Q:

It’s gimmicky, but the whole idea of a self-interview is pretty gimmicky, right?

 

Q:

I don’t know. I read a bunch, as, you know, research, and they seem tricky, because you’re either earnest, in which case you seem boring, or you try to be funny, but that actually seems a lot harder to pull off than it’d seem. It’s kind of like trying to do “Who’s on First?” by yourself.

to send CHANGE FILE NAME.inddQ:

A:       Just to pass the time, a hobby or whatever. But it kept growing kept getting bigger and finally got a little out of control, really.

 

Q:

A:       I do remember, in school, college, building these bridges out of toothpicks or Popsicle sticks or whatever and seeing how sturdy we could make our structures. How much weight they could withhold. I’d always really loved those projects.

full_nowtrends-B-hi-res
Karl Taro Greenfeld’s NowTrends (Short Flight/Long Drive Books) is worth reading simply for the exotic locations and unique settings, but there is much more going on in this collection. A layered sadness permeates these stories, often soliciting sympathy for the main characters. At other times, a sense of entitlement causes the reader to become frustrated and even angry at these spoiled people. And still other stories allow us to understand the uncertainty that life offers up, even amidst important events and epic moments, unsure of how to take these revelations, unable to change—even when willing.

In my darker moments, usually after being away from art for some hours, and, mind you, this doesn’t just mean literature, but paintings, sculpture, film, or whatever, I start feeling kind of jittery, but the darkness takes on an especially despairing hue when I start to think about the pronounced lack of ambition and its concomitant general distrust of virtuosity in the contemporary arts scene. Sure, I’m guilty as anyone else of romanticizing past eras, characterizing them as golden ages, when of course the amount of dross to gold has always been grossly disproportionate all throughout history. However, these necessary caveats do little to assuage my disappointment with the various contemporary scenes and milieus. That said, there are, of course, massive exceptions, and fortunately these examples do provide respite from our consumerist culture’s celebration of mediocrity, its wallowing in sloppiness. For instance, as I write this, I’m listening to Beirut’s odd fusion of folkloric textures from the Balkans and Eastern Europe with pop forms, all seamed together by Zach Condon’s plaintive, Jeff Buckley-influenced vocals (something which would normally annoy me but, strangely, as with Andrew Bird, the sincerity of the voice outweighs the obvious debt, and it might be because Condon also blends a bit of Robert Smith’s melancholy and Morrissey’s effete tonality). And during February, when New York City’s interminable winter and its resultant gloom invariably descends upon my household, well, upon my partner, but somehow it ends up being the primary theme anyway, I pulled through with books by William Gass, continuing my plan to consecutively read (and reread some of the books) his complete oeuvre. (I should mention that writing with music on is near impossible for me to do these days, and it is an incredible struggle for me to do this now, but there’s a feeling I want to stay in, and Beirut is helping me do that.)