Archive for October, 2008

Ginetta Correli-THE LOST EPISODES OF BEATIE SCARELI

Saturday, October 25th, 2008

In Diet Soap #2 we published Ginetta Correli’s funny and gritty story “Peach,” a story which received good notices in the few reviews that came after publication, and it turned out the story was Correlli’s debut. She emailed me after, sent me her self-published novella, and has apparently been publishing fairly prolifically in small journals online and in print. A review of her novella appeared today on the blog You Are What You Read, and the appearance of the review is what is prompting this post. Correli apparently faced derision from participants in the Zoetrope writers workshop, but when Ginetta sent the story out for publication she found that every editor wanted to publish her story. Luckily Diet Soap was the first to respond. At the outset I was quick to get back to people who sent in their work, alas that is no longer the case.

One of the workshop participants called “Peach” ‘the lowest form of writing.’ Well, here’s to the lowest form of writing.

This video is Correli’s short film adaptation of her novella.

Election Special-Interview with Blogger Dennis Perrin

Wednesday, October 15th, 2008


Dennis Perrin is a comedy writer who has written jokes for Bill Maher and many others. He is also the author of The Life and Work of Michael O’Donoghue, The Man Who Made Comedy Dangerous, and SAVAGE MULES: The Democrats and Endless War. His blog at blogspot is worth reading on a daily basis. I was glad Dennis agreed to answer a few questions for Diet Soap.


Q: You’ve written jokes for Bill Maher and “countless other comics,” you wrote a biography of the comic screenwriter Michael O’Donoghue, and you were a friend to the late George Carlin.  You are, in afashion, a comic.  You are also a political blogger and far left critic of the Democratic Party.  Your book “Savage Mules” was released this year and is seeming more and more relevant as we approach election day.  Which is more important to you, dissent or comedy?  Is there something radical about comedy, or are you and your ilk just here to make life a little more bearable, like a Pluto cartoon in a Preston Sturgess Motion Picture?


A: First, I never knew George Carlin. I wish I had, but we never met. I have tremendous love for his brand of humor, and I’m sorry that he’s no longer around. Still, considering our present state, Carlin’s probably better off.

Second, I don’t see myself as a “far left critic” of anything. I don’t know what that means in this environment, since there’s no real “left” to speak of. I say what’s on my mind, attempting at times to be funny or entertaining while doing it, but that’s a subjective call. I’ve written straight-up
parodies that people took very seriously. So I never really know how any of
my stuff will be perceived.

At bottom, I’m a comedy writer. That’s my main engine. Politics came after that, and to a degree I’ve merged them, but I’d rather get a laugh than an appreciative nod of the head. Though being called names is fine, too. That usually makes me laugh.
 
Comedy is only as radical as the times will permit, and given how things presently are, the gates are wide open to pretty much anything. In theory, anyway. In practice, there isn’t much of a market for serious, cutting satire. “The Daily Show” is about as good as it gets, which for many people is more than enough. For me, I wish there was something harder, darker. The times certainly demand it. But that type of humor has been marginalized and watered down to such a degree that today’s audiences believe that the softer brand is the real deal. Humorists and their corporate bosses have colluded in that dumbing down. How else can you explain a middlebrow like Tina Fey being feted as this great satirist? If she was truly that, she wouldn’t be celebrated by the mainstream.

 
Q: Blogger Mike Gerber criticized the late George Carlin as a cynic who perpetuated passivity and you defended Carlin by pointing out that while other social comics push participation in the bankrupt political system, Carlin aimed at destroying that system.  Recently, however, you expressed extreme doubt about the capacity of Americans to unite collectively to change the political order.  At what point does attacking the system turn into fatalism, cynicism, and despair?


A: Again, it depends on social/political conditions. Americans are told from birth that voting is the highest and most noblest expression of democratic citizenship. But under this system, voting, especially at the presidential level, is mere ratification, saying yes or no to decisions and positions formed without their participation or input. Of course our owners urge us to VOTE VOTE VOTE. It’s an effective means of control, which demands little of the individual. To get beyond that obstacle would take tremendous effort and sacrifice, and frankly, countless Americans have no interest in such struggle. We’re too atomized to put together a serious grassroots political effort. Plus, the corporate parties and their apologists would attack such independent actions as “selfish,” “myopic,” even “anti-democratic.” It would not be easy. It’s far easier and safer to project our desires on someone like Obama. His marketing people came up with the “CHANGE” and “HOPE” angles, which is truly cynical, since Obama, in reality, serves private power. Many people I know acknowledge this reality, but it frightens them, so they go along with the propaganda and pretty phrases. I wouldn’t say that makes me despair, but it is extremely frustrating.

Q: Naomi Wolf has recently announced that the recent 700 billion dollar bailout amounts to a coup, and she has warned that we are entering into the last phase in a transition to fascism.  Is she being hysterical?  Is she incorrect?


A: Wolf’s a little late to the party, but better late than never, I suppose. I confess I’m not really a fan of hers, so that definitely colors my perception of her alarm. It’s true that Americans are marginalized and that the country, or what’s left of it, is in the hands of fewer and fewer people. Is that fascism? I don’t know. It’s certainly not democratic, at least based my understanding of that word. It is true that average people are being robbed by the upper one percent, and while that’s nothing new, it is getting worse. Obama’s prescription is essentially, don’t rob average people so blatantly. That’s counterproductive and could undermine elite rule. This is why savvy elitists back Obama — he’ll be a sensible imperial manager, and should help our owners restore some stability to their system. That Obama has dark skin also helps US propaganda, especially abroad. I heard Ted Koppel say exactly this the other day. So, if we have “fascism” under Obama, it will be a feel-good variety, much like Reagan’s and Clinton’s — until the next crisis, and so on.


Q: Both John McCain and Barack Obama supported this 700 billion dollar bailout for Wall Street despite the fact that the bailout was an incredibly unpopular bill.  Why did neither candidate choose to hitch his wagon to popular resentment and oppose the bailout?


A: For the very reasons I outlined above. Had McCain opposed the bailout, his dreadful campaign may have taken on new life. He could’ve played the populist card at a moment when such a move would be extremely welcome, but again, both McCain and Obama serve those who own the country, not those getting soaked to pay off the owners’ bad bets and investments.


Q: I’m sure a number of the readers of Diet Soap are considering voting for Barack Obama in the upcoming election.  Do you think this is a good idea? Would people change their minds about the democrats if they knew the true history of the party?  Make a plug for your book Savage Mules here:
 


A: The Obama Express is unstoppable at this point. After eight years of neocon management, the national mood has shifted to — here’s that word again — “change.” Facts don’t matter. History does not matter. All that matters is feeling good about the upcoming administration. I get emails all the time from readers who tell me, “Yeah, what you say about the Dems is true. But I don’t care. I want to win.” So that’s that, at least for now. We’re locked into this system. As for “Savage Mules,” it has sold well online, much better than I expected. But after I wrestled with Salon’s Glenn Greenwald over the true nature of the Democrats, readings and discussions that were in the offing dried up immediately. A lot of liberals, even lefties, wanted no part of my critique, for fear, as a few suggested to me, that it would hurt Obama’s campaign. I don’t know how someone as marginal as me could do that, but liberals were taking no chances. At bottom, they simply don’t want to deal with someone like me. Still, Obama’s victory should be good for my career. With the Dems running every branch, there’ll be no shortage of ripe, deserving targets.

Three Questions for Jeffrey Ford

Tuesday, October 14th, 2008

Jeffrey Ford is an icon of literary science fiction and fantasy. He is the author of The Well Built City Trilogy, many terrific short stories some of which were reprinted in his collections The Fantasy Writer’s Assistant and the The Empire of Ice Cream, and several novels including The Girl in the Glass. His most recent novel is The Shadow Year and his upcoming short story collection The Drowned Life is due out next month.


Q: The name of this blog is How to Write Stories about Writers. Can you name a story about a writer that has influenced the way you work, or the way you think you ought to work?

A: The things that influenced the way I work have more been my circumstances – where I lived, what job I had, my responsibilities in raising my kids. Over the years, I developed my own way of how I work, and I don’t and never really did pay attention to what other writers are or were doing on that score. Good god, you see a lot of advice from writers on the internet to other writers about this kind of stuff. It cracks me up. Still, I can give you a title of a story about a writer that I think is good. “Guy De Maupassant” by Isaac Babel. I don’t think I’d want to used it as a model, though, for how I work.

Q: You were a student of the novelist and professor John Gardner at the State University of New York at Binghamton. Gardner’s didactic books “The Art of Fiction” and “On Becoming a Novelist” are perhaps more well known and well read than any of his novels. Do you agree with Gardner’s central thesis that fiction should be moral? Did you write fantasy or speculative fiction in his class, or did those stories come later? Do you feel you’ve fallen to the ghetto from the literary heights, or has science fiction and fantasy moved up?

A: Ask any writer who is publishing today who had Gardner as a teacher and they’ll tell you he was great at it. We didn’t bother with the Moral Fiction bullshit when he was teaching me, he was trying to show me how to edit and talking to me about irony and suspense and the things that make a good plot. I have somewhere a sheet of paper on which he wrote out for me the rules of the comma. He told me his theory of teaching writing, he said, “I can’t make you a writer, but I can show you some of the pitfalls and problems you’re going to face in writing and how to get around them. This is stuff that if you stuck with it you would probably learn, yourself, but I could save you five or ten years.” The two books you mention that are about writing, they’re definitely worth a look. The exercises in the back of The Art of Fiction are really sharp. I don’t do them, but I like to think about them. As for On Moral Fiction, I could never tell if it was merely a cunning attempt to gain notoriety or whether it was meant to be something more or both at the same time. The argument at hand never really interested me and in Gardner’s own fiction it’s pretty evident that it didn’t interest him that much either. He paid a pretty heavy price for his hubris, though. I think it got to him some after he wrote Mickelsson’s Ghosts. It’s an incredible novel – so wonderfully dark and crazy – but a lot of the reviewers ignorantly slashed it as, I believe, a kind of backlash against On Moral Fiction. As far as his writing goes, the works of his that interest me are: Grendel, The King’s Indian, Freddy’s Book, Mickelsson’s Ghosts, and “Julius Caesar and the Werewolf.”

Gardner was a big fan of Science Fiction and Fantasy. He’d entertain anything in class – Romance, Horror, Mystery… He was down with it if it was a good story, interestingly told. Beyond that, at that time, with writers like Gardner, Pynchon, Carter, Calvino, Garcia Marquez, Borges, Oats, Coover, Barth, the fantastic (or whatever you want to call it) was business as usual in the “literary” world. I wrote plenty of bad fantasy for his class.

There are no heights to fall from. All that is an illusion. If you buy into it as a writer, you’ll be driven by the belief in a legitimate hierarchy in which you’ll feel compelled to find a place, but if you ignore the illusion that struggle vanishes and what you have left is simply the writing.

Q: The world is going to hell socially and politically. To what extent do you feel pressed to be engaged by the political and social world in which you live. Is all art political?

A: I don’t feel “pressed” per say, but I am engaged by and in the political and social world. If you have kids, if you work a full-time job, if you pay taxes, have a mortgage, car payments, etc., you can’t help but be engaged by it. I look at America and see it moving with the speed of a freight train out of hell straight down the toilet. The last eight years have been a nightmare of torture, deceit, death on a grand scale, fear, and an economy run by thieves. Where’s my flag lapel pin when I need it. The grim nature of it bubbles through you and into the fiction. I’ve written a number of stories recently that I sense are colored by that nightmare – “The Drowned Life,” “The Seventh Expression of the Robot General,” “The Hag’s Peak Affair.” I do think all art is political. There is always vested interest, there is always the manipulation of power.

Diet Soap Moves to Lulu!

Tuesday, October 14th, 2008

Yes, it’s true, we’ve decided to move all printing of Diet Soap to Lulu from now on. Why? Because it’s just damn convenient, for one, and also people can download free PDFs, which will result in less administrative hassle.

Will this result in a price increase? Alas, it will. But then, Issues #3 and #4 will be much bigger, fatter, juicier issues — perfect bound, with full color covers. So the extra cost will be worth it. And of course, current subscribers will be getting the new gorgeousness without any extra cost whatsoever, because they signed up in advance. Smart people, they!

We’re going to start by getting the back issues up. And as a matter of fact, Issue #1, “Surveillance” is available for immediate purchase or download! Go here and have a look!

http://stores.lulu.com/dietsoap