics of the day with blatant disregard for political correctness. They are hilariously brilliant — and brilliantly hilarious. If you want to break out of the winter doldrums, put this on your iPod.
If you’ve finished watching House of Cards and are waiting for the second season of Orange is the New Black to start this summer, you should consider watching Shameless, a British TV show about a family (and their surrounding neighbors) who live in a public housing community. There are no connecting themes to either of the Netflix shows, except that all seasons are streaming and it’s awesome. The first season features James McAvoy if you need some incentive.
I just plowed through Will Self’s 2006 collection of essays, Junk Mail. Spanning much of the 90s, these nonfiction works are taken from places such as the Evening Standard, the Observer, the Independent, Esquire, GQ and the like. The opening piece, “New Crack City,” describes a crack den Self once knew and the second, “On Junky,” is an introduction to William S. Burroughs’ popular work of semi-autobiographical fiction. But it’s not all drugs in this one. Self also writes about his stay at a hotel made of ice, there’s a profile of Bret Easton Ellis, a thought piece on Morrissey, and interviews with artist Damien Hirst and author J.G. Ballard.
The other week, The New York Review of Books ran the short story To Kill a Child by Swedish writer Stig Dagerman. It’s eery and compelling and might just bring back those winter blues so have Throwing Shade handy after reading.
If you’re anything like me and you ask someone to describe you, “idle” would not show up on their list. I’m the type of person who will walk 20 blocks instead of connecting to another subway; it’s rare that I see a movie in the theater because the thought of sitting still for two hours makes my skin crawl; hang out with me for more than 45 minutes and I’ll suggest we get up from wherever we are and wander the streets; and if I’m not out of bed by 7am on the weekends I’ve wasted my day.
I read Fast Company, Harvard Business Review, and other “lifehack” type publications that promise lessons on super-human productivity. I aspire to “robot brain,” my shorthand for ultimate organizational skills. “Idle” is not in my vocabulary. So, it was an interesting choice in books when I decided, last minute, to buy How to Be Idle: A Loafer’s Manifesto by Tom Hodgkinson, co-founder and editor of The Idler magazine.
While at the bookstore register, attempting to finish off a gift card, the bright orange cover propped up on the counter caught my eye. “Indispensable,” the bookseller said when I picked it up. I was sold. Maybe, I thought, just as I hone my productivity skills, I need to learn to relax. After all, recharging is an important part of the equation as well — or so all those seasoned lifehackers tell me.
In blending social history, humor, and profiles of famous idlers from science, the arts, and politics, Hodgkinson makes a convincing case for slowing down. At times, nearly sounding like a conspiracy theorist, he points out how we became workaholics. He quotes radical philosopher Terence McKenna, “… institutions fear idle populations because an Idler is a thinker and thinkers are not a welcome addition to most social situations.” He continues with his own thoughts:
It is precisely to prevent us from thinking too much that society pressurizes us all to get out of bed. … Introspection could lead to that terrible thing: a vision of the truth, a clear image of the horror of our fractured, dissonant world.
At one point in the book, the extremity of our situation — our collective discouragement towards idling — is made clear. We’ve gotten to the point as a society that many of us take vacation seriously: what should be a time of leisure has become “over-organized.” Not only are we under pressure to fit in all there is to see and do at our destination of choice but we’re expected to be cheerful about it.
From the first chapter, Hodgkinson flips your brain, putting you in a space to trust whatever comes next.
Sleep is a powerful seducer, hence the terrifying machinery we have developed to fight it. I mean, the alarm clock. Heavens! What evil genius brought together those two enemies of the idle–clocks and alarms–into one unit? … Is it not absurd to spend our hard-earned cash on a device to make every day of our lives start as unpleasantly as possible, and which really just serves the employer to whom we sell our time?
The chapters in How to Be Idle are broken down into hours of the day. 8 a.m., entitled “Waking Up is Hard to Do,” offers the advice of laying in bed longer and enjoying the half-awake time. 9 a.m., “Toil and Trouble,” suggests working fewer days a week. “Sleeping In,” which is 10 a.m., explains how idling is actually productive, using Walter Benjamin, Sherlock Holmes, and Rene Descartes as examples.
Defining idler as a “student of the art of living,” Hodgkinson finds valuable lessons in Ferris Bueller’s Day Off, pointing out that in playing hooky there is potential for a journey of self-exploration.
How to Be Idle asks us to be our better selves — noble flaneurs in today’s fast-paced climate — and urges us to step outside the daily pressures:
As with all aspects of idleness, we should resist the pressure to reject the elements of our lives which do not fit into the productive, rational, busy paradigm that society and our own selves impose upon us.
To make time for conversation:
Sharing is at the heart of conversation: sharing ideas, entertainment and stories. … As well as giving rise to ideas, conversation gives a way of expressing them.
And to look up from time to time:
Gazing at the stars opens our minds to another reality, a mysterious eternal world, beyond material struggle.
How to Be Idle — as compelling as it is humorous — is a celebration of idleness, a lesson in the importance of stepping back, slowing down, and taking a deep breath. By the end it becomes clear, Hodgkinson’s book should be kept on everyone’s nightstand and reread at least once a year.
November is upon us and the paperback releases are looking good. This month, keep your eye out for this excellent crop of new books—mostly originals.
The Ballonist by MacDonald Harris with an introduction from Philip Pullman
As in the best of Jules Verne or Albert Sanchez Pinol, “The Balloonist” is a gripping and surreal yarn, chilling and comic by turn, that brilliantly reinvents the Arctic adventure.
It is July 1897, at the northernmost reach of the inhabited world. A Swedish scientist, an American journalist, and a young, French-speaking adventurer climb into a wicker gondola suspended beneath a huge, red-and-white balloon. The ropes are cut, the balloon rises, and the three begin their voyage: an attempt to become the first people to set foot on the North Pole, and return, borne on the wind. Philip Pullman says in his foreword: “Once I open any of MacDonald Harris’s novels I find it almost impossible not to turn and read on, so delightful is the sensation of a sharp intelligence at work.
Kafka in Love by Jacqueline Raoul-Duval
Kafka was an attractive, slender, and elegant man–something of a dandy, who captivated his friends and knew how to charm women. He seemed to have had four important love affairs: Felice, Julie, Milena, and Dora. All of them lived far away, in Berlin or Vienna, and perhaps that’s one of the reasons that he loved them: he chose long-distance relationships so he could have the pleasure of writing to them, without the burden of having to live with them. He was engaged to all four women, and four times he avoided marriage. At the end of each love affair, he threw himself into his writing and produced some of his most famous novels: Amerika, The Trial, and The Castle.
In this charming book, author Jacqueline Raoul-Duval follows the paper trail of Kafka’s ardor. She uses his voice in her own writing, and a third of the book is pulled from Kafka’s journals. It is the perfect introduction to this giant of world literature, and captures his life and romances in a style worthy of his own.
Granta: The Best Young Brazilian Novelists edited by John Freeman
Since Granta’s inaugural list of the Best of Young British Novelists in 1983 – featuring Salman Rushdie, Ian McEwan, Kazuo Ishiguro, Martin Amis and Julian Barnes – the Best of Young issues have been some of the magazine’s most influential and best-selling. In 2010, Granta looked beyond the English-speaking world with Best of Young Spanish-Language Novelists.
Now, in an issue fully translated in partnership with Granta em Português, the magazine celebrates emerging talent from Brazil, many translated into English for the first time. Authors include Cristhiano Aguiar, Vanessa Barbara, Carol Bensimon, Javier Arancibia Contreras, J.P. Cuenca, Miguel del Castillo, Laura Erber, Emilio Fraia, Julian Fuks, Daniel Galera, Luisa Geisler, Vinicius Jatoba, Michel Laub, Tatiana Salem Levy, Ricardo Lisias, Chico Mattoso, Antonio Prata, Carola Saavendra, Leandro Sarmatz, and Antonio Xerxenesky.
Maidenhair by Mikhail Shishkin
Day after day the Russian asylum-seekers sit across from the interpreter and Peter—the Swiss officers who guard the gates to paradise—and tell of the atrocities they’ve suffered, or that they’ve invented, or heard from someone else. These stories of escape, war, and violence intermingle with the interpreter’s own reading: a history of an ancient Persian war; letters sent to his son “Nebuchadnezzasaurus,” ruler of a distant, imaginary childhood empire; and the diaries of a Russian singer who lived through Russia’s wars and revolutions in the early part of the twentieth century, and eventually saw the Soviet Union’s dissolution.
Mikhail Shishkin’s Maidenhair is an instant classic of Russian literature. It bravely takes on the eternal questions—of truth and fiction, of time and timelessness, of love and war, of Death and the Word—and is a movingly luminescent expression of the pain of life and its uncountable joys.
Hush Hush: Stories by Steven Barthelme
If you’re up $16,000 at the casino and missing dinner with the woman you love, how do you find the strength to drive away? If you give up your career and your beautiful wife and find yourself drinking vodka and fixing cars for a living, is that necessarily a step down? In Hush Hush, Steven Barthelme gives us a simultaneously twisted, heartbreaking, and hilarious account of learning to quit when you’re ahead.
The collection, which includes the Pushcart Prize-winning “Claire,” exposes the surprising dignity in lying on your belly in the pouring rain, in ringing your ex-girlfriend’s doorbell at 4 A.M., in sleeping with your dead wife’s best friend. Co-author with his brother Frederick of the brilliant and devastating casino memoir, Double Down: Reflections on Gambling and Loss, Steven Barthelme seems to cast an eye at his own history and the characters he’s known. These are men and women who are down — but stirringly, not quite out. An unmissable, arresting book from one of the most seminal short story writers of the last twenty years.
The Other Side of the World by Jay Neugeboren
Charlie Eisner is a journeyman whose friend Nick convinces him to move to Singapore, where he falls in love with the vibrant and endangered world of nearby Borneo. One night, at a party in Nick’s Singapore apartment, Nick dies mysteriously, prompting Charlie to return to New England, where he discovers that Seana O’Sullivan has moved in with his father, Max, a retired professor with a beguiling and antic disposition. Seana, one of his father’s former students, is a wildly successful and provocative writer who is equally wild and provocative in life. Together, she and Charlie set out on a road trip, first to pay respects to Nick’s parents, and then on a journey where “weird things happen if you make room for them.”
From the forests of Borneo to the mean streets of Brooklyn and the haunting towns of coastal Maine, The Other Side of the World is a grand, episodic novel and yet another virtuoso performance by one of America’s most revered living writers.
The Writer’s Notebook II: Craft Essays from Tin House with an introduction from Francine Prose
The Writer’s Notebook II continues in the tradition of The Writer’s Notebook, featuring essays based on craft seminars from the Tin House Summer Writer’s Workshop, as well as a variety of craft essays from Tin House magazine contributors and Tin House Books authors. The collection includes essays that not only examine important craft aspects such as humor, suspense, and research but that also explore creating fractured and nonrealist narratives and the role of dream in fiction. An engaging and enlightening read, The Writer’s Notebook II is both a toolkit and an inspiration for any writer.
Moranthology by Caitlin Moran
The follow-up to Caitlin Moran’s breakout hit, How to Be a Woman–A hilarious collection of award-winning columns, available to American readers for the first time ever.
Possibly the only drawback to the bestselling How to Be a Woman was that its author, Caitlin Moran, was limited to pretty much one subject: being a woman. Moranthology is proof that Caitlin can actually be “quite chatty” about many other things, including cultural, social, and political issues that are usually the province of learned professors or hot-shot wonks–and not of a woman who once, as an experiment, put a wasp in a jar and got it stoned. Caitlin ruminates on–and sometimes interviews–subjects as varied as caffeine, Keith Richards, Ghostbusters, Twitter, transsexuals, the welfare state, the royal wedding, Lady Gaga, and her own mortality, to name just a few. With her unique voice, Caitlin brings insight and humor to everything she writes.
Errantry: Strange Stories by Elizabeth Hand
No one is innocent, no one unexamined in Shirley Jackson award-winning author Elizabeth Hand’s new collection of stories. From the mysterious people next door to the odd guy in the next office over, Hand teases apart the dark strangenesses of everyday life to show us the impossibilities, broken dreams, and improbable dreams that surely can never come true.
The Right Way to Do Wrong by Harry Houdini with an introduction from Teller
Originally published in 1906, The Right Way to Do Wrong was a masterclass in subversion conducted by the world’s greatest illusionist. It collected Houdini’s findings, from interviews with criminals and police officers, on the most surefire ways to commit crime and get away with it.
This volume presents the best of those writings alongside little-known articles by Houdini on his own brand of deception: magic. Revealing the secrets of his signature tricks, including handcuff and rope escapes, and debunking the methods of his rivals, he proves himself to be just as clever and nimble a writer as he was a magician—and surprisingly free with trade secrets! All of which makes this unique selection of works both the ultimate anti-etiquette guide and proof that things are not always as they seem.
Anyone familiar with Choose Your Own Adventure books—the stories written in the second person where middle grade readers, after a few paragraphs, are given options as to how they’d like the character to proceed—will take one glance at Love is Not Constantly Wondering If You Are Making the Biggest Mistake of Your Life and wonder if someone is playing a trick on them. Or at least that’s what I thought when I first saw a copy in the bookstore.
The book was placed prominently at the checkout counter and as the bookseller was ringing me up I couldn’t resist. “I used to love these,” I said. As I picked it up and thumbed through I asked, “did you ever read these?” Unfortunately for the bookseller, he hadn’t experienced the wonders of these fantastic little books as a kid; and, unfortunately for me he was of little help when, to my confusion, I noticed a long string of curses on one of the pages. “I think it’s a joke,” he mumbled, or something to that effect. Not sure what to make of it, I put the book back on the display but by then it had already made an impression. The cover, so convincing in its authenticity, juxtaposed with its content, unsettlingly askew, was seared into memory.
It turns out that Love is Not Constantly Wondering isn’t a joke but a parody, a well-crafted and endearing one at that. Self-published anonymously by a 33-year-old Portland transplant, the story is based on the author’s real relationship with his alcoholic girlfriend, a time spanning from August 2002 to November 2006. His anonymity is to protect his parents from the tumultuous parts of his life as well as identity of the hard-drinking girl, Anne.
However, to his friends who will recognize him in those pages, he hopes they will now understand that the years spent with this girl, the years they spent wondering why he was putting himself through such pain, were not all bad, that there were some good moments, too, and, as Slate reported, that there was an “excitement that went hand in hand with the mess.”
To digress with a bit of interesting information, It was that Slate review that gave the book a new life. While in Portland, the Book Review Editor Dan Kois found the book at Powell’s and decided to write about it. The third printing is now being handled by the author’s friend who owns a small press. But back to the book.
I can’t speculate as to why the author decided to include a race of hostile Ant-Warriors, other than it fits with the Choose Your Own Adventure genre—the first book in the (real) series features an adventure trip to the Himalayas where you and a friend go in search of a Yeti. Intentional or not, the alien race adds to the already inhospitable landscape in which the protagonist finds himself. As often comes with addict friends, if you keep them in your life long enough, you’re bound to bear the brunt of their erratic behavior, the consequences of their poor choices, and possibly even get caught up in their legal troubles, depending on your patience and goodwill.
Unlike the series it’s based on, Love is Not Constantly Wondering is best read linearly. These choices at the bottom of the page are more for effect than instruction. They range from being abstractly related to the story to being wildly unrelated. From time to time I would g back and follow a few—“If you jump across the chasm, turn to April 26, 2006; If you decide to turn back and look for another way around, turn to June 29, 2003”—and found that even though it’s a short book, when you bounce back and forth through time, reading the story in this new order gives it an infinite feel.
In a recent interview with The Portland Mercury, the author discussed the importance of creating an authentic replication. “Producing authentic-looking zines and books is incredibly important to me. With Love I spent weeks researching how Choose Your Own Adventure books were constructed: the fonts, the amount of space between lines, the kerning, how the choices are laid out within the books.” There can be little doubt that this meticulous attention to detail pays off; even the illustrations closely mimic the originals.
As mentioned, Choose Your Own Adventure narratives are written in the second-person and so Love is Not Constantly Wondering begins:
It is a beautiful day. You walk up the stairs to the library. There is a girl sitting on the steps, smoking. She is pretty in a Virginia-Woolf-meets-Helena-Bonham-Carter-in-Fight-Club sort of way. You exchange, “I think you look interesting but I’ll be damned if I’m going to make the first move” glances, then pull the doors open and step inside.
While looking at movies you see her staring at you. And again while flipping through a pile of graphic novels. Every time you look up, she looks away. Every time she looks up, you look away. You find excuses not to leave, browsing through sections that hold no interest to you in order to prolong your opportunity to steal glances. Eventually you decide that this is getting ridiculous and you walk up to her and introduce yourself. Here is what you find out:
–Her name is Anne.
–She is 22 years old.
–She just moved here from North Carolina.
–She plays the cello.
–She is a stripper
As odd as it might sound given that the book is something of a replica, Love is Not Constantly Wondering is by far one of the most unique books I’ve read in my life (no hyperbole). It’s charming and fun, and I hope destine to become a cult classic. It’s one of those books you’ll want all your friends to read. When you find a copy (and I suggest you search high and low), buy a few and pass them around to everyone you know. It will not be the biggest mistake of your life.
If you were a teen in the mid 90s and had cable television, most likely you know Michael Ian Black from The State, the sketch comedy show that aired on MTV. His new memoir, You’re Not Doing It Right, is best summed up as an unflinching look at finding love, getting married, becoming a father, and dealing with all the trying moments that inevitably come with that life. Black’s humor makes this a wince-inducing, laugh-out-loud-in-public take on adulthood.
Since the 90s, Black’s been busy acting in films (Wet Hot American Summer), on television (Stella, Ed, Michael and Michael Have Issues), and has even written a few children’s books. Recently, he’s moved into stand-up and can be found talking about food on the podcast Mike and Tom Eat Snacks.
I had a chance to ask Michael about his career in comedy, his thoughts on the industry today, and what his wife thinks about his honesty. You can read the interview in full at The Rumpus. Here are some highlights:
I’ve heard you talk about how seriously you take your comedic career, The State was meant to rival Saturday Night Live, yet anyone who knows your work could easily describe it as “ridiculous”. Your sketch comedy in particular is truly absurd (in that good, over-the-top way). How do you balance these two, seemingly at odds, versions of yourself—both personally and professionally?
Michael Ian Black: To me, the two ideas are not mutually exclusive. From my early work with the sketch group The State until now, I’ve thought a lot about comedy. Probably too much. In some ways, The State was more of an intellectual exercise than a comedic one. What I mean is, we were deliberately attempting to push a new kind of comedy out there. It was a reaction to what we were seeing on shows like SNL and in the observational stand-up that was out there at the time. We wanted to do a more aggressive, edgy, surreal comedy. All of that was very conscious and almost analytical. Of course I don’t know how analytical you can get about fart jokes, but we tried. The point is that silliness can be very serious. Sorry if I come off like a pretentious prick, but comedy is one of those things that, as soon as you start talking about it, you automatically sounds like a pretentious prick. Also: poetry. Also: fashion.
If you were just starting out, how do you think this environment would affect you?
Black: It’s much easier now, particularly if you don’t live in New York or LA. Because you broadcast your work so easily it’s much easier to find an audience. On the other hand, the flood of stuff that’s out there sometimes makes it hard to get noticed. I do believe that the best stuff will always eventually make itself known, though.
Speaking of, in your new book, I was impressed by how strong your voice is. How do you approach your essay writing and how does it differ from when you write sketch and stand-up?
Black: Essay and story writing versus sketch writing. All writing is basically the same: beginning, middle, end. The difference with sketches, and why sketches are actually harder, is that you generally have to establish an entire new world every few minutes with its own rules, get to the joke premise, explore that premise, and then end the thing all within tight time constraints. That’s very hard to do well. Even the best sketch shows generally fall on their faces half the time.
With essays and story-telling it’s a little different. For one thing, my current essay work is all very personal. It’s based on my life and so the world remains consistent. That makes things easier. Also, it’s anecdotal by its nature, so I usually have some idea of how it ends before I start. Finally, I don’t feel the same pressure to be funny when I’m writing anecdotally. The flip of that is that I do feel pressure to actually say something, to make some larger point about something. I don’t feel that pressure when writing sketch comedy.
Go check out the rest. In the meantime, you can buy Michael Ian Black’s memoir, You’re Not Doing it Right, at IndieBound (or find it at your local indie). You can also follow Michael on Twitter at @michaelianblack.
Here are a few things that caught my eyes and ears these past few days.
Rub Out the Words: the Letters of William S Burroughs 1959-1974 ed by Bill Morgan
I’ve always found William Burroughs intriguing — after all, he did kill his common-law wife while playing a game of William Tell, or so the story goes. I read his novel Junky multiple times but could never get into Naked Lunch, the book he is best known for. Now, Ecco has published the second volume of his letters: correspondence that spans the years after the publication of Naked Lunch to the year he left London to return to New York.
Of the collection, The Telegraph writes:
“This second volume of correspondence may not quite dispel this image of Burroughs as American fiction’s resident alien, the lexical bomb-thrower in the body of a government man – but it does offer intriguing glimpses into the personality behind the mask. …
For fans of [his] way-out approach [the cut-up technique], the letters will provide a valuable glimpse into the genesis of his most impenetrable work, the trilogy that comprised The Soft Machine, The Ticket That Exploded and Nova Express. …
One surprising theme in these letters is Burroughs’s cosmic indifference to the swelling counterculture. Our correspondent remains unmoved as the Sixties progress, beatniks become hippies, and even the parties he attends in Hampstead start to be filled with people ‘turning on’.”
What’s the big idea?
Dostoevsky tackled free will, Tolstoy the meaning of life – but is it still possible to write philosophical novels?
by Jennie Erdal
This past weekend’s Financial Times had an incredible essay on philosophy, literature, and the blending of the two into the philosophical novel.
Jennie Erdal, the author of the essay, begins with philosophy and philosophers: “while [they] were good at asking questions and setting out arguments, their engagement with truth was often woefully abstract, and a world away from the stuff of novels”. She continues, “The analytical style [of philosophy] rigidly separated reason from imagination, precision from imprecision.”
Of novels, she writes, “The more I read at university, the more I felt that fiction was where truth was to be discovered” and that some things “can never be adequately expressed in conventional philosophical prose.” Erdal then makes a case for the hybrid form, “moral philosophy needs the novel for the fullest possible expression of its aims . . . Plato was wrong to think that literature had nothing to offer philosophy . . . It is one thing to study John Stuart Mill’s defence of utilitarianism in ethics; quite another to read the passage in Dostoevsky’s Crime and Punishment (1866), where Raskolnikov tests utilitarianism to its limits by taking an axe and cleaving an old lady’s head in two.”
It’s a brilliant read all the way through. For anyone interested in literary theory and the grander workings of fiction, this is not to be missed.
Orbital / Wonky
It can be scary picking up a new album by a band who has been around for 25 years — especially if that band, up until recently, has been on hiatus — but that’s exactly what’s going on with electronic duo Orbital who just released Wonky, their first album since 2004.
About their music, one half of the group, Paul Hartnoll, told Wired magazine, “Ultimately, it has to move us emotionally…. We can get a great big thunderous beat … but melody is the real icing on the cake for me. If I get a really good melody, I get really excited about thinking about what’s going to come. That’s when I burst into tears, thinking, ‘That’s it!’ The hook’s got you, and you know you’re going to finish that piece.”
Explaining why they’re back together and making music, he says “When you’ve got a background and a history, and a rich idea of what you wanted to do, it was a real shame to give up … It was the live aspect that I missed.”
The article features the video for ‘New France’. Here’s the video for ‘Wonky’. Not sure how I feel about the cats.
A Fantastic Fear of Everything
Simon Pegg’s new comedy, A Fantastic Fear of Everything, looks amazing. Unfortunately, at the time of this post, no US release date has been confirmed. Science fiction and fantasy site io9 quotes the synopsis:
“Jack is a children’s author turned crime novelist whose detailed research into the lives of Victorian serial killers has turned him into a paranoid wreck, persecuted by the irrational fear of being murdered. When Jack is thrown a life-line by his long-suffering agent and a mysterious Hollywood executive takes a sudden and inexplicable interest in his script, what should be his big break rapidly turns into his big breakdown, as Jack is forced to confront his worst demons; among them his love life, his laundry and the origin of all fear.”
They also have the trailer.
The first week in April, on the WTF podcast, Marc Maron spoke with musician and comedian Carrie Brownstein. Carrie was in the Olympia, Washington-based indie band Sleater-Kinney and is currently in Wild Flag; however, these days, she’s best known as co-creator of Portlandia, the sketch show on IFC. On the podcast, Marc and Carrie nerd out about music — and other things. One of my favorite WTFs so far.
On the Nerdist, voiceover actors Rob Paulsen and Maurice LaMarche taught me that voiceover actors are awesome. Rob and Maurice, which I only learned from this podcast, are the creators, and voices, of Pinky and the Brain. Their vocal skills do not end there. These two guys had Chris Hardwick awestruck. A must-listen.
What caught your eyes and ears these past few days? Comments are open.
Imagine that Cinderella’s been murdered, distracted by a bluebird and run over by a truck in New Never City. Now imagine her stepsister calling on Rumpelstiltskin (stripped of his villainy as punishment for rage issues) to investigate. This is the premise of J.A. Kazimer’s Curses!: A F**cked Up Fairy Tale.
Cinderella’s stepsister Asia, believing her sister’s death to be a case of foul play, shows up at what she thinks is Sherlock Holmes’s door. Only, he hasn’t lived there for a while, not since RJ, as Rumpel prefers to be called, stuffed him into the chimney and took over the residence. Asia, much better-looking then the original story had led us to believe, convinces RJ to help, but really he’s just doing it in hopes that she’ll sleep with him.
As the two dig deeper into Cindi’s untimely death, everyone becomes suspect: Prince Charming; the butler; Dru, the second and not-so-pretty stepsister; even Asia.
Blending favorite fairy tale characters with today’s cultural references and sensibilities, Curses! flips the childhood staple on its head to create a wholly adult, and highly entertaining, reading experience.
I spoke with author J.A. Kazimer for The Nervous Breakdown. We talked about reimagining stories and casting secondary characters in lead roles. Here is part of that conversation. I encourage you to read the full interview.
I’d never read a book like Curses! before, a blending of fairy tale with cheeky romance. I’m curious to know how you explain it to people.
Curses! is, as the subtitle subtlety suggests, a f***ed up version of a mesh of fairy tale characters and stories with a few twisted nursery rhymes thrown in. A friend once described it as: ‘Neil Gaiman meets Shrek and they live happily ever after…or NOT’. That kind of says it all.
Your book is fairly bawdy. Why did you choose to write it as a fairy tale?
Why, thank you. I’m a fan of bawdy. To me, fairy tales lend themselves to being told in this manner. Most of us remember our fairy tales via the Disney rose-colored glasses, which is great, but 200 years ago, The Brothers Grimm told a far different tale, filled with violence and bloodshed.
In Curses!, one of the main characters is Cinderella’s stepsister. I love the idea of secondary characters becoming leads. What made you decide to tell the story this way?
Thank you. In so many stories, I wonder, what happens to the minor characters after the hero and heroine ride off into the sunset? After writing Curses! the ugly stepsister has her happily ever after (sort of), and so does her uglier stepsister. Choosing a lesser known character allowed me to create an interesting character without any preconceived ideas about her. Readers think Cinderella’s stepsister, and the only thing that comes to mind is how ugly she is. The rest of her is all mine to craft.
Where can people find you?