Singular, idiosyncratic and a little mysterious, Black Clock is one of America's leading literary journals.

Posts Tagged ‘Rick Moody’—

Black Clock 16 Launch at The Last Bookstore

moody1Last Sunday, writers and readers alike convened at downtown L.A.’s The Last Bookstore to celebrate the much-anticipated release of Black Clock 16. Located in an old bank building fit with tall columns, dim lighting and an arched ceiling, the cathedral-like Last Bookstore hosts a massive collection of new and used books and vinyl records (many for as cheap as $1!) that requires seriously superhuman strength not to peruse for hours on end. What’s more, with such artful installations as its eerie flying typewriter sculpture and a walk-through tunnel made of books, The Last Bookstore offered Black Clock the perfect setting in which to launch its dystopic Issue No. 16. As KCRW’s Michael Silverblatt put it to the crowd on Sunday: “This is an entire issue of how we’re falling apart. Here at The Last Bookstore we can come together and not fall apart.”

Seats filled quickly and stragglers settled for standing room only as Black Clock Editor Steve Erickson took the stage to present the night’s readers. Up first was Claire Phillips (author of Black Market Babies and a previous contributor to Black Clock 15) reading the entirety of her short yet impactful story “Tubular,” a science fiction piece set in a disturbingly familiar, near-future Los Angeles which has succumbed to mass societal collapse after the 2010 B.P. oil spill. Attendees on Sunday listened intently as Phillips’ characters navigated their strange, new landscape with necessary wit and numbness, even in the face of 10-foot “land-faring mutant worms.”

Next was The Contortionist’s Handbook and Dermaphoria author Craig Clevenger, who read an excerpt from his short story “Chicken Wire” while clad in a pair of snakeskin cowboy boots. Also set in and around Los Angeles, “Chicken Wire” tells the ominously humorous story of Jimmy Wynn, a failed metal band guitarist turned cab driver who spends most of his time in the Mojave desert begging his rough-and-tumble customers to pay their fares. Fans should look out for Six Finger Films’ “Smoke & Mirrors,” a short written by Clevenger and based on a chapter of his current novel-in-progress, scheduled for release later this year.

Last in the line-up was Rick Moody, author of The Ice Storm and most recently, On Celestial Music: And Other Adventures in Listening. Before reading, Moody took a moment to affectionately warn the audience, “If you happen to be of the Red State persuasion, you might want to go get coffee now.” This turned out to be good advice in the end: Moody read from his latest piece of nonfiction, entitled “Election Diary 2012” and chock full of unforgettable, fiery opinions regarding our country’s most recent presidential election race. Last Sunday’s listeners were especially tickled by his November 25, 2011 entry, in which Moody engages in a lengthy imagining of Newt Gingrich wearing diapers.

As the event came to a close, attendees mingled with the night’s readers and Black Clock staff in the relaxed atmosphere of The Last Bookstore’s main floor before slowly filtering out onto the twilit streets of downtown L.A. It was a night that proved truly surreal. Just like the issue it celebrated.

 

By Adriana Widdoes
an Editorial Assistant for Black Clock and an MFA Writing candidate at CalArts

Rick Moody Reads (9/01@7:30PM in LA)

when September 1, 2010 @ 7:30PM
where Skylight Books, 1818 N Vermont Ave, Los Angeles, CA 90027 (313) 660-1175

Admission is free.

Rick Moody—Black Clock contributor (Issues 1, 2, 4, and 9) and award-winning author of Black Veil, Demonology, The Diviners, Garden State, The Ice Storm, Purple America, and Right Livelihoods—reads from his new novel The Four Fingers of Death.

“The book is entertaining and often poignant, probing the limits of technology, consciousness, and language in the face of grief.” — The New Yorker

“The Four Fingers of Death reads […] like a 700-page Kurt Vonnegut book.” — Time Out New York

Black Clock To Tweet New Fiction From Rick Moody

Black Clock will be joining Electric Literature in publishing a major new work of fiction by Rick Moody via Twitter.

The microserialization of Moody’s story will take place on every co-publisher’s Twitter feed from Monday, November 30th through Wednesday, December 2nd.  Tweets will appear every ten minutes from 10 AM until 6:30 PM.

The first story written expressly for Twitter by a major literary author, Rick Moody’s “Some Contemporary Characters” will be tweeted over the course of three days on Black Clock‘s Twitter channel, @BlackClockmag, beginning Monday, November 30th at 10 AM.  Utilizing social media, followers of the story will re-tweet it in real-time, creating a community-based event that promises to break down the conventional barriers separating readers and publishers.

Moody’s story is broken into 153 bursts of 140 characters or less, each clearly labored over with a precision and lyricism that reveals the surprising literary potential of the tweet.  “It really was like writing Haiku,” says Moody, who went head-to-head with the character limitation of Twitter and used it as a source of inspiration.  “Moody has taken something that could be seen as gimmicky– ‘Twitter-fiction’–and created something transcendent,” says Electric Literature‘s Editor, Scott Lindenbaum.

Electric Literature has extended the invitation to co-publish the piece throughout the literary community, framing the event as “A Grassroots Exercise in Participatory ePublishing.”  We are very excited to partner with Electric Literature–themselves publishers of authors (such as Diana Wagman) who have appeared in the pages of Black Clock 10 in this venture.

If you, your publication, or your organization would like to be part of this project, please email editors_at_electricliterature.com.

For more information, please consult this press release.

BC V X

With both the occasion of our fifth anniversary and the publication of our tenth issue imminent, Black Clock has asked some of its most frequent (and prominent) contributors to describe their experience as readers of the magazine. The responses we collected are as singular, idiosyncratic and even a little mysterious as the contents of any given issue.

“Black Clock measures the temper of the turning world, ” a journal of ideas, provocations and cultural leaps, with some of the best writing anywhere.” – Don DeLillo

“There’s never before been a literary journal with exactly the power and elegance, even the force of enigma, of Black Clock.  Each issue arrives in the reader’s hands as an artifact throbbing with potential and strangeness, new names and old names in wild conjunctions and brave forays, a journal to drive the collectors of the future into acquisitive frenzies.” – Jonathan Lethem

“Black Clock is one of the literary magazines I can’t wait to see when it arrives in the mail, and the thing I read that night before all else.” – Susan Straight

“Black Clock provides a much needed fix of experimental fiction and adventurous writing.  If you’re getting the itch for some literary stimulation, cut down on the lattes and invest in a subscription.” – Carlos Ruiz Zafón

“One of the contemporary literary magazines with real vision — and they are in short supply.” – Rick Moody

Black Clock is published semi-annually by the California Institute of the Arts (CalArts) MFA Writing Program.

Black Clock 9 Now Available

Featuring political allegory, subversive satire and secret presidential histories by Jonathan Lethem, Lynne Tillman, Brian Evenson, Jeff VanderMeer, Ben Ehrenreich, Stanley Crawford, Seth Greenland and Janet Sarbanes, among others, including Rick Moody’s log of the Republican primary race earlier this year, an email debate between Michael Ventura and Black Clock editor Steve Erickson on Hillary Clinton and Barack Obama, and a mysterious, unsigned missive written at the end of the world by Marilyn Monroe’s former bodyguard.

For more information about purchasing a copy, visit the Black Clock website.

 

EMBARRASSING RICK MOODY

Rick Moody is the author of eight books including The Ice Storm, The Black Veil and most recently, Right Livelihoods, and his fiction and essays have appeared in The New Yorker, Esquire, Harper’s, and elsewhere.  His band, the Wingdale Community Singers, released their first album on Plain Recordings in 2005.  Moody’s “Primary Notes 2008: The Republican Diaries,” appearing in issue 9, marks his fourth contribution to Black Clock.

In this interview, conducted via email over the course of our nation’s birthday week, Moody gives some further thoughts on the Republican party, the “Third Way,” embarrassment, and prog rock.

BLACK CLOCK: In “Primary Notes 2008: The Republican Diaries,” you discuss all the characters who became major players in the Republican primaries, from the unelectable but “witty” Huckabee to the “what the fuck” Fred Thompson.  Now that McCain is the Republican candidate, the new crop of characters are the possible running mates.  Do you have any thoughts on these hopefuls, such as the erstwhile exorcist Bobby Jindal?  How does Tim Pawlenty’s mullet play into your theory of “Republican hair”?

RICK MOODY: Pawlenty reminds me of that SNL skit from long ago that was meant to be at the expense of Canadians: The Great White North.  Pawlenty is like Bob or Doug McKenzie.  He actually played hockey as a kid.  I bet his favorite band was Rush, before he realized that he should simply avoid talking about his favorite band.  I don’t actually believe Pawlenty is in play as a running mate, because I don’t see what he gets McCain.  He’s a Republican governor in a pretty moderate state, not one that is normally a swing state.  I suppose having converted from Catholicism to evangelical Protestantism is pretty attractive, but what about OH or PA or FL?   Pawlenty’s mullet, which is really an ersatz mullet, unfortunately, is probably a reflection of his provinciality. He wouldn’t trigger McCain’s temper, because he doesn’t trigger anything. He makes insufficient waves. But I still don’t think he’s really under consideration, and I think the same is true of Jindal. Jindal comes out of Louisiana, and that is the center of a nullity where rules of politics do not prevail. Interestingly, he attended my alma mater, Brown University, and seems to have emerged without any of the intellectual hallmarks thereof. Meanwhile, he’s 36!   We don’t know enough about him!   McCain won’t pick him, because, again, there’s just not enough benefit. Amazingly, Mitt Romney is back in the running mate discussion. I suspect someone of that kind of stature is inevitable. McCain is behind in the polls, and he has to veer to the center, but he’s already functioning without the Republican base. He needs a real conservative icon. Mitt gives him some of that. Plus the hair.

Speaking of Mitt Romney, you mention that part of Romney’s lack of appeal for you is a “resistance to aspects of the L.D.S. church. “ Do you think that enough people have that same wariness about the L.D.S. church as to make Romney a liability to McCain? And, just on a ticket chemistry level, how would you imagine McCain and Romney getting along?

I’m not sure it matters how they get along. Look at Nixon and Eisenhower or Kennedy and Johnson. People do what they have to do to get elected, and if that means sharing the ticket with a stuffed shirt, so be it. I assume McCain would expect total loyalty from Romney, of a sort that Bush, because of his weakness, was never able to expect from Cheney, who imagined and has even argued that he was not part of the executive branch. Romney’s adherence to the Mormon faith probably would be a campaign issue, but I’m willing to bet it’s less of an issue in a vice presidential candidate than in the top slot. If you look at his concession speech as I quote from it in the diary, it’s clear that he is positioning himself as true blue, and it’s on that basis that he would serve as v.p. With an eye on getting his chance if McCain for some reason cannot serve out two terms.

Huckabee seems to want to be v.p. too. But please.

Although McCain has drifted toward the center on some issues, you say that a McCain White House would still be disastrous given the fact that he will have to sway Republican Party loyalists to his side, a party that you argue is defined by its “deficit in the department of sympathy. “ Do you think McCain is a true Republican by your definition, or simply needs to appeal to the “sympathy deficit crowd ” in order to have a hope of winning?

Well, he might have a pustulating bit of cardiological tissue in there somewhere, but it has long since been layered over with scar tissue, enough so that he now, especially now, resembles a Republican in full.

In the opening of “The Republican Diaries, ” you say that you have insight into the Republican mindset because you are related to so many of them. Do you think this insight has come in handy in other areas of your life and/or work?

On the contrary. Often I know what needs to be done, or can imagine it, when thinking like a heartless person, if by “what needs to be done” we are speaking of the imperialist impulse, but then I am unable to do it, the unilateralist thing, and this just creates great cognitive dissonance. When younger, I thought I was supposed to yield to the impulse to behave like a cad in order to get what I wanted, and when I was unable to do so, I felt like I was letting someone down. But then I lurched into middle age and I stopped caring. I became good at repression, or suppression, or maybe I just got soft. It is good for a novelist to understand all the opposing viewpoints and then to attempt to render this complexity.   Republicans are unable to do so, to understand the other side of the aisle, because the “liberal” impulse is mystifying, embarrassing to them. It’s like dogshit on the soles of their cordovans. They just want to rub it off and are unable to suffer it long enough even to feel what is to be felt.

So, do you think that liberals are more able to understand conservatives than vice versa, or only those liberals who have close contact with conservatives? Where does that leave us in terms of transcending our divisiveness and getting to what you call the “Third Way, ” which “circumnavigates the partisanship of the last eight years “?

I suspect that there are liberals who are just as divisive and malevolent as some of the conservatives. I sort of dislike the word “liberals,” because I don’t really know what it means, and the same, actually, holds true for “conservatives.”   For example: the word “conservationist” is often used to denote a certain kind of environmental regulation that is, actually, “conservative.”   Whereas the far right “conservative” point of view collides with “libertarian” principles, which are clearly “liberal” principles gone dangerously awry. There are always these spots where the yin and yang seem to be admixed. The third way recognizes this. But the rigors of the general election, while they demand the third way, also require a dangerous adherence to party loyalty — which amounts to the converse of the third way, a repudiation. My hope and wish is that a candidate like Obama (though there is some potential with McCain, if one is feeling charitable about him) will do the old infiltrate-and-double-cross dance and, upon assuming the presidency, will govern from the more fertile middle. If he does so, I hope he nonetheless avoids the pitfalls of Clintonian triangulation: which, after all, gave us welfare reform and the Defense of Marriage Act.

“The Republican Diaries ” is your first contribution to Black Clock since “Prog Rock Confessional ” from issue 4 (“Guilty Pleasures And Lost Causes”). Is the Brooklyn Record Club still meeting, and have you had any more chances to dig into embarrassing territory with your selections?

Brooklyn Record Club is alive and well. I don’t think I have played anything nearly as embarrassing as the Jethro Tull song I wrote about in “Prog Rock Confessional,” but I have since investigated some other prog rock bands from the period that I could have included in that piece — in the spirit of writing about deeply embarrassing things. Gentle Giant and Gryphon. They were both really interesting bands, bands in which the movement in and out of medieval music is essential to the sound. Gryphon played a lot of contrabassoon and instruments like that. Gentle Giant favored recorders. I actually have a little piece about Gentle Giant coming out in another magazine next month. The Record Club, meanwhile, convened in May and I brought a song by Robin Williamson, another current favorite, whose work in the somewhat neglected Incredible String Band I also find very, very interesting. And just in case people think I am a total geek, I am also into Rhys Chatham’s Guitar Trio Is My Life and Michael Harrison’s album of piano solos in just intonation: Revelation.

Do you get a certain enjoyment out of writing about deeply embarrassing things?

In most cases, I find embarrassing things deeply embarrassing, and I’m not sure there is any kind of enjoyment in that. I do, however, like the truth. I feel like when you observe something correctly, some phenomenon, or some thing in the world, that you are doing a good deed. That the world is mainly layered over with bullshit and imprecision seems to be undeniable. When language peels back that layers of imprecision to see things as they are, there’s a kind of a revelatory feeling for me, as a reader thereof. Personally, I am not as good at this as I wish I were. Nabokov, for example, could describe things, and get at their essences, like no one else. Nicholson Baker is also very good at it. I wish I were better. But that attempt at precision seems to me part of my job, and the deeply embarrassing stuff is a subset of observations of the precise sort. I hope.

What has been your experience as a frequent contributor to Black Clock? Does the limited editorial interference make a difference in your process?

Limited editorial interference is always very, very satisfying. I also like that there is usually a specific assignment: write on music, write on politics, etc. I do well with assignments. In Erickson’s regime we find a perfect alignment of approaches designed to make it impossible for me to refuse. Most of the time. I guess I failed on the sexuality issue. But one day…

by Anne-Marie Kinney
a writer and graduate of the MFA Writing Program at CalArts,
who lives and works in the San Fernando Valley and has just completed her first novel