Friday's 'Forgotten' Books: The Corinthian

Georgette Heyer should be a household name; that's the only thing that qualifies this as a "forgotten" book. Heyer is still a nonpareil amongst romance readers, but little known beyond that group. I only learned about her because of Stephen Fry; for his 50th birthday he had a short program on his "guilty pleasures" and one of them was Heyer. She came along at just the right time for me,  as her lively cant became incorporated into the ongoing serial that's now been published as The Mangrove Legacy.

Heyer is primarily responsible for making The Regency a genre all itself, though she wrote mysteries and stories set in other periods as well. For readers who rip through Austen's works and then lament there is no more, Heyer is a treasure trove. She doesn't just capture Austen's period; she also shares a great deal of her sense of fun and wit. In short, her books are a delight.

The Corinthian provides an excellent example. The title is slang for a man of fashion, the type who spend an awful lot of time worrying about the state of his cravat. A very drunk Sir Richard Wyndham one night happens upon the runaway Penelope Creed; both are facing a marriage they do not wish to engage upon and the tomboyish Pen convinces Wyndham to chaperone her on a coach trip to her childhood home -- and of course along the way, he sobers up, she reveals herself to be more than the "child" he continues to call her and they get mixed up in various misunderstands and crime. Delightful stuff that will amuse anyone; Heyer's skill at bringing characters to life is superb, her dialogue crackles with good humor. The covers her work appears within, however, seem designed to appeal only to romance readers, alas. Trust me -- and Stephen Fry! -- Heyer is wonderful.

I'm off this morning to the airport: Atlanta and then Memphis where Miss Wendy will whisk me off to Oxford. We're hoping to have a lot of fun ringing in the new year. I'm looking forward to seeing her new home and the land of Faulkner.

A rather Leary sort of poem (or so at least I once passed it off without a murmur of dissent) I wrote has been accepted by the Journal of Asinine Poetry. I'll let you know when it's available. The short humor piece I did for State of Imagination will be up tomorrow I believe. Look for "A Plea on Behalf of the Small Hat League."

It's the little things that matter: in the midst of a very irritating day yesterday, I was cheered by receiving a card in the mail -- a holiday card from Alan Moore and Melinda Gebbie. Cue fan girl squee. It's hard not to do so, even though having met them -- they're both so nice and easy going -- I can understand the frustration with the public persona created by the media (and pop songs). At least they have a good sense of humor about it: I remember Alan telling a story about walking past a football match on the green in Northampton, when a waggish cabbie stopped to shout, "Say, Alan, do you know the score?" Hee! Yes, that's the "reclusive" writer, who spends an awful lot of his time rambling around the city and talking to people. Never believe the press.

World AIDS Day

There's a campaign on to have an AIDS-free generation born by 2015. A lot of work to be done first. It can be done. Commemorate World AIDS Day with something meaningful. These cool Dia de los Muertos t-shirts already sold out but there are many other ways to help raise awareness and help research.

I'm unbelievably busy this week, so let me just pass along some assorted news tidbits: Over at Patti Abbott's blog, you can read the latest installment of La Ronde by Kassandra Kelly. I have a new piece on ritual up over at the Jane Quiet blog. I sent off the revised essay on Alan Moore and Melinda Gebbie's Lost Girls; will let you know the details about the collection once I know them. I wouldn't expect it before next autumn, maybe even 2012. Still no word on the latest novel that's waiting for review by my publisher. That's how it goes in the print publishing world. I did get the line edits for Kit Marlowe's The Mangrove Legacy, so I will be busy with those today in hopes of getting it back to my editor to make it for the December 15th release of the e-book. Yay! That's why I love electronic publications.

Off to NYC tomorrow to see Lynda Barry; if the weather's like this again, I think I'll spend the rest of the day at MoMA.

UPDATE: apparently this anthology that includes my flash fiction "Rothko Red" has come out and is available for sale.

Magus: The Alan Moore Conference (Day Two)

Here's another one of Adele's photos: just out of shot to Alan's left is me holding Melinda's glass. One of these days, I'm going to remember to take a picture with them. But don't they look sweet together? More on thee two later. I left London on the same train as I had the day before, but bank holiday weekend engineering works made sure that I was late. The cab dropped me off just after the time slated for panels to begin; fortunately, things were running slightly late, so Andrés was just introducing Gary Lloyd when I arrived, waving a belated hello to Adele.

Gary had worked with Alan on Brought to Light—not one of my favourites among the CDs, but an important work nonetheless. I was interested to see what he would talk about as his title "Moore and Music" could cover a lot of ground. It was fascinating to hear him talk about working together and how Alan has 'perfect pitch' but a voice so deep his falsetto doesn't sound like a falsetto. He was amusing, too, illustrating his talk with imaginary charts (all of which worked in an off-hand reference to SKIZZ), Homer Simpson eating a donut, and his six year old nephew's drawing of Watchmen, a drawing that showed superheroes like Spider-man, Batman and Hulk at the bottom of a cliff crying for help and Rorschak simply saying, "No."

Cyril Camus of the University of Toulouse traced the many ways in which Neil Gaiman had been inspired by Moore's work, often quite directly and how the friendship and influence of Moore helped shape Gaiman's career.  U Northampton's Jasmine Shadrack presented a lively discussion "V Versus Hollywood: A Discourse on Polemic Thievery" with a V mask hanging from the podium.  She traced her unexpected reaction to the movie version of V for Vendetta, which had been a singularly affecting novel for her on first reading it.  While the film changed much, there was still a great deal to celebrate.

I chose to go to the film panel after the break, perhaps perversely, because most of the films made from Moore's material have been so exquisitely bad. Stephen Keane, also from Northampton, covered "Watching the Watchmen: From Panels to Frames in Watchmen" which he warned us would be a loose presentation, more preliminary than final and it was, but he had a few interesting points to make from film studies approach.  Aine Young from Queen's University Belfast, examined "From Hell: The Adverse Journey from Page to Screen" and how Moore's carefully constructed Victorian landscape (among other details) was flattened and homogenized by the filmmakers.  The Hughes Brothers may have wanted to capture the grit and the slums, but in the end could not escape the Disneyfication of the project.  Ian Dawe of Selkirk College spoke about "The Moore Film Adaptations and the Erotic-Grotesque" as a way of measuring the success of the film versions, as he found those that removed that quality from Moore's texts were sure to render a bland product.  While it seemed an intriguing concept, I couldn't really agree with his declaration of From Hell as the best adaptation.

Then it was lunch and more chat with Adele and with Marc, whose paper I had missed (but it went well, he said). As I was getting yet another cup of tea, I suddenly found myself handing a tea bag to Alan. I wasn't sure he'd remember me, but he did and we chatted a bit as we made our teas, mostly about what a strange thing it was to have a conference all about one's work.  But then as he said, "I've had a weird life, so this is just one more bit."  Since I hadn't met Melinda before, he made a point of taking me over to introduce us and she's just as delightful in person as she had been on the phone (and gave me a nice compliment too, "We love your writing!"). Yes, I made sure to introduce Adele, who snapped that lovely photo. We all went in for the Q&A, which Paul Gravett was hosting. I brought my new Flip camera and managed to video most of the session, while Paul talked with Alan and then Melinda and then they both responded to audience questions. But the session went long (no one complained!) and my camera ran out of memory, so I'm missing the last bit.

I hope to put up the video on line, so let me just mention a few things that came up at the end, including Alan's comment that "art is a kind of possession" and that "I'm a very possessive person!"  Most people in Northampton seem to know him (and judging by folks at the conference, have stories to tell about him), except for some employee at Sainsbury's who threatened the "scruffy guy" with calling the police if he came in again. I loved how Melinda described how we should all realise we're mushrooms who seem to be separate, but under the ground we all share roots. Referring to some of the people who claim him as an influence, Alan suggested that all they had picked up was the idea that "more sex, more violence, be incomprehensible" was what created "that Alan Moore feeling." Subjects ranged form Lost Girls, Jerusalem, Dodgem Logic and Melinda's autobiographical project to upcoming appearances by Alan on Radio 4 with scientist Brian Cox and in the newly opened catacombs under Waterloo (with musicians in July – argh!)  They were both generous enough to stick around for a good while chatting with people and signing things, though Alan said it was really just an excuse to mow through the buffet table. I shared a cab back to the train station and the trip to London with some colleagues chatting about the conference. Everyone seemed delighted.

While Saturday had been rainy and grey, Sunday was gorgeous though blustery, perfect for cycling over to Battersea Park to check out the boating. Baby coots, ducklings and goslings abounded and an entourage of ducks followed the boat quacking loudly for the apple bits I tossed behind me. Pub lunch was a nice roast dinner—yum!  Monday coming back from shopping I got caught in the midst of the pro-Palestinian protestors who gathered at the entrance to Downing Street and lay down in front of the bus I was on. Good thing I didn't have any ice cream in my bag of groceries.

Today I'm off to see a matinee of Tom Stoppard's The Real Thing at the Old Vic with Toby Stephens. Can't wait!

Magus: The Alan Moore Conference (Day One)

Here's a lovely photo of me and Marc Singer snapped by the wonderful Adele, who already has her write-up of the Magus conference up over at her book blog, UnBound, and has pictures up as well. I was looking forward to this conference despite not quite having my paper done before I headed off to the UK. So many weird things happened while I was working on the paper that I decided to make that journey part of the paper, too.  I think I'll put the Powerpoint presentation on line with the paper as narration, so I won't detail everything here, but I had a lot of interesting coincidences arise from listening to Moore's performance CDs while sauntering through various museums in London and while lunching with my friend Roger Sabin in Red Lion Square (the site of the original performance of Snakes and Ladders.

I ran into Paul Gravett on the train coming into Northampton: I hadn't seen him in a few years, so it was great to have a chance to catch up on the cab ride to the campus, because he was busy right away as the keynote speaker. Adele was in the lobby with everyone else, so we had a chance to chat and meet other folks. I was pleased to see someone else I knew, Marc Singer, who was giving a paper on the Pog issue of Swamp Thing. I was a bit surprised to find that I had been moved from a later afternoon slot to the one immediately following the keynote, but it's just as well to have the paper done, so I didn't mind.

Nathan Wiseman-Trowse welcomed us all to the conference and talked a little bit about its genesis from a half-joking proposal to a serious academic undertaking (but fun, how could it not be?). He then introduced Paul who gave a lively presentation, "Something from Nothing -- Small Killing, Big Numbers: Comics Beyond Referentiality and Reinvention" which tied together some wonderful art exhibits of Moore's work (I especially yearned to see the Belgian one) and these less well known stories by Moore. I was glad Paul introduced the theme of the magic of art, creating something out of nothing, because I was going to be running with that topic, too. In a rather amusing moment as Paul talked about the giant diagram Moore created for Big Numbers, Gary Lloyd ran down with a facsimile so we could all see just how insanely detailed it was (four large sheets of paper with miniscule writing in tiny boxes representing each character and their storyline in all the issues. Wonderful!

I was on a panel with Rikke Cortsen from the University of Copenhagen. Antonio Venezia was supposed to be on the panel, too, but wasn't able to make it to our re-scheduled time and presented later in the day. Rikke's presentation, "Building Fictional Worlds: On the Construction of Place in Alan Moore's Top 10", examined how the variety of chronotopes employed helped map the complexity of not only the interwoven stories, but also the distinctly different time lines that overlaid the story lines.

My paper was a bit less formal and really became a performance about Moore's performances and the weird coincidences that dogged me as I wrote it. Most of you know that I enjoy a little theatricality in my performances and it seemed to go well. There didn't seem to be enough audible laughs at the right places (EL Wisty! Did people not recognize EL Wisty?), but afterward many people complimented me, so I was satisfied that it went well enough. The panel finished with a lively discussion, which soon proved to be the norm. So many people all interested in Moore's work gathering together, it was inevitable that people were bursting to discuss their ideas with folks who knew the score.

Lunch included a screening of Don't Let Me Die in Black and White, but most folks were too busy talking and eating to really take it in. After lunch, I headed to the panel "Chaotic Criminality: The Villains of Alan Moore".  First up was Geoff Klock, who appeared via Skype, which has a great potential for interconnectivity, but I can't help thinking he might have had a better presentation had he actually traveled to Northampton, for it was a bit rambling and had a few factual errors that irked. Mervi Miettinen from the University of Tempere presented "Past as Multiple Choice? Textual Anarchy in The Killing Joke" which explored the carefully controlled 'anarchy' of a dogged structuralist like Moore. Laura Hilton from the University of Birmingham presented "Reincarnating Mina Murray: Subverting the Gothic Heroine?" which compared the very different approaches between the film and the comics versions of The League of Extraordinary Gentlemen to the traditional passive Gothic heroine and both Moore's and Stoker's use of Mina as the powerful prototype of the New Woman. Yes, the excrementally bad film version destroys everything subversive about her.

The final panel of the day had Tony Venezia (Birbeck College) giving his presentation, "'A Sense of History's Patterns...': Mapping Northampton in Voice of the Fire and Big Numbers" which once again returned us to Moore's obsession with his hometown and its geography (and chorography). Our co-host Nathan gave us "Marvel or Miracle: (Re)Placing the Original in Alan Moore's Marvelman" which traced patterns within the history of that much troubled superhero. Deneb Kozikoski Valereto (Leiden University) offered a thoughtful study "Philosophy in the Fairground: The Killing Joke and Thoughts on Madness" which again focused on the deliberate interplay between insanity and Moore's careful and complex organisation.

We had a brief stop at the reception, but then Adele and I went to a pub toward the rail station so she could interview me :-D I'll let you know when it's up. I headed back to London and got ready to do it all again the next day.

UK Trip Week One: Part Two

Alright, so Friday of the first week it was off to Northampton for the Angela Carter conference. A nice bunch of folks there; right off the bat, I learned that Carter had written a lot of poetry before she became well known as a novelist, in fact she had thought that's where she would make her mark.

I was talking the afternoon of that first day about Lost Girls, the Alan Moore and Melinda Gebbie three volume comic that brings together kiddie lit heroines Alice, Wendy and Dorothy in a series of erotic adventures, which I was arguing followed the projections of Carter's own study, The Sadeian Woman.

I had had a delightful interview with the two of them back in March and they said to be sure to call when I was coming to Northampton. I called on Friday but got the strange message that their number was "not accepting calls" so I thought, oh well. After all, I had been a bit nervous about their being there for the paper -- as a medievalist I seldom have to deal with living authors who might take issue with my interpretations of their works.

The paper went well and generated some interesting questions, including one post-graduate student who pressed me on several aspects of my argument, but seemed satisfied with my further explanations. A handful of people came up afterward to make sure that I knew they had enjoyed the paper, but also that I knew Alan Moore lived in town, which I assured them I did. They shared some stories about seeing him around town; one student said he had talked to Melinda but was too intimidated to talk to Alan.

The next day it finally occurred to me to double check the number and found that I had left out a digit, so I called and this time reached Alan, who said that they had a visitor up from London, but that they might stop by the conference (he and Melinda are big fans of Carter). As it turns out, they wouldn't have been able to come on Friday anyway, as they had a number of unexpected events that week.

So I was sitting in a panel listening to folks talk about The Passion of the New Eve when I saw one of the grad students at the door to the seminar room, looking anxiously through the glass. Seeing what he was looking for, he slipped into the room and crossed over to where I was sitting to whisper in my ear, "Alan Moore is here to see you!"

I have to say it was one of the more agreeable ways to be summoned in the midst of a conference. I gathered up my things and followed him, trying to be unobtrusive (well, not much chance of that, eh?). As we walked back to the lobby, he gushed quite nervously about talking to Alan, which made me grin. Sure enough, out in the lobby was Alan in his "Cthulhu 2008" t-shirt ("Why vote for a lesser evil?") with another man, who turned out to be Steve Moore, his co-author on The Moon and Serpent Bumper Book of Magic. Alan gave me a big hug and a kiss and apologized for not being able to make it to my paper, though he, too, thought it might have proved more distracting to have them there.

He said they didn't have much time, but of course we then sat for an hour or more chatting. He was just getting through chapter 27 (of 30) in Jerusalem, his latest novel. The chapter follows Lucia Anna Joyce around the grounds of St. Andrew's Hospital in Northampton where she was hospitalized for schizophrenia. The chapter unfolds in her father's singular style, which Moore said was finding difficult to write (no surprise there, eh?). Because I had both Moores there (Steve said at once point that he was "Alan's evil twin") I quizzed them about progress on the Bumper Book, which had been going slowly, and found that was mostly because Steve had been caring for his dying brother, which I was sorry to hear. But they were both looking forward to getting back to work on it, which was the reason why Steve had come up from London.

Part of the project includes a new tarot deck the two designed, with some notable changes, e.g. gems instead of coins or pentacles, because they had greater resonance, as well as blades instead of swords, so they could use spades as the iconic image, like playing card decks. There's going to be so much in that book, including profiles of notable magicians over the years as well as discussions of ethics and magic (which digressed into a little snarkiness about chaos magic and many of its practitioners who have not impressed them). They thought there wasn't really enough attention paid to intention among modern practictioners. Love charms, Alan said, are "only slightly less reputable than a roofie in baby cham."

Well, I know Pádraig in particular will yell at me, but I didn't think to take a picture of us together, nor to record the conversation, but we were just having a great time chatting, so it never occurred to me -- although I did remember to get him to sign my copy of The League of Extraordinary Gentlemen Century: 1910 which I'd purchased at Gosh on the off-chance that I would see him. And I did get another hug and kiss when at last they decided it was time to toddle on. I did get a chuckle out of the surreptitious attention from the other conference goers when they came out during the break, too, whispering and trying not to look like they were staring. Hee hee. I promised to send a copy of the paper once I got back and typed in all the hand-written changes I had made on the train on the way up while listening to the interview again, so I'll send that off this week. Hope they like it!

A Jam-Packed Spring Break

Spring break is meant to give a little breather mid-semester, but somehow it always ends up packed with things I can't do during the semester proper. Things were off with a bang on Tuesday as I interviewed Alan Moore and Melinda Gebbie about Lost Girls for the Angela Carter conference in Northampton this June. Thank you, Pádraig, for hooking me up!

How was it? In a word: brilliant!

They were both so terrific: friendly and expansive. We chatted quite comfortably, which is amazing considering how nervous I was before hand (about getting the questions out, about the tech side failing (Skype + GarageBand + wireless), and oh, I don't know what -- sounding like an idiot, I guess. I will try to put up some snippets when I get a minute to edit them out of the raw recording. A lot of it was specific to my project, but some will be of interest to all. The Bumper Book of Magic is coming along, and so is Melinda's autobiography -- that's an exciting project that builds from her early life in San Francisco, surrounded by the Beats and as one of the folks in the nascent underground comix movement.

It's funny how everything connects. Wednesday I headed off to Connecticut to see an exhibit at the Beinecke with the Queen of Everything and Elena. The exhibit featured books on alchemy. Thanks to the Joey Zone for mentioning the exhibit in the first place -- it was well worth the trip (and yes, we won't mention Garmin's unfortunate insistence on trying to get us to go across a bridge that was out).

It was an excellent exhibit, with a wide variety of volumes spread across two floors and following the influence of the alchemists up to the present day. The QoE has written about the food already, so I'll be lazy. It's been years since I have been in New Haven, so it was interesting to re-orient myself again.

The food was good, of course! Even better when we got back to Elena's for a little zubrowka, of course! Bialistock this time, which I didn't like as much as the classic Bison Grass -- but all Bison Power is good! I brought some good cheeses, too (mmmm, tilsit!). It was hard to believe that we could talk ourselves into a meal later, but Mavi was indeed delicious. Oh my, that duck l'orange was like BUTTAH!

On Thursday, Elena and I went to the Wadsworth Atheneum to see the Ballet Russes exhibit, featuring costumes as well as design sketches and paintings from artists as varied as Cocteau, Picasso, Gris, Miro, and Ernst. One of the featured ballets of course was the Rite of Spring; its premiere plays a pivotal role in Lost Girls. It was quite wonderful. I loved all the costumes and sets. They also showed DVDs of clips from recent productions based on Diaghilev's ballets. I bought a print of Leon Bakst's painting of Nijinsky as the Faun.

Then we were off for more food (of course!) so we had lunch at Lena's which was very tasty. I had pizza but I was very tempted by the split pea soup. Elena had one of the other soups with sausage and potato that looked very good. On a whim, we stopped at A. C. Petersen's for ice cream, though I must say I hardly needed it (but mint chocolate chip and hot fudge sauce -- how could I say no?).

Then I had to say good bye to my little buddy Shaq and to Elena and hit the road back to Albany, already late enough to hit traffic in both Hartford and Springfield, but hey -- I wasn't in a hurry. It was still spring break!