"To talk on and on". "Meandering". Bring It.
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Artist and comedian Josh Cicci, interviewed by Aleathia Drehmer for PRATE. Mostly self trained, Joshua is a published artist/illustrator. His work has been featured in the Connection newspaper and you can see “The Prickly Pair” comic strip running monthly in the Tubac Villager.
AD: What were your favorite cartoons and comics as a kid? What really planted the bug in you to want to start drawing?
Josh Cicci: I can’t recall the exact age, but when I was about 6 or 7ish I cut the tips of my two middle fingers off on a family camping trip (funny story, you had taught me earlier in the week or so what the middle fingers mean, when we found a carved-wooden middle-finger by meme’s shed). Continue Reading…
Posted 6 years, 2 months ago. 3 comments
William Brian MacLean produces and distributes independent comics, and his work can be found at Rooster Tree, here. Interviewed for PRATE by Lynn Alexander.
LA: Could you start by describing Rooster Tree, and your current projects?
WBM: RoosterTree is the name I use when self-publishing comics. There was a time when I was excited about the prospect of bringing my talented friends together as a collective, but it sputtered. Now RoosterTree is an effort in self-reliance, & I branch out from here to work with others.
Currently, I’m passionate about non-fiction. The trampling of rights, gender bias & sexual ignorance, age bias & generational ignorance, these things in particular gall me to no end. I’m compelled to sculpt them into the comics form.
LA: I remember some of our discussions at Outsider Writers, where I first came across you and your work. OWC is a collective of diverse, creative individuals who share a sense that they are apart in many ways from mainstream or established institutions or communities, many are self taught Continue Reading…
Posted 6 years, 5 months ago. 1 comment
Tim Gaze is the publisher of Asemic Magazine, a publication dedicated to the presentation of Asemic writing. Interviewed by Lynn Alexander.
By Tim Gaze
It looks like writing, but we can’t quite read it.
I call works like this “asemic writing”.
LA: Starting off with asemic writing, how did you become interested? Do you find yourself explaining what it is, only to be asked why you do it? Not to say that there even has to be a reason for art or writing, but people often want one or feel entitled to one, to some kind of justification. Do people ask about your objectives with asemic work?
Do you find that people easily misunderstand?
TG: I used to write quirky fiction & poetry. somehow, after a holiday in Indonesia, talking in Bahasa Indonesia for 2 months, I started to make wordless squiggles of symbols. Continue Reading…
Posted 7 years, 4 months ago. 3 comments
Michael Kimball, interviewed by Peter Schwartz for Full Of Crow. Michael Kimball’s third novel, Dear Everybody, is available now- and he is still working on the ongoing interactive art project: Michael Kimball Writes Your Life Story On A Postcard. Links at the end.
P.S.: I’d like to start out by thanking you, Michael Kimball, for agreeing to do this interview. My first question is when did you become so interested in other people and their stories? I think your life story on a postcard project is brilliant, I’d love to know exactly how that came about and what you’ve learned from what you’ve done so far.
M.K.: I’ve always been interested in other people and their stories. My older brother used to get annoyed with me for asking so many questions, so did my father. But the postcard life story project came about because my friend Adam Robinson (#45) was curating a performance art festival, the Transmodern in Baltimore, and he asked me if I wanted to participate. We joked about what a writer could do as performance and I suggested that I could write people’s life stories for them as they waited. The idea was absurd, but it was also fascinating, and it seemed oddly possible if it were contained to a postcard. Adam insisted that I give it a try and that’s how the postcard life story project started. I thought it would be fun and funny, that I would ask a few questions and write on the backs of a few postcards and that would be it. The first postcard life story I wrote was for a painter, Bart O’Reilly (#1). When I finished writing his postcard and looked up, a line had formed. For the rest of the night, I interviewed dozens of people and wrote their postcard life stories. It was intense and intimate. I remember being struck by how earnest and forthcoming most people were, how eager they were to share their life stories, how grateful they were for their postcard. It was later that I started the blog and opened the project up to everybody. Continue Reading…
Posted 7 years, 6 months ago. 1 comment
Mike Philbin is the author of “Bukkakeworld” and “Planet Of The Owls”, and the editor of the Chimeraworld anthologies. He was a good sport about all this, as I knew he would be. -Lynn Alexander
LA:You have been doing a lot of interviews, answering questions on everything from your work in the video games industry to vampire fatigue. Is there something people are missing, something you’d like to go off about but it doesn’t seem to come up in the process?
M.P. Is there something You The People are missing? Well, yes. Everything. Fact: You The People are stuck in a consumer loop from which you’re gonna find it very difficult to extricate yourselves in coming years of Obama-enforced austerity. You The People is the name of a novel I’m working on that will show just how asleep the majority of the general public are. It’s not a pitying book nor an admonishing book. It’s a work of genreclectic fiction in the same way that 1984 and Brave New World were works of genreclectic fiction. You The People projects contemporary complacency several microseconds into the future to show what happened to mankind as it languished in its societal slumber. It’s a stark warning to all 6.66 billion corporate persons of this cowed planet.
L.A.It seems like a particular challenge to make surreal horror, to push the boundaries of genre fiction, “genreclectic” fiction- and to also make it uniquely disturbing, distinct for the reader. Do you find yourself having to really work at staying away from some of the gimmicks and traps, do you ever start to fall into those grooves, or even into marketing grooves, then have to shake yourself out of it?
M.P. I think calling it ‘surreal horror’ is a bit of a misnomer. Surreal horror implies a subset of horror. And those who’ve read my interviews over the last decade know I don’t have the greatest admiration for the ‘dull grey horror product’. Genreclectic fiction is something that allows me to steer clear of the horror writer tag (and its legion of negative connotation) and simply write about all the horrors that haunt us when we have down time or when the demands of the world leave us staring into the middle distance with a high-pitched ringing sound in our ears. As far as marketing goes, you realise that ‘the reader is the enemy of creativity’ and kow-towing to his demands is like career suicide? How best to explain this, creative people never work to order, never tailor to audience, never truly ascend to the corporate-sponsored suck-top of bland popularity. Good for them.
L.A. Some of the art you seem to admire seems not to be necessarily or conspicuously twisted, but actually seems hyper-realist. For example, some of what I find unsettling is the way that some of the human figures in some of the artwork you are into are grotesquely natural- not distorted. Death-as we know but seem to forget when we are confronted by a realistic, albeit nasty element- is actually a pretty disgusting affair replete with fluids and strange positions. Can you talk about what draws you into a work, what kinds of qualities you seem to respond to more readily? Continue Reading…
Posted 7 years, 7 months ago. Add a comment