A personal diary keeping people abreast of what I am working on writing-wise.

Monday, May 16, 2005

THERE'S MORE TO LIFE THAN BOOKS YOU KNOW, BUT NOT MUCH MORE

Big releases for me this week and the rest of May.

1. I Was Someone Dead still has a couple of weeks before it will be on shelves, but Amazon has finally added a listing for it. Preorder HERE, and don't be afraid to give them the correction that it's written by Jamie S. Rich and illustrated by Andi Watson, so that maybe they'll put our names on it.

2.The Dark Horse Book of the Dead anthology with my short story "Kago No Tori," illustrated by Guy Davis, lettered by Lois Buhalis, colored by Dave Stewart, is on its way to stores now.



Other contributors to the book include Evan Dorkin, Jill Thompson, Mike Mignola, Eric Powell, Kelley Jones, Gary Gianni, and more.

3. Ai Yori Aoshi vol. 9. I'm continuing to do the scripts on this sweet little soap opera manga. It's one of my favorite jobs. Released this week.

4. Blue Monday: Painted Moon trade paperback collection by Chynna Clugston-Major, on the way from Oni shortly. When I read the script for the fourth issue of this series, there was a moment where Mr. Bishop referred to an incident in his past. I told Chynna I wanted to know what happened there, and she said if I did, I had to write it myself. So, I scripted a short comic story and she illustrated it for this collection.



Order any three of the above, or any of the two with a copy of Four Letter Worlds , and you can get free shipping. Or you can order four things, all five, or any combination of these and anything else your heart desires. It's also not to early to go to my Wish List and plan what to send me for my birthday, content in the knowledge that you can buy me something and I will never return the favor.

While you're at Amazon, you may note they added some more strange stats to Cut My Hair . They have a concordance now that has things like word count, stats about the complexity of the words I use, how many words you get per dollar spent, and the top 100 most frequently used words. I'm glad to see "fuck" made the list, and that you can actually click on that word and it will show you where it appears. Like on page 6, it says, "'Shut the fuck up, asshole,' somebody replied." Actually, by page 31, apparently someone is told to "shut the fuck up" three different times. Where's my Pulitzer?

Current Soundtrack: Oasis, Heathen Chemistry; ExileInside sample MP3s (the new band of Jake Shillingford, from My Life Story); MOJO magazine's Mod Club Party comp

Current Mood: pleased

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Friday, May 13, 2005

DON'T BELIEVE THE TRUTH



Jonathan Caouette's Tarnation is a puzzling, disturbing film. On one hand, it's arguable that it's like one of Godard or Orson Welles' essay films, updated for a time after music videos have affected how visuals and music are combined, with the whiz-bang editing style familiar to any MTV viewer. On the other, it possibly sidesteps what it wants to say by distracting us with that same style. The film is about one boy's journey into his family's mental history and how he fits into it, but does Caouette obscure his discoveries by over-abstracting? Or is the abstraction just a way for him to continue to avoid the hard answers?

Caouette is his own worst artistic enemy, it seems. Something about how he presents himself offset me as a viewer, made me inclined to distrust him. All artists are self-obsessed, but most step away from who they are when they deconstruct their lives for their art. Ironically, Caouette is always away from himself: he suffers from a mental disorder that causes him to disassociate from his own reality and view life as a dream. He uses film to try to get back into his own shoes. But I couldn't shake the feeling throughout Tarnation that it was all bullshit. I wasn't witnessing soul searching but a masturbation tool for a man who is in love with his own visage. Caouette started filming himself at age 11, creating disturbingly graphic monologues where he'd play characters like battered wives and drug addicts. While they suggest a natural talent for film, these scenes also begin a pattern of Caouette staging his own life for the sake of the movie of it. In his final confession, when he is alone in his bathroom with the camera, I wanted to believe he was sincere in his epiphany; instead, I was more appalled by how badly he was mugging for the lens.

Caouette begins his history before his birth and carries us all the way through 2002. The way he puts images together, a decade can pass by over the space of a montage set to a single song. Midway through the picture, I was beginning to question what it was I was being shown. I didn't feel like I was getting to know Caouette or his family. The photos seemed random. I could have been looking at any stranger's photo album, purchased in a thrift store or found in the road. When the rush of images would stop, it was rarely to contextualize what had just been presented. Rather, the viewer is given increasingly exploitative, drawn-out sequences of the filmmaker's mother, Renee, losing her grasp on reality. One sequence, when she dances and sings with a pumpkin, feels like it will never go on forever as Caouette milks his audience for every last squirm. Renee believes she is Elizabeth Taylor's daughter and Dolly Partner's sister, and she's going to perform for us just like they do. This is where her son got it from. A former model and actress, mom's mental illness has become an elaborate stage for her to play her part on. Caouette witnessed her being raped and abused when he was four, and Tarnation oftentimes seems like his attempt to recreate that kind of trauma over and over so we can share it with him.

I couldn't help but feel sorry for Adolph, Renee's father and Caouette's grandfather, for being caught up in all this. He may have done the things his daughter claims (we'll never know), and he certainly was misguided when consenting to give her shock treatment, but the character Caouette gives us is of a genial old man who has tried to smile his way through it all, not the monster he'd have us believe. When his grandson moves to New York, he sincerely wishes him well and speaks supportively of the boy's abilities; except Caouette has him say his farewell into a machine that turns the old man's voice robotic. A prescient contrivance so he can suggest the sentiment is false? When Caouette accusingly turns the camera on Adolph near the end of Tarnation, it just feels vicious, and when grandpa declares he has had enough, I frankly felt I had, as well.

It's hard not to think of the famous scene from Madonna's Truth or Dare documentary where Warren Beatty says to Madonna, "Why would you do anything off camera? What's the point of living if it's not on camera?" Often in this day and age, it feels like the majority of the population missed that Beatty wasn't saying that like it was a good thing. Technology has put the means of expression into just about everyone's hands. This blog is a perfect example of that. If I wanted to, I could follow the example of many others and record my every waking moment on here as if it were absolutely vital and important. The problem is, self-expression (and its evil twin, self-obsession) in itself is not all there is. We can't simply present what happened to us on our lunch break and expect the fact that it happened to grant it meaning. I like to joke that everyone has a right to an opinion, just not the right to express it...but I'm starting to think it's not so funny. Unless we start to demand that people extract something out of these experiences before they frame them for public consumption, we're going to lose sight of the big picture that is capital-A art. All the little snapshots are going to cover it up.

It's not an either/or question. One should dare to tell the truth.

Current Soundtrack: Oasis, Don't Believe The Truth

Current Mood: cynical

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

BOY SINGING IN THE WRECKAGE

It's my primary instinct is to protect the child...

Current Soundtrack: Black Box Recorder, England Made Me (US Edition)

Current Mood: drained

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Sunday, May 08, 2005

SO TYPICAL: A BATTLE OF WITS, AND I'VE COME HALF PREPARED

The Gotham Lounge blog reviewed Four Letter Worlds. They say, "There was 'T for True' by Jamie S. Rich and Andi Watson, which just had me chuckling throughout." Why haven't you purchased this book yet?

This week I embark on a long and dangerous metaphorical journey. Will I come back meaner and leaner, shattered and broken, or same as I ever was?

Just Finished Reading: Rent Girl by Michelle Tea & Laurenn McCubbin

So, Currently Reading: Misfortune by Wesley Stace (who sent me an e-mail after Wordstock because he is the world's nicest man)

Current Soundtrack: The Trash Can Sinatras, Fez (acoustic live album)

Current Mood: nervous

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Thursday, May 05, 2005

IFWHITEAMERICATOLDTHETRUTHFORONEDAYIT'SWORLDWOULDFALLAPART

"Daddy where's the sun gone from the sky?
What did we do wrong, why did it die?
And if you've got no love for me then I'll say goodbye
"



The Oregon State Legislature is currently considering Senate Bill 1000, a gay rights bill that would grant same-sex couples the right to civil unions and equal protection under the law. It's a step towards healing the wound of 3,000 marriage licenses being invalidated by those "activist" judges in our State Supreme Court. (I'm sure when Tom DeLay heard that more members of the judiciary were pushing their own agendas from the bench, it totally ruined his corporate-sponsored vacation.) Yesterday, hundreds of Oregonians descended on the Capitol to express opinions on both sides of the issue. As a similar piece of legislation just got shot down in Washington state, it's time to stand up and be heard if we want this thing to pass.

I urge everyone from Oregon reading this to write or call their State Legislator. You can do so by visiting here. If you are from out of state, there is no reason you shouldn't speak up and urge Oregon to lead the way in civil rights. E-mail Representative Mitch Greenlick at rep.mitchgreenlick@state.or.us or Senator Charles Ringo at sen.charlieringo@state.or.us. Here is my letter (and Greenlick already wrote back to say he is supporting it):

Dear Representative Greenlick/Senator Ringo:

I am writing you in support of Senate Bill 1000. I believe this is an issue that is important to everybody, regardless of one's background and orientation. Equal rights are not special rights, and it's up to no government or outside person to tell another how to live and love. In fact, I believe that the only people demanding special rights are heterosexual married couples, who wish to have benefits exclusive to their narrow-minded group. Being straight or gay is not a lifestyle choice, but being married is: so, by their own argument, maybe their special rights should be revoked?

My agenda here is what's fair. I am a primarily heterosexual white male who grew up in a Christian household. I personally stand nothing to gain from SB1000; nor do I have anything to lose by letting other people live the way that is natural to them. I feel opposition to equal rights is morally reprehensible, and those who stand against SB1000 are seeking to horde their pieces of the pie with little regard to the nourishment they deny others by doing so.

It's time Oregon stands up and shows the rest of the country that we are at the forefront of human concerns and leading the charge towards what is right. As long as people like Senator Charles Starr can stand up at our Capitol and spout homophobic rhetoric, accusing homosexuals of suffering from "mental disorders," without his fellow legislators denouncing him, we can't do this. We can't rise above the embarrassment and shame that has dogged our state since we joined the ranks of the close-minded by voting down Proposition 36 in November. Let's set the record straight. Oregonians aren't Neanderthals, but people of the present who are moving forward into a better future. Vote yes for SB1000.

Thank you.

Sincerely, Jamie S. Rich

Okay, I get a little into the proselytizing at the end there, but whatever. I think we've reached a crucial time in our culture where we really have to define where we stand, and do so vigilantly. It's not enough to express our beliefs, but to vehemently shout down the opposition and remove any pretense of moral ambiguity in issues such as these. Yes, everyone has a right to their opinion, but that doesn't mean sometimes they shouldn't be told to sit down and shut up. To that end, I also wrote the above mentioned Senator Charles Starr (sen.charlesstarr@state.or.us), who is quoted in today's Oregonian (5/5/05) as saying "people are not born homosexual" and hawking the outdated assertion that homosexuality is a mental disorder.

Dear Senator Starr:

It was with great distress that I read your comments in today's Oregonian in regards to the gay and lesbian community and Senate Bill 1000. With all due respect, sir, I feel you have embarrassed our state by openly spouting such out-of-date rhetoric. Is this sort of hateful, retrograde thinking really how we want the rest of the country to view Oregon?

I feel you owe everyone an apology. Empty words won't do, either. Do some research, educate yourself on reality, and vote yes for SB1000. Then I'll believe you; otherwise, despite not living in your district, I will make sure I am part of whatever effort I can be to make sure that come the next election, Oregon relieves you of your duties.

Thank you.

Sincerely, Jamie S. Rich

If I get audited this year, we'll know why.



The political climate right now is really weird. The illusory divide between the supposed "red" and "blue" is lingering from the last election, despite the fact that, in reality, Americans agree on a lot of the important issues. (Read the excerpt from Robert F. Kennedy Jr.'s book Crimes Against Nature from the May 2005 issue of Vanity Fair for a detailed explanation of this situation.) It seems to me, though, where the real disagreements appear to exist are in issues regarding how one lives one's life. What consistently baffles me about the Right is that their fundamental belief that government should be small and not interfere with our lives seems to stop as soon as they run into lives that our different than theirs; yet, as I state above, these are often issues regarding things that don't effect them whatsoever. If two men want to get married and are afforded the same rights and benefits under the law as a man and woman getting married, how does that hurt the man and the woman? They don't give up any rights by including the men. In fact, wouldn't allowing gay marriage actually support the homophobic stance that "Those queers can do want they want as long as they don't do it around me." Trust me, leave them alone, and they will leave you alone. If they are married to each other, then you no longer need to hang on to your irrational fear that they might be attracted to someone like you.

As another example of this, consider the current debate over the legality of certain companies taking films and editing them to include only family content. They remove violence, language, drugs, and sex, and in some extreme cases, references to ethnicity and homosexuality. AMC recently ran a news special about it, and you can read a short piece about it here, as well as an impassioned editorial by Marshall Herskovitz here). Essentially, these people feel that Hollywood is not making films that fit their sensibilities or are not suitable for their family to view together, so they create these new versions to fit their mold, regardless of whether the film was ever intended for children or not. Why would you want your eight-year-old to watch a movie like Traffic in the first place? (One hysterical clip on the AMC show came when they went out to ask people on the street if film ratings were less stringent than they have been in the past. One woman said, completely oblivious to her own faulty logic, "I took my ten-year-old to see a PG-13 movie, and it was really racy for him.") Hollywood argues that altering films and then turning around to sell or rent them in order to make a profit violates copyright law; the censoring companies argue it is fair use of a privately purchased product, and for every censored version they sell, they have paid for a corresponding copy of the legitimate DVD.

There are two things that strike me about the goals of the people who are seeking to censor entertainment in this way.

(1) Just because someone throws a party, it doesn't mean you're invited. Now, on the surface, that statement sounds contradictory to the pro-Gay marriage stance I've taken. I would argue it is not. The civil rights issue is about denying individuals opportunities based on who they are, while what entertainment you choose is entirely up to you. No one says to these people, "Stop. You can't watch this movie because you're a Christian." Anyone has access to the material, and if it's not to their tastes, they can avoid it. There is other entertainment out there for them, or they can go out and create their own (hello, Mel Gibson!). The recent pseudo-documentary What the Bleep Do We Know? is thinly disguised propaganda for a religious cult that takes advice from the spirit of someone from the lost city of Atlantis (I'm not joking); I don't agree with their point-of-view, but instead of asking for a version of the film altered to fit my belief system, I choose not to watch it. Similarly, I don't go into someone's church and ask the preacher to cater his sermon to me or attend wine tasting parties and complain they don't have any scotch. Nor do I stop anyone from renting What the Bleep Do We Know?, going to their church, or drinking their wine. Particularly when you can do any of those things and not harm me one bit.

Classically, it has always been the non-white, non-Christian groups who have felt underrepresented in American entertainment. If that has truly shifted and now conservative White America no longer feels it has a voice, then isn't that a signal that the tide has turned against them, that they are on the wane? Is this like the dinosaurs seeing a big meteor hurtling at them from the sky and trying to dig a hole big enough to catch it?

(2) If you disagree with Hollywood so much, why do you keep giving them money? This one makes no sense to me. The defense that they pay for the movies they find so offensive makes this a spineless protest. Why would you support a business you find so reprehensible? You're aiding in making their enterprise profitable! If a guy robs your house, you don't reprimand him while letting him keep your stuff and handing him the keys so he can get in easier next time.

It's becoming my personal quest in life to become less tolerant in the name of tolerance. I'm an imperfect being, and I know I haven't always stood up against bigotry and stupidity as zealously as I should have in the past. It's a failing I am attempting to eradicate, and I urge everyone to do the same. We're at a crux in our history where we can't accept half-baked settlements. In some cases, it may require us to redefine words like "friends" and "family," but I'd rather be on the right side alone than on the wrong side surrounded by people who love me for what they think I am or wish I was.

Current Soundtrack: various Robbie Williams; Manic Street Preachers, various versions of Holy Bible tracks (the bad grammar in the post title is theirs; I know the difference between "its" and "it's"); The Raveonettes, Pretty In Black


Current Mood: infuriated

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Wednesday, May 04, 2005

HAPPY BIRTHDAY, AUDREY

Saturday, April 30, 2005

ALL MEN HAVE SECRETS

Time for my movie picks for the month of May, for Trilogy Video and for you folks in the cyber ether. This time around, the title of the post says it all.

* Christ In Concrete, dir. Edward Dmytryk

* Out of the Past, starring Robert Mitchum & Jane Greer, dir. Jacques Tourneur



* The Picture of Dorian Gray (1945), dir. Albert Lewin

* Port of Shadows, starring Jean Gabin, dir. Marcel Carne

* Seconds, starring Rock Hudson, dir. John Frankenheimer

I was also going to include Infernal Affairs with Tony Leung and Andy Lau, but it's still considered a new release and I wasn't able to put it in. But consider that your alternate for the month. (I will likely use it later, though.)

Current Sountrack: The Decemberists, "The Mariner's Revenge Song;" Antony & The Johnsons, I Am A Bird Now


golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Thursday, April 28, 2005

DEVIOUS, TRUCULENT, & UNRELIABLE

The new installment of "Can You Picture That?" is now available to read. In it, I discuss my relationship to Orson Welles' F For Fake, and how it inspired my story "(T For) True" in Four Letter Worlds, despite having never seen it before yesterday.



Current Sountrack: Travis, Singles


golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Monday, April 25, 2005

COME ON AND AMAZE ME WITH YOUR MONEY

Amazon still has not added I Was Someone Dead, and I keep complaining. Trust me. But if you want to skip that and order it now, Khepri.com has it as a featured item here, and you can save 35% off cover.

Current Soundtrack: Nick Cave & the Bad Seeds, B-sides & Rarities disc 2

Sunday, April 24, 2005

THERE'S A SONG PLAYING THROUGH ANOTHER WALL

Geez. I go and get all blog whiney and then someone points out to me that there's a new review of Cut My Hair on Amazon, and this reader, Sulia Serafine, couldn't have written a better message for me to hear. Not that I was so deathly low I was going to give it all up or anything, but I think everyone needs a reminder now and again of why they do what they do.



Another cause for celebration is that the debut single from The Tears comes out tomorrow. The Tears are the new band reuniting Brett Anderson and Bernard Butler, the creative duo behind the first two Suede albums. Butler left Suede after Dog Man Star and embarked on many different projects, and Suede continued with new creative personnel, but it was never the same. (Though, I personally feel Coming Up eclipses the self-titled debut for a pure glam rock jolt. But this isn't a post about Suede. If you'd like to read my feelings of the band, check this old post from when they split. Also, you can read Christopher McQuain's excellent write-up of The Tears here.)

Getting these songwriting greats back together worried me as much as it excited me. So often, bands can't go back again, can't rekindle whatever unique chemistry made their initial collaboration so thrilling. And for a band that was so important to me, it was particularly dangerous ground. What if they pulled a reverse Marty McFly and by their present actions made the past disintegrate?

Well, I'm happy to say that based on the live bootlegs and radio sessions circulating the internet, as well as the single and B-sides, we have gone back in time and it is 1995, and Brett has taken the energy he put into Coming Up and Bernard has taken the Wall of Sound he established for the pristine Sound of McAlmont & Butler album and they've found the natural step that would have followed Dog Man Star had they stayed together. Lest you mistake this as saying it sounds like some kind of dated nostalgia, it doesn't. The music of The Tears sounds more fresh and new then when Suede debuted in 1992. Given the current karaoke-stylings that are all over the radio, The Tears sound more pure and energized and are very much of the present than the new bands half their age.

Hyperbole? Yes. True and correct? Affirmative.

"Refugees" clocks in under three minutes, and it's like a tornado of sound. Bernard's guitar swirls and dips in front of a string section, backed by a hard-hit drumbeat and Spectorish sleigh bells. Brett has written one of his classic "me and you in love against the world" anthems, and if this music and these people don't make you feel young and alive, then I will personally help you find your burial plot, because you need to lie down, you look tired and peeked.

Of the B-sides, only "Feels Like Monday" sticks in the big-riff vein. It's got a day-of-the-week chorus, which I made fun of Morrissey for on "I Have Forgiven Jesus," but it's so right on here. "On Friday, well, I hatched a plan / On Saturday I wrote it down / I wrote it on my filthy hand to tell you it's over on Sunday / And now it feels like Monday." We also get treated to Anderson's fractured poetry ("my heart bleeds like a dee-vorce-ee"), high-pitched cooing, and the signature Bernard Butler pre-chorus chug.

The rest of the B-sides are moody and quiet, reminding us of the mythic Bs of yore (think "The Big Time," "The Living Dead," "High Rising"). "Southern Rain" is a gentle ballad of contentment in loneliness, of moving on from a severed relationship. It's sad while also cleansing. "Branded" sounds like doom and speaks of a prevailing despair in a consumer culture while steel and acoustic guitars fight it out with the tinkling piano that serves as rhythmic backbeat. "Break Away" is an updated version of "To The Birds" (Suede's own "There Is A Light That Never Goes Out") with Brett once more casting two lovers in an escape fantasy. In his world, we are all essentially alone against larger forces that can crush us ("this world is an apple rotting slowly/ other people are cattle dying lonely", but somehow by standing together, any two of us can beat it, can get away and find something more meaningful. Bernard backs him up on the piano again, wrapping it in swaths of ocean waves. It's otherworldly, reaching a crescendo that sounds like a spaceship launching. We are away.

It's a bit unfair of me to stack the new work up against the old so much, as any artist is going to view their latest endeavor as different from the last. The Tears are a different concern than Suede, with different goals, a different purpose--and yet, in the overall work of these two men, of Brett Anderson and Bernard Butler, it's of one piece. I've written before of growing with artists, of getting behind them on their path and following them to where they want to go, and I can think of no better example than the transition of this songwriting duo from their past glory to their current triumph. It's so rare to see this kind of creative magic remain so solid. If only more of our favorite people could figure out how to do it.

Current Sountrack: The Tears, "Refugees" singles and BBC performances


golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Saturday, April 23, 2005

TALK-ACTION=SHIT

Portland is in the midst of the first ever Wordstock convention this weekend. It's a five day event focusing on literature, with an exhibitors hall and reading stages. There are also big "pay to see" events like Norman Mailer.

The exhibitors seemed to be mainly from the Northwest, and outside of some of the more arty small presses like Tin House and the PIPE Group, I wasn't all that impressed. It seemed like a lot of self-help and crap about mountaineering. I felt very out of place. Even browsing the selections at the reading areas for Powell's and Borders, I was wondering where the hell I fit in. I feel like I am almost too normal to be writing modern fiction. I'm not interested in oddball hooks or extreme tragedy. "It's about a one-legged male prostitute who falls for a transgender breast cancer survivor!" That's just not me, but it seems like what sells.

Ironically, the one event I did want to see (after my friend Bart King's presentation for The Big Book of Boy Stuff), was the reading by Wesley Stace (the music artist John Wesley Harding; and now that we know his real name is Stace, it brings new meaning to his album The Confessions of St. Ace) from his book Misfortune, about gender-bending in the 1800s. But it's more Tristram Shandy than exploitative crap like The Station Agent (to mix a movie in my analogy). For some reason I got nervous when having him sign Misfortune and giving him a copy of Cut My Hair, and I think I ended up sounding like a lunatic. If you happen to see him, apologize for me. I was the guy in the suit with the red and black striped tie. They probably put Cut My Hair in a tank and sprayed it with hoses to make sure it wasn't a bomb.



One thing that did strike me as I stood at the trolly station listening to the soundtrack to 2046 and thinking of my next novel, They Are All In Love, is that I do maybe have more in common with my hero Wong Kar-Wai than I was giving myself credit for. Writing the synopsis of The Everlasting was a strange experience because it doesn't have the kind of big capital-P plot that creative writing classes and writing magazines push at us. It's not about that. It's a series of moments strung together, the moments that comprise how we relate to one another. A plot is formed when they are put together, but you don't always have the obvious Conflict-Complication-Resolution basics. It feels like I'm walking a fine line when I go out to sell it, though, since you sell it on the basics--like a synopsis. I wish things operated on the simple concept of "Just read it, you'll get into it."

Still, one soldier's on. After all, I'd rather feel like the oddball. Belonging is so boring.

Current Sountrack: Brian Jonestown Massacre, Tepid Peppermint Wonderland: A Retrospective disc 2


golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Friday, April 22, 2005

REJECTION IS ONE THING...

Just about anything you read regarding proper conduct for writers when contacting editors and publishers will tell you not to pour out your personal story in your cover letter. For instance, no one really needs to know that you are currently bagging groceries while dreaming of literary success. I had someone try to pull that on me once, saying I was the only one who could save them from this fate. It didn't make the person's work any better.

Any similar descriptions of, say, a physical ailment would also be met coldly. Everybody's got problems, and prospective employers aren't going to be guilted into hiring someone whose work they don't enjoy.

So, how is it that I can be sent a rejection letter that begins like this: "Please forgive this form rejection letter. Personally I loathe the things and would never willingly use one. However, I have developed Carpal Tunnel Syndrome which may require surgery and am no longer able to write the personal notes to authors which is my usual custom."

What the hell? Personally, a form rejection letter doesn't bother me one bit, but I hate seeing someone on the other side indulge in behavior that would likely get my submission tossed in the garbage. And it really just makes me feel more odd about the experience than anything. Like I made this person's life difficult by asking them to move my manuscript from the envelope it arrived in to the one they sent it back in. Not only does my work suck, but I'm a schmuck, too! Thanks!

Current Soundtrack: John Wesley Harding, Here Comes The Groom

THIS IS WHY YOU LOVE ME

Four Letter Worlds, bless its little heart, got chosen as the best of the week by Randy Lander over at the Fourth Rail. Read the review here.

The "Fate" section gets singled out, which includes me. Snippet: Chynna Clugston delivers what may be the sweetest, most romantic thing she's ever written (and drawn) in "Anew," Jamie Rich brings his acerbic wit and cynical point-of-view to a tale of lying that could only have been drawn by Andi Watson in "True" and Antony Johnston and Mike Hawthorne had me laughing out loud with a couple of marketing guys trying to upsell the embodiment of fate on some new image enhancements.

Me? Acerbic?

This week has me tuckered out. We've been laying I Was Someone Dead to rest, and I've been fussing about with submission packages for The Everlasting, including writing a more detailed synopsis because you never know when you'll need such things. It's actually a pretty interesting process for reacquainting yourself with your book after a break. It's making me more aware of some of the things I've done.

Current Sountrack: Brian Jonestown Massacre, Peel Sessions collection (available on their website; but donate money if you take it!)

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Wednesday, April 20, 2005

PICTURESQUE

In comics shops today: Four Letter Worlds.



Featuring "(T For) True" by myself and Andi Watson. The new DVD of Orson Welles' F For Fake is in stores next week. I will be writing a column for "Can You Picture That?" comparing my story and the movie, which I have never seen. Should be interesting.

The book also contains stories by my colleagues Chynna Clugston, Matt Fraction, Jamie McKelvie, B. Clay Moore, J. Torres, Scott Morse, Antony Johnston, and more!

Current Sountrack: Manic Street Preachers, "God Save The Manics" download EP

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Friday, April 15, 2005

I'M THE LAST LIVING SOUL

Death to Oregon.

I'm ashamed to live here. This is what we expect from states we make fun of.

Shouldn't we be worrying a little more about the hate we engender than looking for love we can squash?

Current Sountrack: Gorillaz, Demon Days

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Thursday, April 14, 2005

THAT'S WHAT JAZZ IS TO ME

I wrote up the following for the Oni Press message board, in response to a question sparked by my interview with Ian Shaugnessy. It seemed worth posting here, since I already had it ready to go:

Jamie's crash course in the Novella:

Length is a determining factor, but not the only determining factor. In fact, the first novella, The Decameron, runs over 600 pages in my edition. Length often comes into play simply because the other determining factors in the study of novellas are things that can be found elsewhere. It ends up being a rather elusive form, nebulous and difficult to define.

Some of the less definable elements:
1. A sense of the fantastic
2. A vehicle for philosophical discussion (i.e. Faulkner's "The Bear")
3. A story that is purely symbolic (Hemingway's The Old Man & The Sea)
4. Writing itself as a matter of introspection (Philip Roth's The Ghost Writer)

Elements of structure and technique:
1. A compressed focus
a. details limited to the scene at hand
b. time, characters, and setting are isolated from the world outside the plot.
2. Repetition of events/themes for impact
3. The appearance of being grounded in reality while really being in fantasty, often relating back to the first section of this outline with stories as fables, or as a journey into the mind (Joseph Conrad's Heart of Darkness).

Boccaccio, Hemingway, and Conrad are the most strongly referenced in I Was Someone Dead, but in addition to those listed above, when I was originally working on this project (which in college was connected to a larger paper, the outline of which I keep at hand), I also really liked Solzhenitsyn's One Day in the Life of Ivan Denisovich and Melville's Billy Budd.

Quite some time ago, on the original Oni board, I advocated that comics get more in line with literary terms. It was after reading James Sturm's The Golem's Mighty Swing, which I felt was more like a novella than a graphic novel. Scott Morse also has called Visitations a graphic novella, which I think is spot on.

I should also mention that one of the people who was most influential on me as far as looking at the multi-tiered structure of stories was Dr. Charles May, author of Fiction's Many Worlds. It's a marvelous critical anthology with some great stories and analysis. The "new" price is scary, but you can buy used ones pretty cheap. He's mentioned on the dedication page for I Was Someone Dead.

I used to have a T-shirt that said "Novella Fella" on the front. It was given to me by some friends from my teenage years that were making fun of my high-minded goals. It was, for me, the final sign that we had grown apart. But, I wore it all the time...only backwards, because on the back they had put "Mr. Asshole."

Current Sountrack: Morrissey, Live at Earls Court; John Wesley Harding, Why We Fight


golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Wednesday, April 13, 2005

MORE HYPE

I Was Someone Dead and myself are also featured in this week's online newsletter of Brave New World Comics.

http://www.bravenewworldcomics.com/news/detail.aspx?NewsId=82

It's in the "Dear Atom" section, which is down the page. Atom is one of the cool guys at BNW, and he answers letters from fans and hype-seekers alike.

For those who don't know, Brave New World is a great shop in Newhall, CA.

Current Sountrack: Nick Cave & the Bad Seeds, B-Sides & Rarities disc 2

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich

Tuesday, April 12, 2005

ALL HYPE

There is a new interview with me on the Oni site as part of Ian Shaugnessy's "Squeal Like A Pig" column. It's mainly to talk about I Was Someone Dead, but you know me. I talk too much, and we pretty much went all over the place.

The book is still not on Amazon, which pisses me off, but I understand it's being taken care of. What is on Amazon, though, is Four Letter Worlds, which is on its way to shops now. So, order yours, and read my short story with Andi Watson. (The shipping estimate will likely go down as supplies arrive.)



Current Sountrack: Nick Cave & The Bad Seeds, "The Girl at the Bottom of my Glass;" The Tears archived session on BB6

golightly@confessions123.com * The Website



[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2005 Jamie S. Rich