Jody Hobbs Hesler’s debut novel Without You Here tells of family love, complicated by circumstances, mental illness, and powerful, difficult emotional inheritance, exemplified by the profound connection between Noreen and her aunt, Nonie. Like the author’s acclaimed short story collection What Makes You Think You’re Supposed to Feel Better, the novel takes place in and around Charlottesville. Jody lives there, writing and teaching at WriterHouse. We first met at the Virginia Center for the Creative Arts and caught up this time by phone.
The Soil As Collaborator: An Interview With Erland Cooper
Composer Erland Cooper did something unexpected with the recordings that would become his new album Carve the Runes Then Be Content With Silence: he buried them. For several years, in fact, until they were discovered by someone who’d followed the clues Cooper had left to the master tapes’ location. The result is a gorgous, melancholic array of music, interspersed with poetry and given a more textured quality from their time underground. I spoke with Cooper about this unusual process and the role of collaboration in his work.
Collages, Calvino, and Catchy Pop Songs: Chatting with Smug Brothers
I’m not sure when I first picked up In the Book of Bad Ideas, the 2023 album from Ohio’s Smug Brothers, but the album made a huge impression on me from the outset. It abounds with the sort of off-kilter indie rock that’s both viscerally satisfying and singularly compelling. In advance of a tour that will bring them to Brooklyn (Young Ethel’s on November 9!), I spoke with singer-guitarist Kyle Melton about the band’s new EP, Another Bar Behind the Night, their penchant for collage, and the works of Italo Calvino.
Literary Ghosts of Old Brooklyn: An Interview With Ian S. Maloney
The past looms large in Ian Maloney’s novel South Brooklyn Exterminating — both through the novel’s setting in the recent past and the ways in which it invokes the rich literary history of New York City. It follows several years in the life of its protagonist, from his childhood assisting his father in the field of pest control to his gradual awareness of unsettling truths about their family. I spoke with Maloney about the novel’s genesis, its evolution, and writing about a part of Brooklyn that isn’t always in the spotlight.
The Thing I Was Trying to Tell You About Rocks: An Arts and Writing Conversation Between Joseph Young, Christine Sajecki, and Michael Mäke
Renowned microfiction author Joseph Young put out his new flash fiction collection The Thing I Was Trying to Tell You in June, and the collaborative children’s book Rocks: What Are They Doing also came out in June by artists Christine Sajecki and Michael Mäke. They got together for an amusing and enlightening conversation about their books, their process, and what art means to them.
A Generational Mystery: Matt Kindt and Margie Kraft Kindt on “Gilt Frame”
I’ve been an admirer of Matt Kindt’s comics work ever since I read the 2001 graphic novel Pistolwhip, his collaboration with Jason Hall. Since then, his career has seen him take on a host of genres, including working with some other high-profile collaborators. (Notably, Keanu Reeves on BRZRKR.) Kindt’s latest collaboration finds him working in the mystery genre, collaborating with his mother Margie Kraft Kindt on the series Gilt Frame. The first issue is due out this Wednesday, and I spoke with the two collaborators on the making of their new series.
Fiction on Shakespeare’s Frequency: A Conversation with Judith Krummeck
I first heard Judith Krummeck before I met her. I’d been scrolling through radio stations – years ago – on my way home from work when her voice came through on 91.5, soft yet self-assured. Perhaps she’d been expounding on the historical nuances behind a classical piece of music; I’m not sure. What intrigued me enough then to form a concrete memory about it, was how Krummeck spoke with a passion for music so genuine it was almost palpable through my car’s busted stereo. I’d never been much for overtures or concertos, but I kept listening to Krummeck’s retelling of how they came to be.
The Transubstantiation of the Wall: On David Leo Rice’s “The Berlin Wall”
In the mid-1990s, I was in Berlin for the first time looking for the Berlin Wall. I remember walking around the Reichstag marveling how its façade was still gutted by artillery fire almost fifty years after the Second World War ended and only a few years after the momentous events of 1989. I remember learning how the Soviets had left post-war East Berlin in tatters as a humiliating reminder and punishment for the German people. What I remember most however was looking for the Wall and failing to find it where it had once stood. I had seen it in films and photos and heard stories about it. Like millions across the globe, I had watched ecstatic Germans of all sides gleefully ram sledgehammers into its graffitied sides and scale its exposed wires to reach the once perilous ledge that stood between two worlds. Stopping on the spot where I was told the Wall once stood, I was astounded to find not even the smallest marker. Meandering east and west, I came across biscotti-sized pieces of what was allegedly “the Wall” being sold for only a few marks in local tourist traps. I remember walking away feeling duped. Where had the Wall gone? What modern gang of tomb raiders had stolen it? The Wall was a part of me too, I thought, and I wanted a piece of it.