Showing posts with label interviews. Show all posts
Showing posts with label interviews. Show all posts

Wednesday, May 11, 2011

Interview: Indianapolis horror writer Maurice Broaddus!


An Indianapolis based horror and fantasy writer? I must know more. I just finished reading his debut novel The King maker and thought it was great, more than anything I wanted my Indiana peeps to know more about him, and to check out his books. That being said there is alot for everyone to enjoy in this book.


David Agranoff: This is your first novel can you give us some background how you ended up being a writer?


Maurice Broaddus: I’ve been a writer for almost as long as I can remember. The first story I wrote was in fifth grade called The Big Mac Attacker (http://mauricebroaddus.com/?p=1239). From there, it was all downhill. I was encouraged to pursue writing by a high school English teacher. After a few years in college when I tried giving up writing, I came back to it to give it a full go. King Maker was actually my fifth novel written, though first published, so it has been a long an interesting journey.

DA: So I grew up in Indiana too, I am wondering what impact Sammy Terry had on you?


MB: Wow, Cowboy Bob (the morning cartoon host) and Sammy Terry (host of the horror movies showcase) were like the book ends to my day. Throw in the Saturday afternoon kung fu marathon, and you pretty much cover my formative years of television.

DA: King maker is a modern re-telling of the King Arthur legend set in the Indianapolis gangland. The Wire meets Excalibur is a valid comparison. I grew up in Indiana, and my experience with the city is mostly through punk rock and north of fall creek, as I read this book I found myself what you directly about the gangs of Indy? Is it research or first hand?

MB: It’s a bit of both. The novel found its origin in my working with homeless teens through the ministry, Outreach Inc. Also through them, I connected with the gang ministry, Save the Youth. Between the two of them, I encountered a side of Indianapolis I never knew existed.

DA: I enjoyed the 70's prologue with its reference to cowboy bob, and such. Any chance we might someday get novel set in 1970's Indianapolis?

MB: I wouldn’t rule it out.

DA: One feedback I saw was that some readers were interested in some of the more minor characters, Do you plan to expand characters Like Omarosa or Burke?

MB: Some of the characters get expanded upon, especially as their connection to the legend of King Arthur gets explored. It’s very much the overall legends of each of the knights that get expanded. So we get to see a variation of The Green Knight in King Maker, The Red Knight in King’s Justice, and The Black Knight in King’s War. Characters like Omarosa may not be who people think they are.

DA: This is origin tale and you built the characters methodically, are you worried that might lose some urban fantasy fans?

MB: This is not the urban fantasy many people will be used to. For a start, I still have my roots in horror writing which shows through at times. Second, this isn’t the world urban fantasy diehards, despite having “urban” in the description, may be used to. Thirdly, the way I tell the story (and what I do to the canon of King Arthur) may lose some folks. That said, I hope to pick up an entirely different set of readers who may not realize they are urban fantasy readers.

DA: Can you tell us about Devil's Marionette? When I first read the description it seemed like the set-up for a satire but the reviews I have read say that it is quite disturbing.


MB: Devil’s Marionette (Shroud Books) is a novella about a cast of an all-black sketch variety show who is haunted, literally and figuratively, by the ghosts of its past. In a lot of ways, it explores the pressure of black artists to be “true to their community”, this tacit pressure to put their best foot forward for the sake of the race. Balanced against a history of racism as a part of their story and experience. You combine all of that with murder, mayhem, and madness, and you have a potent tale of anger and loss, if I do say so myself.

DA: Can you tell us about working with Wrath James White? It seems no mistake that your king Arthur is named after him?


MB: I named a couple of characters in King Maker after a couple of close friends of mine in the writing world. Wrath James White is one and Chesya Burke is another. Wrath and I have an interesting relationship in that we are polar opposites. We come at the world, spirituality, and writing in such different ways, but we have a fundamental respect for one another … even as we passionately disagree. Which is what makes projects like Orgy of Souls (Apex Books) so much fun, well, a disturbing kind of fun. People who know both Wrath and I can easily see us in the main characters of that novella. And it’s also why we are currently working on another project that I can’t talk about just yet (but can tease the mess out of folks about).

DA: Last can you tell us about your convention you put on in Indianapolis?


MB: Whenever there is a writer’s convention, there are always room parties at night, where people unwind, lower their guards and have great conversations over food and drinks. Mo*Con (http://www.mocon.indianahorror.org/) is like that room party for a whole weekend. What also makes it different is that it takes place in a church. So we have all of these horror, science fiction, and fantasy writers from various spiritual backgrounds who come together and hang out all weekend in a church. We have a couple panel discussions ranging from spiritual issues to social issues to writing issues all over meals. It’s very much a time rooted in getting to know one another and one of the highlights of my year.

check out the new look of http://www.mauricebroaddus.com/

Saturday, April 2, 2011

Interview: Jonathan Moon Horror and Bizarro author!


DA: Mister Moon, Tell us about your back ground where you grew and how you discovered horror and bizarro?

JM:I was born in southern Idaho and lived there until jr high. My family moved to Nevada and I graduated high school there. I bounced back and forth a half dozen times before hauling ass up to northern Idaho (sick of southern Idaho and Nevada).
I grew up with horror kinda’ ingrained in me. I remember my parents reading Stephen King and Dean Koonz out loud to each other on long car rides. Something about the darkside of things has always fascinated me. I always cheered for Cobra Commander and Skeletor-alas, to no avail. Once I hit high school I discovered Clive Barker and H.P. Lovecraft. Both blew my mind and gave my mental warping a direction. My brother has an incredible collection of horror DVDs and I spent many nights pillaging it and watching a wide range of horror cinema. Yep, I’ve been horror for ever.
Bizarro I’ve only discovered the past few years and the more I read the more I love. I think bizarro is a bubbling mix of pop culture, every literary and cinematic genre known to man, raw emotions, and unforgiving humor all stirred together by some men and women with huge vats of imagination and dedication. I can’t stop reading bizarro…I tried to take a break but it pulls me back. Bizarro is a genre every writer should, in my opinion, read. I’m a horrorhead with a major bizarro-jones.

DA: How long have you been involved in writing fiction?

JM: I’ve been writing stories since I was just a little half a Moon. When I was still in elementary I wrote, drew, and stapled my first comic book, The Blue Ninja, and sold copies for 25cents apiece. I’ve always had the urge to write and I’d fill double lined notebooks with long rambling violent tales that made little sense. Over the years I’ve honed my craft and found my style. I self published Heinous and then put together Mr. Moon’s Nightmares. Once I set my mind on writing I began receiving acceptances and they just encouraged me…and now here I am- kicking up dust and talking to the guy who wrote The Vegan Revolution…With Zombies.

DA:You refer to yourself as a horror-core author, how do you define that?

JM:When I was young my dad took us to Yellow Stone National Park all the time. I grew up walking the paths and sniffing the sulfur. When Yellow Stone burned I was there. I saw trees I had known since I could walk mere smoking shells of themselves. Entire mountainsides were blackened and dead. In my minds eye I could still see the beauty I had always seen over the burnt trees and earth. I watched butterflies flitting around wisps of smoke from charred path markers. Something stuck with me….there is beauty in the terrible and there is terrible in the beauty…that’s what I see as horror-core….finding the frightful in any thing and every thing. Horror and beauty swirled together.

DA: Tell me about Mr. Moon's Nightmares? It's great title for collection. Is there a theme?

JM:Thank you. There is a wide variety of stories in M.M.N. including two novellas, a 100 word flash piece, a limerick, and a serial story. I didn’t set out to do it but the majority of the stories contained within do take place in the same fiction mountain region. There are stories with werewoloves, witches, vampires, as well as a few baddies of my own creation. It is a collection I’m very proud of and I think fans of dark horror will dig it.

DA: Tell me about the process of picking and the stories and how much did you think about order they went in?

JM:I loved putting the stories in order. I think it awoke memories of mix tapes in high school. I read a lot of different stories in different orders just try to gauge the feel and the flow of the entire collection. I feel like each story stands well on its own but I wanted the overall feel of the collection to intensify as you read it. I’m pretty proud of how it turned out.

DA: You co-wrote a dark bizarro novel called The Apocalypse and Satan's Glory Hole, Tell us how that came about and how did you divide the labor?

JM:Hahaha. Tim Long posted up on facebook asking if anyone felt like collaborating on a novel. I was wrapping up Mr. Moon’s Nightmares and was looking for something to tackle next. Tim is a big fan of bizarro as well and we decided to have a little fun a write a bizarro apocalypse. It turned out to be more fun than I ever expected. To be honest I didn’t know I could write comedy until I started working on Apoc!
We hammered out a few characters and a thin plot line through emails and phone calls and each followed a set of characters and two each of the four horsemen of the apocalypse. As far as all the work of putting a novel together all I did was write my parts. Tim on the other hand is a whirlwind of talent and he did the formatting, worked with the cover artist and editor, and everything else I can think of. Really he spoiled me and I’ll be a useless collaborator from now on.
We are actually planning on splitting it up into smaller books and writing a third part to wrap the entire madness up. We hope to have the first book available by May.



DA:You just edited a collection of bizarro horror called Houdini Gut Punch can you talk about the theme and what you were looking for in this collection?

JM:Yes, Houdini Gut Punch was my first editorial offer to the world. It is 15 tales of weird horror. I feel like I was fortunate enough to get some really great stories from some very talented established authors and a few first time stories from previously unpublished authors. All in all a think I built a very entertaining collection for fans of the weird and the dark.
My main goal with the Library of Bizarro Horror is to publish great weird dark fiction and spread it to new people. Submissions are open for the next anthology I’ll be editing, Technicolor Tentacles. Along with that I’ve got a number of super cool things cooking from the Library of Bizarro Horror this year including a duel novella book from Jordan Krall and William Pauley III.

DA: Your first novel, HEINOUS, is going to be re-released by The Library of Horror can you tell us about it?

JM: HEINOUS is the story of a demon and the boy he possesses. If I had to describe it with one word I’d say ‘brutal’ if I had two words I’d say ‘brutal’ and ‘emotional’. I originally self published it a few years back and ended up very unimpressed with the company I was working with and the quality of the book. I sent Doc Pus (my publisher over at The Library of the Living Dead and all of its sister imprints) a copy for Christmas two years ago and he loved it. He saw through my half-assed editing and the shitty formatting to the twisted story beneath. I was lucky enough to get the chance to re-work it. I’ve added quite a bit and re-written most of it so it is becoming the beast I always knew it could be. It should be available end of April/beginning of May. HEINOUS is the most powerful, as well as, darkest, most vile and hardcore violent thing I’ve written (yet).

DA:Five films that most resemble your work?

JM:The entire Hellraiser Series, Fear and Loathing in Las Vegas, The Creeping Terror (1964), Zombieland, and, although it was really a television show, Twin Peaks.
I should also give credit to Guy Richie and Quentin Tarantino for being major influences on my writing as I progress and get comfortable in my style.

DA: You could only read books by 5 authors for the rest of your life who would they be?
JM:Clive Barker, H.P. Lovecraft, David Dunwoody, Jordan Krall, and Hunter S. Thompson.

Wednesday, August 4, 2010

Classic novels revisted Part 1.5 : William F. Nolan interview!


Part Two - interview

How much did the times of the late sixties influence the novel Logan's Run?

George Clayton Johnson and I were very concerned with overpopulation at that time, as were many people. There was also a big youth movement in which people didn’t trust anyone over the age of 30. Fortunately, the overpopulation crisis was somewhat averted by the Green Revolution. You see the themes that were prevalent in the late 60s and early 70s such as the sexual revolution and focus on the pleasures of the individual reflected in the novel and the movie. This was frightening as we felt that people would not reach a higher level of wisdom.



I think the 1976 movie made a mistake raising the age to thirty what about the last day being at age twenty-one is important to you?

MGM raised the age due to casting problems. They felt they didn’t have enough young actors to fill the parts in their opinions.
I think the age of death at 21 is extremely important, due to the fact that we are merging into maturity. It is a cusp year, and therefore carries much more impact.


The 1976 movie was not exactly the most faithful adaptation, I am hoping the new film will follow the novel more closely. Has the new producer asked your opinion? How would you like to see the story re-booted?

Obviously, I would like to see the film story follow the novel more closely. That’s what seems to be happening, but I have not talked to the producer. We can just keep our fingers crossed. I enjoy aspects of what Paul J. Salamoff and Jason V Brock have come up with for the Bluewater Comics adaptation, and would like to see some of that incorporated into the movie.  I really hope they hire good actors – in my opinion, that’s what saved the MGM movie.


The 1976 film seemed obsessed with this idea that they lived in a utopia, and that everything was care free. When I re-read the novel the idea that these people never get older or wiser seemed tragic. No matter how nice their lives are for twenty years isn't Logan really a dystopia?

MGM dropped the entire subtext of the novel. It was all Happyland until age 30. Certainly, Logan’s Run is an anti-Utopian novel, but the film dumbs it all down.
 

You wrote two sequels to Logan's Run, will the new Bluewater comics series follow that extended story line?
 
Who knows. I am reading it issue to issue as is everyone else. What Jason Brock and Paul Salamoff do with the plot will be a surprise. But I trust both of them.




Your name is often associated with this novel, but you have written so much else in so many genres. Do you feel Logan's Run is your masterpiece if not what out of the 2,000 things you have written are you most proud of?

The Marble Orchard is my best novel, followed by Logan’s Run. But Logan’s Run is certainly my iconic calling card.



Photos:
Middle: Jason V.Brock and William F. Nolan @ our last solstice party, Hey Logan fans that couch is now for sale!
Bottom: Myself and William F. Nolan at the 2009 HP Lovecraft film fest here in Portland

Wednesday, June 30, 2010

Interview: Clark Giles Vocalist of the Dream is Dead and hardcore kid Political Scientist



Clark and I have never been close friends, but growing up in the Indiana hardcore scene you get to know people and see faces at shows a million times over. Hardcore kids may know Clark as the vocalist of the band “The Dream is Dead” or as the person behind the record label “Happy Couples Never Last.” Alot of my interaction with Clark has been on the internet various message boards, the Indianapolis Hardcore Boards, and now on Facebook. What I like most about Clark is that even though I disagree with him intensely sometimes, other times I think damn what a smart dude. He has very conservative and radical progressive views at same time. I may not always agree but I respect Clark deeply. Amazing how you can disagree and respect at the same time some people don't realize that is possible.
Clark has interesting non-party line view on political issues, as a Political Science teacher and punk rocker I thought he would be a great interview. Many of my friends (who are fans of his band) outside of Indianapolis would be shocked to know that Clark often votes republican, that being said he has read many of dead Russian anarchists and is very committed to bring back the hardcore scene he grew up in. Anyways I'll let Clark speak for himself. We'll start with showing how little I know about Indianapolis hardcore, growing up an hour away and dropping in to see shows there most of my life...


Talk about growing up on the west side of Indianapolis. Most Indy hardcore kids from back in the day came from the northside, a few southsiders but west was rare too how did you discover hardcore music pre-internet?

Well, I have to respectfully disagree. Most of the straight-edge kids maybe came from the northside but almost every hardcore kid I knew growing up was from either the west side or the east side. This might sound like a little bit of inside baseball talk here but if you'll indulge me for a second. The hardcore scene in general would have been pretty much non-existent from 1992-2000 if it weren't for the west side of Indianapolis. The India Community Center (located on the west side) started to have shows because some kids from Pike High School worked it out with the owners. After the Sitcom (the main DIY show space in Indianapolis during the Nineties) moved downstairs into its longest running incarnation, the core group of kids who actually ran the place were all west side kids (Brett, Jackie, Katie, Bridget, Britts, Me, etc.) This isn't to say that northside bands like Birthright didn't play there or that some great kids didn't come to the monthly meetings and help out from all over the city because they did but I am talking about the people who were in the trenches and working the door nightly and dealing with all the b.s., they were pretty much all west side kids. The greatest Indianapolis hardcore band ever IMHO, Ice Nine, was almost exclusively west siders. And if you look at what is going on today and the metal/hardcore bands that are still around with 30-35 year old+ members who are putting out records on national labels or enjoying a lot of success within the scene, it is those same west side dudes: Apostle of Solitude is ex-Merrick, The Gates of Slumber are ex-Merrick/Burn It Down/The Dream is Dead (though they probably don't want me to point that out...haha), Coffinworm is ex-Emotion Zero, The Dream is Dead is ex-Ice Nine, Burn It Down, ad nauseam. Finally, the main collective space in town right now (The Dojo) was initially organized by ALL west side transplants with the exception of Todd (who moved here from Arizona so we just like to think of him as EXTREME west side). So anyway, this is probably boring to anyone not from Indianapolis so I'll stop being nit-picky, I'm just overly sensitive being a west side kid. ;)

As far as how it was growing up, I think I had the typical west side kid life. Broken home, questionable step-dad, a latchkey kid existence, and really not much to do at night except drive west until you could find a corn field to pull into and get drunk. I actually think I discovered punk from a combination of the movie Repo Man. I remember watching Repo Man with my dad and during the party scene thinking "this is the kind of music that I like" when Black Flag was blasting in the background. I didn't eat lunch for a week in junior high and instead saved up all the money to buy Dead Kennedys "In God We Trust, Inc." and I was hooked. Then I think I pretty much exclusively based my musical purchases based on the shirts that I'd see older punk rock guys wearing who I'd skate with who also wore Dead Kennedys shirts. I always liked the more cerebral hardcore punk though: Bad Religion, DK, etc. so I think that kind of just naturally led me into the hardcore scene once it started to diverge from more traditional punk. I'm glad the internet wasn't around in those days though. I think I have a much deeper and more diverse set of friends now because I didn't have such social network that would have basically let me select my friends through some process of categorical reduction. I see kids doing that now and I'm not sure it is the healthiest way to form long lasting relationships.

Your last band the Dream is dead had a following in the radical hardcore scene, i have alot of anarchist friends who were into your band but your views were a little different can you explain what difference there is?

I would always describe our band in interviews and such as an "anti-authoritarian" band because anarchism comes with so much historical baggage nor do I really agree with most of the popular anarchist narratives that currently dominate the diy punk/hardcore music scene which I think run the gamut from reactionary to utopian to outright parasitism. I was an angry kid in my college years just like everyone else but I have never been able to escape what I would call the gravitational pull of pragmatism. I think a lot of punk/hardcore bands were ok with calling themselves "anarchists" and are perfectly content just putting that in a box and pretending to live in the "idea" of being an anarchist essentially declaring their allegiance to an abstraction knowing that almost everyone will participate in the collective conspiratorial act of never asking each other what the ramification of that action truly means. After all, if one were truly an anarchist in a manifested form here in the real world, you'd be living with survivorman up in the hills, eating berries, and waging war against the government. If we were different as a band in any way (and I don't think one could say all of us in the band would agree on anything necessarily when you talk specifics), it is that I hope we never presented ourselves as anything more than four dudes who tried to do their best to bite the hand that feeds without trying to present this narrative that we were somehow fighting the 21st century version of the Spanish Civil War. The bottom line is that I inherently mistrust all hierarchical systems. I don't know if we are at a point in history yet where they could all be eliminated but I think it is healthy that we as a society or a collective whole agitate for changes to disperses power when it is concentrated and minimizes hierarchy if not eliminating it outright where and when we can.

How did you come to a pro-capitalist libratarian stance in the hardcore scene?

Well, first, I have to define what I mean by "capitalism". When I say that I'm a capitalist, I mean that I believe in the right to private property and the free exchange of goods and services between willing participants. It does not mean that I support what are essentially abstractions such as "corporate personhood" that have been dreamed up by the rich to concentrate wealth and power in the hands of the few. So my pro-capitalist stance is essentially a philosophical one but it is probably too nuanced to discuss here at length. I support capitalism/free markets because I think a capitalistic society is ultimately the only society that could allow for alternative economies to exist within the larger framework while still maintaining person freedoms. For example, I think in an anti-authoritarian capitalist society, you could still have communes or alternative communities/collectives that bore none of the earmarks or characteristics of what we would think of as capitalist society (e.g. property could be collectively owned, etc.) But in a collectivist macrosociety, there is not room for dissent. By necessity, everyone must conform. So in this sense, capitalism maximizes freedom. Additionally, I think quantitatively, capitalism has had net benefits for human society in terms of almost any measurable standard (lifespan, standard of living, technology, etc.) It is a difficult issue to talk about however because I don't really consider there to be any free markets in the world right now, at best, we practice a perverted form of quasi-capitalism mixed with corporatism. I'm not even sure if capitalism can exist simultaneously within the context of the State because the State is inherently force and coercion reified. So to that end, I'm a (small "l") libertarian because I find myself agreeing with many of the early American thinkers in this tradition. As far as the capital "L" libertarian party goes, I maintain a cautious and respectable distance.

Can you tell me about your record label Happy couples never last? what did you want to bring to forefront with it?

The label actually started as a joke. I had saved up some money to take a trip with a girlfriend, we broke up, so I decided to do the logical thing and blow the money putting out some of my friends' bands. I was never trying to start a label or a "business venture". I basically picked a label name out a hat and slapped it on the records. Lo and behold, my first couple of releases actually sold pretty well so I just kept it rolling. Long story short, I put out 49 releases, made a bunch of friends, toured the whole country over four times and put the whole thing to bed a few years ago when I started my Phd program and my distributor went belly up. I'm still going to put out one final release someday just to end everything at a well-rounded 50 releases but it will just be something small and local.


What types of bands did you put out?


I basically just put out bands that I liked ranging from indie rock to punk to hardcore. I did try to make every other release to be from a band in Indiana to try to keep it real and support the home team. I did try to keep an overall DIY ethic to everything I did however, I wasn't looking to deal with rock star attitudes or to even make money for that matter. When a band got too big for the label, I would try to help them get on a bigger one. Basically, I was a farm team but I was totally okay with that...


What was the idea behind the Dream is Dead?


I started The Dream is Dead with Jason McCash (Burn It Down/The Gates of Slumber) because we basically felt like hardcore was dead in the year 2000. All the bands that were popular then were basically glorified cock-rock bands with some "jump the fuck up, I said, jump the fuck up" slam riffs. I found the sexism and homophobia to be disgusting. I could see the worst qualities of the metal scene (materialism, nihilism, apolitical douchebaggery) creeping into a music scene that held a lot of good memories for me and that I identified with closely. I think we just wanted to make a final statement with the band that the direction the scene was going was not a healthy one and to call some people on the carpet for participating in its decline.

In the 90's Indy had an awesome somewhat collective show space called the sitcom. What are your favorite sitcom memories?

My favorite sitcom show was MK Ultra and Los Crudos. That show simply blew my mind. I could try to put it into words but I don't think I could really do it justice. It was one of those rare moments that most people can count on one hand where they feel truly alive.

You helped start a new show space called the Dojo what is different about the way you folks are doing it this time?

The Dojo is a little more legit. The core group involved is still a lot of the same people involved with the Sitcom in its later incarnations but we all have jobs now and have learned to navigate the legal system somewhat. We actually have permits and adhere to fire codes and we are working to build a ramp to make the space easily handicap-accessible. We are trying to run a tight ship and keep an eye on making the place as sustainable as possible. Ideally, we want the Dojo to be around for a long time. Long after I have moved out of Indianapolis. I want to come back and visit in ten years and go to a show at a place that I help start after no one remembers me and just stay totally anonymous. I want all the kids there to wonder who the random old dude is that just showed up to see some of the local kids bang through their first 20 min set. Then I want to never say a word and just melt back into the night. :)

What would my readers find surprising about Clark Giles?

Ironically, I'm a former(?) anarchist that teaches American Politics at a local university. I am considered the "Republican" by most of my colleagues and I let them think that because I find it amusing. I have worked on several political campaigns (more Republicans than Democrats actually), I own a huge pickup truck but I try to ride my bicycle everywhere as much as possible, I practice Buddhist meditation and I have a lifetime concealed carry permit for my handgun, I am a study in contrasts. I think the political stances that I make confuse the hell out of most of my friends but they all seem perfectly consistent to me.


Some of us left indiana, you talked about a few times but your still duking it out, what keeps you in Indiana?

School and school alone. I have two years left until I have my doctorate and my second master's degree done then I am out of here. Ideally, I'm headed your way or to South America so watch out!

final comments?

I think this is a really cool idea for your facebook page. I really like to read about all of your other friends who I don't know. Thanks for doing this...

Sunday, June 20, 2010

Interview: Erich Foster Vegan Straight Edge owner of Rise Above Tattoos.



Getting back to the interview series I started awhile back. If you have not read the past interviews check them out. I have interviews with Novelists Gina Ranalli and Cody Goodfellow. Bookstore owner Robert Garfat and novelist Jeremy C. Shipp. Ok Erich...
Life is strange, I am not sure how I lost contact with Erich for a decade or so because he is one of my favorite people. When I met Erich I was visiting Syracuse in the early 90's and we were going to fur protests together. Erich had already been straight edge (100% drug-free subculture of punk rock) for several years. So we bonded quickly. When I moved to Syracuse, I left all my stuff in Ohio where had been going to college at Wright state. I didn't know how to drive But Erich, who barely knew me at the time offered to ride the unholy greyhound with me to Ohio and rent a u-haul. We loaded up my shit and made the 12 hour drive back.
We had a great conversation, more importantly I made a great friend that day. Erich is hard working dude, who has created a DIY niche for himself owning and operating his own Tattoo shop. He remained true to his beliefs well into adulthood proving that Vegan straight edge is not a phase of youthful angst and idealism.
And I named the hero of my first novel after him. Names in my novels are often random and meaningless in the case it was intentional. The idea behind this series was that my 400 plus FB friends ought to know more about he other when they are trading comments...so here meet Erich Foster.

David Agranoff: So What do you do for a living?

Erich Foster: I make tattoos for a living. More specifically, I own and operate a tattoo parlour in Buffalo, NY, called Rise Above, in which I am also a tattooer. I consider myself a tradesman, not an artist. I specialize in traditional Americana imagery, with a strong focus on pre-1940's style and design.

DA: How did you get interested in doing tattoos?
EF:I have had an interest in tattoos as far back as I can remember. My father had a few smaller tattoos on his upper arms that I thought made him look tough. I loved seeing old guys with blue-green "blobs" on their bodies because I knew it meant they had stories to tell. I suppose being a fan of music added to the interest. Ozzy had some well done tattoos for the time, and those struck a chord with me. Punk rock, skateboarding, heavy metal, my father, then finally the hardcore music scene all had an important part in my fascination with tattoos and tattooing. At sixteen years old, I received my first tattoo and it's been all downhill since! I loved being around it, the smells, the sounds, the chit-chat, the pirate feel to it all. I knew I needed to find a way to make that my life. I began an apprenticeship at the ripe, old age of twenty-six, now ten years later and I love it more than I ever would have dreamed. It's my life.

DA: How did you discover hardcore?


EF: Hmmm... I have always gravitated toward music that had passion as it's motivation. I grew up on hip-hop and metal for the most part until my sister got into punk and I followed suit. She hung out with some skater kids, and she was listening to Black Flag, Dead Kennedy's, Circle Jerks, etc. This was 1985-86 probably. I got into GBH, The Exploited, X, Sex Pistols. She ended up getting into The Dead and weed and such, and I stuck with punk. I started hearing Minor Threat, Cro-Mags, Agnostic Front, Slapshot, etc. on the local alternative college station, and was relating a bit more to American hardcore than to British punk bands. I had some issues with alcohol and decided to be straight edge in January of 1988. I fully immersed myself in hardcore, more specifically straight edge hardcore. Youth of Today, Chain of Strength, Uniform Choice, Slapshot, Judge, DYS, SSD. I still call myself a hardcore kid, although I am a bit out of touch with most of today's bands.

DA: How did you get into straight edge and Veganism?


EF: I guess I answered the straight edge question. The story behind me going edge is a bit graphic, and embarrassing, so I'll keep that one out of it. I went vegetarian shortly after going straight edge in 1988. The song "No More" from Youth of Today got me to do it. It was on and off for my through high school. I wasn't armed with the knowledge to back up my decision, just a bit of guilt and being trendy wasn't enough I suppose. After high school I committed myself to being a "real vegetarian" until I read Holocaust zine out of Syracuse. I decided to become vegan in January of 1993. I became very active in the animal liberation community in Syracuse, and created the Animal Defense League in Buffalo.

DA: What was it about the Syracuse ADL that was such an influence?

EF:The Syracuse ADL struck me because it was young people, with very little knowledge on how to run an activist group, yet couldn't contain their enthusiasm and youthful energy to make a change. They knew that something had to be done, so they did what they could. I realized that I could do the same. Setting up protests, having tables of information at local universities and high schools, arguing at hardcore shows... Haha. We helped to eradicate Bonwitt Teller, a large fur distributor) from Western New York, which allowed Old Navy to move into their former location. So, the place went from animal cruelty for sale, to child labor and human exploitation for sale. I guess we all choose our battles. The ADL era were some of the best years of my life.



DA: Favorite hardcore when your were a senior in high school?

EF:When I was a senior in high school I listened to Underdog's "Vanishing Point" everyday I think, along with Gorilla Biscuits' "Start Today" a close second.

DA: Favorite hardcore band five years out of high school?

EF: five years after high school, Earth Crisis. I saw them in 1993, and they honestly changed my life. I related to the sentiments behind the music, and it kept me energized and motivated to continue dedicating my life to a cruelty-free lifestyle, and continue to be environmentally and socially aware.

DA: Where did you first see EXC did you have any idea they were going to become so huge?


EF: I first saw EXC in Syracuse at the Lost Horizon in 1993 I think. I had no idea they would be anything that big. Their demographic was so specific it seemed. I was really into any band with an ideology I could relate to, and socio-political bands always appealed to me a bit more in that time. I loved the "vegan death squad" atmosphere. Non-apologetic, angry, sincerity. I don't always agree with everything they do or say, however it's the similarities and passion I embrace. I'd love to see their merch printed on organic, fair-trade shirts. It's a bit of a bummer to hold such a militant stance on the environment and human rights, yet pay into an ugly industry.

DA: Favorite today?

EF:Gorilla Biscuits... "Start Today" is played a few times a week still. I never grow tired of it. Minor Threat "Out of Step" is a close second. Still love Earth Crisis of course. Just listened to "To the Death" twice today.

DA: Five favorite straight edge songs?

EF:Best question in a long time.
Here goes... In no particular order... Top sxe songs...

"The Current" by Outspoken
"Promises Kept" by Champion
"Something More Than Ink" by Have Heart
"We Just Might" by Youth of Today
"Just How Much" by Chain of Strength

They may not be the most blatant edge songs, but to me they encompass my feelings toward it.

DA: dumbest tattoo you tried to talk someone out of?

EF:I just talked a great client, a real sweet kid, out of getting a Jeffree Star autograph tattooed on his neck. He came in with the signature on his neck... He didn't get it, whew. If you're not familiar with Jeffree Star, don't bother. Dumb tattoos are a daily thing. Sometimes dumb is fun though.


DA: I admit I looked up Jeffree Star,yikes. Tattoo your most proud of
?

EF: Tattoo that I have that I am proud of? I love my knuckles... They read "TATT-OOER" which says it all. Tattoo I've done that I am most proud of? Hmmm... I don't really have one. My dad now has a Japanese body suit from me, down to his elbows, and to his knees, open down the chest. 70 years old and still getting worked on by me. That's pretty damn cool I'd say.

DA: Five books everyone should read?


EF: Five books... By the way, I read very little fiction...
"Diet for a New America" - John Robbins, "Animal Liberation " - Peter Singer", The Autobiography of Malcolm X" - as told to Peter Haley, "The Communist Manifesto" - Karl Marx, Friedrich Engels, Gareth Stedman Jones, "God is Not Great: How Religion Poisons Everything" - Christopher Hitchens

DA: How has you feelings about veganism changed over the years?

EF:Veganism has progressed for me from a lifestyle within the hardcore/activist community to something I simply am. It has opened my eyes and heart to many other issues. I seek to avoid any non-fair trade, non-organic/local, frozen and processed foods. I avoid sweat-shop products and companies with poor track records for enviromental and worker matters. With the realization of the profit motive driving these businesses, especially the animal agriculture factories, I have also recognized the tremendous flaws within the idea of capitalism. So, through veganism and sober eyes, I have been able to see a larger picture, and can begin to cleanse my life of more injustice.

DA: Straight edge mean more or less to than it did when you were still in high school?


EF: Straight edge has always been a fun way to embrace sobriety. I am forever appreciative for finding the idea of straight edge, and embracing it. I love being straight edge. At thirty-six years old, and Twenty two years edge, I still get chills from listening to certain songs and putting on certain shirts.

With that said... I'd trade 10 straight edge, non-vegan lazy slobs, for one good vegan activist any day.

DA: totally. It's like Earth Crisis said “whats important is what's done with the Freedom.” Alright New Yawkers get some ink!

Contact:
2533 Delaware Ave
Buffalo, NY 14216
(716) 874-1675

Sunday, June 13, 2010

Interview: Bizarro Author Jeremy C. Shipp



Sorry I have not put an interview up in awhile. I have been trying to do interviews with my non-author friends, some of the other interesting people I know. Should I be surprised that the authors are the ones that are good at sending me these interviews back? Anyhoo, I only know Jeremy from his books and the internet. I am hoping he'll join us for bizarro con this year. Creme filled Vegan donuts are on me Jeremy! I reviewed all three of his books here on this blog. Look them up, read them you'll be glad you did.

Most authors have one book or books that first inspired the love or narrative story telling. What did it for you?

When I was a kid, my muse burst from her cocoon after I read The Time Machine. Then, she danced a jig of joy after I experienced The Count of Monte Cristo.

Your prose and narrative structure is what most would consider experimental. Can you give us an idea how you developed your style?

I started writing novels when I was 13, and I’ve been writing at least one a year ever since. And so, my style has evolved ever so slowly. I’ve grown more and more minimalistic over the years. A picture is worth a thousand words, and I’ve learned that a meaningful sentence can be worth a thousand words as well.

How different is the writing style between your short stories and novels? Or one novel to another?

I want each of my tales to be a unique experience for my readers, and so I mold the narrative style of each story to reflect the psyche of the point of view character. For instance, Nicholas from Cursed is quite obsessive and neurotic, and so he thinks in lists. And Bernard from Vacation often thinks in literary terms.

Vacation your first novel is in part about a corporate retreat. Is this inspired by a job in your past?

Vacation isn’t inspired by a job, but it is, in part, inspired by real life travel experiences. For instance, I’ve volunteered at an orphanage in a poor part of Mexico, and I’ve also visited some rich port cities. The differences between these two areas are staggering. My novel, Vacation, is in some ways about this dichotomy. I know people who have traveled the world, but have never seen the world at all, because they have merely hopped from resource bubble to resource bubble.




Vacation got some rave reviews from authors like Gary Braunbeck and Piers Anthony. Between all three of your books the blurbs have come from a range of authors. How has that been for you?


The praise has indeed come from a diversity of authors, from Piers Anthony to Gary Braunbeck to Carlton Mellick III to Jack Ketchum to Susan Straight. I’m monumentally honored by the praise my work has received over the years. And these reviews have helped me to connect with a wide range of readers. My fans tend to be readers of Bizarro, horror, science fiction, dark fantasy, and literary novels.

You have a fantastic collection of short stories called Sheep and Wolves. Can you tell me about the selection process?

Thank you for the kind words. I’ve written over two hundred short stories over the years, and so I had a lot to choose from when building Sheep and Wolves. Basically, I wanted to include what I viewed as my best work. I also wanted the stories to fit the theme of social and personal abuse. Most of the tales I ended up using were newer stories, although I did include one older novella: Flapjack. Flapjack is very different from the other stories, in terms of narrative style. Still, the tale fit with the theme. This is one of those stories that people seem to either love or hate, but I decided to include it anyway, because it holds a special place in my spleen.


Cursed is a fast paced novel. The prose style is tight through out. Was there a longer version that was stripped down?

Nope. Cursed was always minimalistic and boney. And this means that writing Cursed was an exercise in obsession. For me, the tighter my prose style, the longer it takes me to write each sentence. Each word.

What does the Bram Stoker award nomination mean for you as a Bizarro author?


The nomination is a blessing. My readership has grown since the announcement, and I’ve received several offers for interviews and other projects. And, of course, my hope is that Bizarro as a whole will benefit from the nomination. Bizarro is a community and a literary movement, and so no Bizarro author is an island.


How does living in a haunted house affect your life, writing?


For the most part, my ghosts are rather lazy. However, they do manage to freak me out from time to time. One example: my father and I were working in the attic (this is before the clowns moved in up there, mind you), taking apart the old chimney, and we came across a mound of ash. After a while, something started rising out of the ash. At first, we thought it was an animal, but it turned out to be an old doll. It’s during those times that part of me wishes my house were haunted by Casper or Boo Berry. The other part of me appreciates those horrifying moments, because they inspire me creatively. For instance, the incident with the doll inspired my story “Watching.”


You are a vegan. How did you get interested in that lifestyle?


I ate meat for most of my life, and for most of my life, I worked hard not to think about where my food was coming from. Then, a few years ago, my wife became vegan, and her compassion inspired me. And so, finally, I opened my eyes to the true horrors of factory farming. I read, I watched, I cried. For me, becoming vegan was an act of love and respect; a natural reaction to reality. Of course, I don’t expect everyone else in the world to make the same choices that I do. Everyone chooses their own acts of love, and they’re all important.

Final comments?

1. I like lists.
2. You know you’re eating peanut butter too ferociously when you find some inside of your hat (at least I hope that’s peanut butter).
3. A barrel of monkeys is actually quite heartbreaking.
4. The Chupacabra really gets my goat.
5. An apple a day keeps the doctor away, if you throw it hard enough.

Saturday, May 1, 2010

Interview: Horror fiction author Cody Goodfellow



Cody Goodfellow

Cody on the left, Skipp on the right.

Cody is a force of nature, much like massive storm that destroys everything in his path Cody is the horror writer of my generation that stands tall above the competition. John Skipp is a splatterpunk legend who has had his hand in some of the most legendary novels of the 80's horror boom and it just made sense that they would become a team. After hanging out with the two of them at the world Science fiction convention a few years back I see it was horror match made in heaven.
I met Cody when we were both living in San Diego. I had read two amazing reviews of his debut novel Radiant Dawn. I read it and was blown away by the over the top insanity, inventiveness and most of all the mojo and confidence he wrote with. We formed a short lived but very helpful group of local writers who held prose-potlucks. Each of the writers would share a story. Cody's readings were often disturbing and hilarious at the same time. He read with a Harlan Ellison style bravdo.
He is a super funny person but Cody also has a soft side, and writer's wisdom he seemed to be born with. I did this interview shortly after reading Cody's latest novel “Prefect Union.” His solo works include Radiant Dawn, Ravenous Dusk and Silent Weapons for Quiet Wars. He has also co-written two books with John Skipp, The Day Before and Jake's Wake.

Check out Cody and other modern Lovecraftian goodness at:
www.perilouspress.com/index.html Or
www.skippandgoodfellow.com/


Some kids find sports or music you found a love for Horror fiction. How did that happen?
I loved a lot of the same things as other kids, but they generally didn't love me back. 
I was a very angry little kid. My parents split up when I was three, and my father and his mother died when I was seven. My world was a mean and meaningless place far removed from where everybody else seemed to live, and misery loves company. But I couldn't make it as a bully, so I started making up stories... both to make sense of the place I came from, and to shake others out of their complacency. It's a hard, ugly place because we let it stay that way, because we're wired to treat it like a zero-sum game. Horror taught me how to see the beauty in the empty machine we inhabit, to accept the randomly awful, while wondering at the weird. In the absence of God, everything is a miracle.
Now, I'm a very lucky, very happy adult, but I can't stop looking into that place, can't stop wondering who I've stolen my happiness from.

Your spin on horror fiction is on the more bizarro end of the scale what influences on your writing do think had the biggest effect on your unusual style?
If it seems weird or original, it's because my style has been assembled out of many disparate parts. I never sit down and try to scare myself, or fish for what scares others. I write about what fascinates me, and the things that fascinate me tend to freak other people out. I think that's a major unexamined element in the Bizarro movement: the obsessive, embracing quality that makes even the resolutely non-horrific stuff scary. The proportions of horror are inverted: the fascination has almost overtaken the repulsion, as the outsider in our world finds a home in the unacceptable. My own stuff is far less absurd than the bulk of Bizarro fiction, but I'm a lot closer to them than to the conventional horror small press.

A Cody Goodfellow novel is different from anything else out there what sets you apart?

Obsession. I have a fairly strong work ethic, but I'm powerless not to write, and I can't finish a story until it's stacked higher than everything that came before it. My favorite frequently recurring complaint about my stuff is that I try to cram too many ideas into each piece, because that's exactly what I think a story should do... I borrow the conceptual fetishism from science fiction, but with the intent to disturb, rather than to dazzle of inspire optimism about the future or humanity's prospects in it.

in what ways has collaborating with John skipp forced you out of your writing comfort zone?
Well, working with anyone puts me outside my comfort zone... My favorite thing about writing is the solitude. But working with Skipp is so much fun and the ideas flow so fast and fluidly, that I've had to start writing my solo stuff with a blow-up doll, or I get lonely. We both have to fall in love with a project to collaborate on it, so with each one, we find new ways to compartmentalize ourselves, so we can each do what we love, and weld it together into something neither of us could've conceived of, alone. It's not such a deviation from my own modus operandi, which has always been to entertain myself. When I can get a good one over on Skipp, he always fires it back with a new spin and features, so if anything, it takes much of the willful effort out of it.
One big difference: Skipp writes much more sparely and informally than I do. He leads with his heart and wants to party with his characters, while I'd rather stalk them through a telescope. 

Your first novel Radiant Dawn has been called a Lovecraftian epic, It takes a different modern spin the mythos, was that the intention from the beginning?

Definitely. I had burned out very early on trying to crack short story markets, and I just wanted to throw down everything I had, pay back all my influences and see if it amounted to more than I'd taken in. I wanted to do a vast modern epic like the Iliad and the Odyssey, and Lovecraft's Mythos seemed like the perfect modern analogue to the Greek pantheon. Amoral, utterly inscrutable spirits that reify the lowest of nature's creations, giving the lie to all the stories we told ourselves about where we came from and where we're going. 
I think the Mythos gets a bad rap as being a gloomy anachronism, and most of the recent attempts to modernize it seem to miss the point. The Great Old Ones are not another new canon of bad things from outside that must be stopped. It's their world, already; always was, always will be. So it's a very different kind of fear from most conventional horror, which poses a test that the pure of heart may pass and save the human world, and is thus almost a kind of fantasy. It distills the bad things that happen to good people into a material form, and lets good people kick its ass. Lovecraft led a movement that reflected in pulp what Sartre and Camus had done to "high" literature and philosophy, and declared that all meaning and anthropocentric beliefs are a human illusion. With Radiant Dawn and Ravenous Dusk, I wanted to do something that pushed that philosophy into a medium that rendered it exciting and current, again. And maybe scary. Nothing scares the great mass of people worse than the fear that we evolved in a spiritual vacuum, and nothing scares athiests worse than the notion that there really is a God. Balanced properly, the Cthulhu Mythos is the embodiment of both of those fears. There is a God, but his chosen ones are the frogs and the fishes in the sea, and you don't ever want to meet Him.  


Your most recent novel A Perfect Union is one of the weirdest horror novels I have ever read. It has a surreal and dangerous vibe that contrasts the literary feel of the prose. It is also a dark and disturbing statement on hive mentality Was the political elements a by-product or an early theme of the idea?

Thanks!

I didn't set out to write a political novel, but just as my fascination with evolution led to Radiant Dawn, my fascination with the darker side of human nature led to Perfect Union's premise. People, particularly Americans, are terrified of any semblance of a maternalistic state, just as they're afraid of being abandoned by God if they accept evolution. What so utterly revolts them about communism is being trapped in state-imposed childhood, apparently, since most of the tenets of communism––strong central control, equal shares for equal work, self-sacrifice––are the hallmarks of an effective nuclear family. 
Just under the veneer of rugged American individuality, it seems, lies an almost infantile rage at any attempt by the state to actually make the world a better place, which is derided as an effeminate "nanny state." Far better, in their eyes, a distant yet authoritarian patriarch who gets out of his chair only to punish. So the roots of political belief go far deeper than rational concerns about taxation and laws. Like evolution, politics is something almost nobody can really overcome their toilet training to discuss rationally. 

The set-up of Perfect Union lays the foundation of a haunted house novel but morphs into a body horror freak-out. Did you want this novel to be a Goodfellow spin on a classic horror troupe?
I did set out to write a seemingly conventional horror novel, with all the familiar tropes––young people lost in the woods, a haunted house, lurking monsters––but those things have long since stopped being frightening by themselves, and the reasons why they once worked have atrophied into a bitter kind of comfort food. You don't have to go out into the woods to find chaos and disorder. It perpetuates a dangerous illusion to suppose that evil and chaos come from outside, and dispelling that (however temporarily) was the real gift of the Splatterpunks. We're soaking in it all the time. So, to go out into the forest primeval and instead find deliverance from the pain and failures of modern society... that seemed like something many people would want... but being people, they'd surely fuck it up.

You've had dozens of short stroires that you've unleashed on the horror scene like a fragment bomb. Can you tell me about the process you used to choose the stories for Silent weapons for Quiet wars? What can we expect from future collections?
I wanted to shape the first collection into more than just a repository of my early work, so I left out a lot of stuff. My model for a perfect collection would have to be Deathbird Stories. Silent Weapons had a guiding theme, of how nature and the world shape individuals into weapons for its little battles. Between species and systems of belief and ways of surviving, wherever there is friction, it wears the combatants into tools that, in spite of their personal desires, change the world. Alan Clark's brilliant cover art depicts the characters in my stories before they're written. Gestating in little sacs in my brain, waiting to be born fully grown and already in deep trouble.

My next collection will be more free-wheeling, with more science fiction and period pieces, and I've got plans for a collection of my Mythos work in the works, though it's hard to say when it'll happen, because most of the books the stories are slated to appear in keep getting delayed.

What horror novels past or more recently most warped your mind?
Wetbones(John Shirley), The Bridge(Skipp and Spector), Blood Music are three that shaped what I thought a horror novel should really be. The Ceremonies by T.E.D. Klein is a perfect example of the kind of awe and dislocation that true cosmic horror should deliver. 

You are also well read in the most out there of Science Fiction. Any recommendations for psycho Sci-fi?
Spinrad's Iron Dream. Dick's Three Stigmata Of Palmer Eldritch. Life During Wartime by Lucius Shepard. Dream Baby by Bruce McAllister. A Colder War by Charlie Stross. 

If you were transplanted at the moment of your death back in time to be roadie for any band in history who would it be and how would use that ability to change history?

Interesting question... Just for myself, I would work Ministry's The MInd Is A Terrible Thing To Taste tour or Skinny Puppy's Too Dark Park tour, both in 1990. But if I were to try to fix broken history, I would go on the European Master Of Puppets tour and be the bus driver who DIDN'T kill Cliff Burton... thus saving Metallica from sucking the bell-end of banality for the next two decades.




Tuesday, April 13, 2010

Interview With Robert Garfat - Bookstore owner,Radical thinker




For my second interview I choose Robert Garfat. I met Robert the old fashion way, I was living in the middle of no where in Washington state a few years back. I wanted to see the movie The Fountain in the theater and the closest place it was playing was across the water on Vancouver Island in British Columbia. The first place I go in a new town are the vegan restaurants and the second place are used book stores.
I was excited that two stores down from one of Victoria BC’s vegan restaurants Lotus Pond was an amazing used bookstore. It was the perfect bookstore for me. It had tons of used Science Fiction, horror and books on radical politics. Even better was the beautiful store dog Unity and the owner at the time was Robert.
Dark Horse became the highlights of my visits to Victoria. Not just because of the books. So here is Robert…


I first met you when you owned Dark horse bookstore in Victoria B.C.. It was a very cool store what was the concept behind it?

Victoria is a city of bookshops. When we founded the Dark Horse bookshop, there were eleven used book stores in Victoria, a city of just over one hundred thousand population. None of the bookshops offered much in the way of alternative subject matter. We set out to provide a venue for bibliophiles with a decidedly alternative bent a place to find something to tickle their fancy. We specialized in Science Fiction and Fantasy titles, but also carried Metaphysical and Occult books, books on alternative health, spirituality and lifestyles, et cetera. My philosophy in stocking inventory was simple: if I saw myself reading the book, I'd buy it for sale.

How did you did get into Science fiction as a genre?
My mother was an avid reader of Science Fiction. She had over five thousand titles at one time or another. I grew up reading Heinlein and Norton, Asimov and Clark. As I grew older, I read the 'newer' authors: Delany and Disch; Spinrad and le Guin; Joanna Russ was a particular favourite and, of course, PKD, Philip Kindred Dick.
It just seemed natural that I'd specialize in the genre I loved so well.

Having said that: When we founded DHB, I was reading mostly murder mysteries and playscripts, in addition to Theatre criticism and trade journals. Kids kept coming into the shop asking for SF and Fantasy writers that I'd never heard of, and I realized that a whole generation of writers had emerged that I hadn't read. I thought that I'd better start reading them so I could converse about the books I was selling. Imagine my surprise that some of these 'new' writers were every bit as good as the classic writers I grew up reading!

How were you inspired to get into radical politics?
I've never really been a joiner. I'm a doer, not a follower. That self-imposed 'outsider' status gave me a distanced perspective on the status quo. And I suppose that I just think too much to swallow whole what the media feeds us daily.
Activism became an avocation when I sat on the board of the Vancouver Professional Theatre Alliance. Then, when I became President of that association, I took it as my job to advocate for theatre to funding agencies and community groups. I became comfortable rubbing elbows with politicos and bureaucrats.

As the Artistic Director of an emerging theatre company (Dark Horse Theatre), I had to fight for our place in the theatre community at large.
Then when my partner and I moved, with our young son, to Vancouver Island, and my community changed, it seemed natural to advocate on issues that affected the rural community in which we lived, the Cowichan Valley. Those issues have to do with preservation of agricultural lands and sustainable development.

On another front, my work in Victoria placed me in direct contact with the issues of the street in that city: homelessness and shelter, dignity and safety, youth empowerment and fair play and justice issues.

A great source of inspiration for me was Pot Activist and Trickster, the late Ian Hunter, who invited me to sit on Victoria's Downtown Neighbourhood Association. Ian was a humanist and radical thinker. He was a tireless activist and had boundless reserves of energy. He was also a great motivator and agitator. I think of him often when I get disheartened and his memory helps me carry on.
So, mentorship, I suppose, is what inspired, and continues to inspire me the most. The value of compassionate role models cannot be over stressed, in my opinion.

You seem to have had a connection to radical politics in Canada. How has the radical community in western Canada changed in the last say 20 years?
The designation 'Western Canada' usually includes Alberta as well as British Columbia, an association which has always made me somewhat uncomfortable. Alberta is the Texas of Canada, whereas BC is more like, well, let's say Washington, Oregon and California. We have more in common with those states, in many ways, than we do with our neighbouring province. So let's start with the designation, the "West Coast".

In BC, the past twenty years have seen a political move to the extreme right.
Electronic Social Networking has made getting information out a much faster proposition, rallies are brought together more expediently, protests get thrown up, often before there is time to plan them properly. While a fast response time is often a good thing, movements that are thrown together overnight often fall apart a day or two later, leaving the usual handful of stalwart, overworked organizers to pick up the pieces and move along the next leg of the journey toward justice.

It has been my observation that the radical element has become younger, but that is largely because I am becoming older.

I feel that the radical community, here on the Island are living the lives they propound in much the same way as ever. Living within the beast, chipping away internally on a daily basis while conserving personal energies for the next big push.
If you had asked me this question a year ago, I would have been much more optimistic in my answer.

Expo '86 (the 1986 Vancouver World's Fair) was a great radicalizing event on the West Coast. The fallout from that Roman Circus was a politicized populace. Over the next couple of decades, protests and rallies were well attended and, as often as not, got their point across and effected change that was faster, more extreme and more effective than proposed by government.

As I say, I was pretty optimistic about the way the West Coast was headed. We would de-elect this provincial right wing government, preserve our wilderness and animal habitat closer to populated areas, we would save our farms and green spaces through our Agricultural Land Reserve and our cities would become safe, just and sustainable. It would take time, but it would happen, change would come.

Then, several years ago, the province put its weight behind a bid to host the Winter Olympics in Vancouver/Whistler in 2010. No one saw that this was the first manoeuvre in what was to become a radical right wing social experiment.
Over the ensuing months, government ministries began making cuts in preparation for the 'Big Event' and IT JUST DIDN'T STOP. Cuts came, across the board and, seemingly, with neither rhyme nor reason.

As an organizer, I became charged. Here was a single event that surely would galvanize groups with separate specific agendas into one huge movement that would bring down this Neo-Com government.

Well, I couldn't have been more wrong.
The Olympics may have been the flagship of the fleet opposing the people of this province, but the rest of the bureaucratic navy cleared the way, devastating social programs, school programs, amateur athletics and the arts (which have undergone an astonishing ninety-two percent funding cut). The cuts have come so fast and furious that most British Columbians who care are shell-shocked.

Oh, yes, we have organized rallies and protests. There was a point, just six months ago, when two or three protests were happening per week. Well.
Unification did not occur. Each protesting group protected its autonomy, afraid of losing its purpose in the face of the mob. When the Olympics opened, the planned activist Anti-Olympic "Convergence" proved to be little more than a blip in the face of the Opening Ceremonies.

Black Blockers caused some damage around the city of Vancouver while the masses watched Bryan Adams and Nellie Furtato strut centre stage at BC Place. The response to the Black Block actions among the radical community was a rush to distance themselves from these 'destructive forces' and assure the people of the province that the majority of those opposed to the Olympics were not against the Games, per say, but against the economic totalitarianism of the blah blah blah blah blah.
The radical community rolled over and 'played nice' out of fear of distancing a populous that was infected with Olympic fever. And Canada won gold.

So, all in all. I am not optimistic regarding the future of radicalism in BC.
That won't stop me from becoming involved when there is a need for me to be there.
Sometimes the left in America think Canada is so much better and progressive how do you feel about it?
If by "left" you mean socialist forces, then I would agree that we have a history which is rife with social agendas. Most notable and noted is, of course, socialized medical system.
If by "left" you mean contemporary humanist and cultural forces, I would recommend a re-think.

Canada is a world leader in polluting the environment. Look at Northern Alberta, fuck, that abomination is visible from outer space! We are a strong supporter of NAFTA and MIA and our federal government has failed to sign beneficial international treaties on indigenous rights, global warming and animal protection, to name three of many. Our health care system, the envy of the world, is under constant attack by private interests (with government complicity through complacency) and seems to be undergoing a kind of death by a thousand cuts. Our Royal Canadian Mounted Police (the RCFP) have unrestrained authority and often resort to violence without clear motivation or threat.

You know, I could go on, but I won't.
Canada is progressive in some areas and regressive in others. We have a right wing government that wants us to become more like America. With the recent equalization of our currencies, one can't help but think that amalgamation is in the not so distant future. Goddess help us both if that happens. Best of both worlds? Nope. Lowest Common Denominator, more like.
Still and all, Canada is a great place to live at the moment. It could be better...

What are some of the most thought provoking Science fiction and fantasy novels you've read?

Books by Doris Lessing (Briefing for a Descent into Hell, Memoir of a Survivor), Samuel R. Delany (Grendel, Neveryon, Stars in My Pockets Like Grains of Sand), Ursula leGuin (The Dispossessed, all of her Hainish novels), Bulgakov's "The Master and Margarita", David Scott Wallace's brilliant "Infinite Jest" and any of the last few Phillip K. Dick novels. These are all pretty standard 'thinking person's' Science Fiction. Some of the more unusual stuff is good also, books by Barry Malzberg, John Sladek, John Shirley, Joanna Russ, Nicola Griffith. And for a lark, try the Borribles trilogy (The Borribles, The Borribles Go for Broke and The Borribles: Across the Dark Metropolis), by Michael de Larrabeiti: good dirty crustypunk fun.

You sold Dark Horse what are you doing now?
I will still keep my hand in the book biz by finding and selling good books on-line and to select bookshops; scouting, in other words.
My three main focuses, personally, are:
Completing my long-neglected MFA in directing for the theatre (involves writing a ten thousand word paper, from which I am playing hooky to do this interview), carry on into an MA program on Theatre History and thence into a PhD program of some sort relating to the Arts; and secondly,

Finishing my pottery studio so I can carry on into working in clay; and lastly,
Tending the cider apple orchard my son and I are currently planning (and pressing and drinking the eventual product thereof).

5 books everyone should read:
Be Here Now - Ram Dass (Dr. Richard Alpert, Timothy Leary's cohort, post-psychedelic guru and a radically beautiful man)
From Chocolate to Morphine: Understanding Mind-Active Drugs - Andrew Weil, MD and Winifred Rosen (simple, extensive and positive)
The Velvet Monkey Wrench - John Muir (illustrated by Peter Aschwanden) "Mankind will learn to progress without contention and live in co-operation."
You are all Sanpaku - Sakurazawa Nyoiti (English version by William Dufty) The original macrobiotics book.
Journeys Out of the Body - Robert A. Monroe (I'm not afraid to die anymore.)
One Cheater Just for Fun: Good Omen by Pratchett and Gaimen: Angel and Demon conspire to save the world from destruction by the "Powers That Be". Huge fun.

What would you like the whole world to understand or learn from this interview?
The most important thing one can do is to mentor another. Be good to yourselves and each other. You are not alone.

Saturday, April 10, 2010

Interview: Wonderland award winning author Gina Ranalli


Gina Ranalli

So I am doing this series of interviews on my blog. The reason for this is simple. As I watch my friends from very diverse and varied backgrounds interact on Facebook I had the idea that those people needed to know more about each other. I also know many writers, musicians and artists who have tons of amazing creative projects to promote. I want you to discover their creations as well.

Who do I start with. From the start I decided that I would launch with Gina. She is one of my favorite writers and more importantly one of my favorite human beings. This Seattle based writer is a Wonderland award winning author(Best collection for 13 thorns). She made a splash on the bizarro scene with slew of successful books for afterbirth books starting with Chemical Gardens.

One of the most impressive things about Gina's books is how different each book is. House of Falling Trees (my personal favorite) is straight gothic horror. Chemical Gardens is a hilarious punk rock spin on the Wizard of Oz, Suicide girls in the afterlife is a dark social comment, so is mother puncher but in a totally different way. Then you have books like Sky Tongues which is a surreal mindfuck.

Gina is the reason the small press is vital. An author like Gina no matter how brilliant didn't stand a chance in the traditional genre publishing. Now she has awards under her belt, a loyal following and is considered to be one of the top selling authors at the Horror Mall. (Horror-mall is one of the big DIY horror fiction websites, check it out.) Hear she is...


Where does the first act of the Gina Ranalli story begin?


I grew up in Massachusetts and was really excruciatingly shy. Just always buried in some fantasy world, either of my own or some book or movie. Any book or movie, really. And thank god I had those kinds of escapes because I never would have lived through my upbringing otherwise. My childhood was, sadly, much too typical, full of woe and loneliness. I wish I could say otherwise.

What was the first book you read the inspired you to become a writer?


It was probably something by Paul Zindel. He was my favorite writer when I was a kid. His stories were just so different from anything else I had read up to that point. Just full of misfits and whacky adventures. I completely related with those outsider characters. They sort of became my friends.

Chemical Gardens has been called a punk take on the wizard of Oz. You have had some years and some distance from that book how do you feel about it today?

I never re-read my own stuff, but I do still like the story, which kind of relates back to the previous question. A bunch of weirdos in an extremely bizarro situation. Plus, I think it might be my funniest book. At least I think it's funny, but I don't know how many people would agree with that assesment.

Suicide girls in the Afterlife was really where you first made social commentary but was also much darker than your first novel. What inspired this book?

It began with the characters rather than the commentary. I never start out with the intention of talking about a particular social observation in mind. The books eventually take on a life of their own and at some point I have kind of an AH HA! moment where I say, "So, THIS is what I'm writing about." I don't know if I could actually write a book with the intention of writing a social commentary. I need people and humor first and foremost.

A man couldn't get away with writing a novella like mother puncher, did you have the title or the story first?

I think I had the title first. And I've caught some flack for the book myself, despite not being a man. It made a few feminists mad, which is interesting to me, as I myself identify as feminist and think the book is actually very pro-feminist. I mean, that's kind of the whole point. It's satire.



House of fallen trees is a more straight forward horror novel, written before mother puncher do you approach a horror novel different from a bizarro novel?

Oh, yeah. For me, bizarro is more fun to write, but less challenging. The genres are very yin-yang for me. I can write bizarro really fast, which works best for me, but some people like my horror a lot more, but the horror takes a long time to do. They are both great in their own ways.

favorite meal?

I love Thai. Probably anything with curry. Put some curry on an old tire and I'm sure I'd eat it.

One book, one DVD and one toy to survive the apocalypse with?


This is a hard one. For the book, I'd probably pick either A Confederacy of Dunces or The Alchemist. For the DVD-I'm really into Watchmen right now, but maybe the Lord of the Rings trilogy? Would that count? The reason being it's so long. But, I'd really probably pick Bringing Up Baby, despite having seen it about 20 times already. And a toy. Hmm. Computers are toys, right?

What should a librarian know about your books?


They're in English and should be filed next to Ayn Rand. Besides that, I don't know. They could save your life?

Which books are you most proud of and why?

Well, I'm really proud of 13 Thorns because it was a bitch and a half to write, but we somehow pulled it off and I think it came out pretty good. House of Fallen Trees for the same reason. I also have another book coming out called Praise the Dead and that one was tough too. So, I guess I'm proud of the hard labors.

Which famous persons would like to see in a thunderdome?

I'd love to see Ann Coulter and Fred Phelps duke it out. It would be a win/win for all involved. (except the loser, of course.)

How did you get into veganism?

I came to veganism later than most do. Growing up, I didn't even know any vegetarians and I just didn't question the consumtion of animal products and secretions. Just never occurred to me. But, as an adult, I went to a city fair or something and they had a petting zoo. Those animals-most of which I'd never seen close up, always having lived in a city-looked so pathetic and unhappy. I remember looking right into their eyes and they looked back. I saw souls in there and had to stop eating meat. After that, giving up dairy was easy and I hadn't ever bought fur and hadn't bought new leather in something like two decades, so it was easy once I finally realized that I needed to be vegan. Now, knowing what I know about the cruelty and sadism involved with animal slavery, I just couldn't live with myself if I was anything but vegan.


www.ginaranalli.com