Despite appearances to the contrary, sinister things are happening behind the squeaky-clean facade of Barrington, Colorado.Read the rest
Josh Kaufman is the author of the new book, The First 20 Hours: How to Learn Anything... Fast. I interviewed him about the art of rapid skill acquisition.
Do you find yourself staying interested in most of the things you start? If not, what has held your interest for many years?
I'm curious about many – often wildly different – things, so I like to explore new projects and skills as often as I can. I usually find something valuable enough in my early exploration to keep at it: I've been doing research on general business principles for over eight years now. My early interest in the web lead to my first career out of school, as well as my current work as an author / researcher / entrepreneur, which requires me to be a jack-of-all-trades. I just learned how to program in Ruby, so I'm coding quite a bit. I love the process of making something from nothing, and learning as I build.
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So, here's a new writing nightmare. What do you do if, after your book is published, and the reviews start to come in, it slowly dawns on you that you've accidentally written the wrong book ... a book which you would not actually agree with?
That's how I felt after interviewing Curtis White, author of The Science Delusion — a book that has been widely reviewed as containing some good points, buried under a lot of angry rants and straw men. According to White, however, those reviews have all completely missed what he was trying to do and trying to say.
All the invective? White thought he was just being funny and satirical, like Jonathan Swift. The over-generalizing about what all scientists believe and what the culture of science is like? He thought it was clear that he just meant the subset of scientists who don't think there's any value other than entertainment in art, that philosophy is dead, and that culture has no affect on how we interpret science or what we do with it. The weird, pseudo-Deism? He thought he was explaining that science is part of culture, that the questions being asked and the way answers are interpreted are culturally bound and and we have to take that into account. The humanities triumphalism and points where he totally dismisses science and acts like he doesn't understand why somebody would find meaning in being curious about how the mind works? Not what he meant at all, apparently. He just wants to make the case for us needing both science and the humanities to properly understand the world. And White is deeply confused about why reviews of his book keep getting all of this wrong.
I recently had a chance to interview White — both live and in some email follow-up after the live event — and I've come to the conclusion that I can't properly review this book without including that information. There's just too big a gap, from my perspective, between how the book reads and what White wanted you to take away from it.
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Later this month PictureBox is releasing Blutch's So Long, Silver Screen, "a series of interlocking short comics that combine scholarly movie history with ribald romanticism, and feature a motley cast of actors and characters, including Claudia Cardinale, Jean-Luc Godard, Burt Lancaster, Ava Gardner, Michel Piccoli, Tarzan and Luchino Visconti."
Read the interview
As much visual essay as graphic novel, a daydream and fantastic meditation on the other art of telling stories with images, So Long, Silver Screen is the finest work yet from an uncontested master of contemporary cartooning, as well as his first full-length work to be published in English. It is designed by famed cartoonist David Mazzucchelli.
Blutch has published over a dozen books since debuting in 1988 in the legendary avant-garde magazine Fluide Glacial: among his books are Mitchum, Peplum and Le Petit Christian, and his illustrations regularly appear in Les Inrockuptibles, Libération and The New Yorker.
Peter Clines is the author of Ex-Heroes, a science fiction novel about super humans trying to save what remains of Los Angeles in a post-apocalyptic zombie wasteland. Above, the cover for the Clines' upcoming follow-up novel: Ex-Patriots. Below, an interview with Clines about his love of Dr. Who. (Keep your eye out for 3 Doctor Who Novels coming out April 2: Plague of the Cybermen, Shroud of Sorrow, and The Dalek Generation.)
Originally published by a small, print-on-demand press without any publicity or marketing support and almost no physical distribution, Peter Clines’s brilliant novels, Ex-Heroes and the forthcoming Ex-Patriots -- which combine the best of the sci-fi, thriller, horror, and adventure fiction genres -- still managed to draw an incredible cult following. Now, Broadway is thrilled to introduce Ex-Heroes and Ex-Patriots to a whole new slew of fans with the release of these paperback originals. With two more novels to follow in the series, including Ex-Communication (July 9, 2013), Ex-Heroes and Ex-Patriots are sure to appeal to fans of such hits as Watchmen, World War Z, and Ready Player One.
How big of a role did Doctor Who play in your decision to become a writer?
It was a huge influence. I watched the show religiously as a kid, and even then I was aware that a good story could really help make up for cheap sets and rubber monsters (pay attention, SyFy!). I got chills from cliffhanger endings in “The Face of Evil” and “The Horror of Fang Rock.” Davros in “Genesis of the Daleks” was the first time I ever realized a character was evil. I always knew they were the bad guys out there, but Michael Wisher as Davros was just pure evil. And I loved the brilliant plot-twists that could be either scary or kind of sad and dramatic. Not to mention the fact that the whole show is about someone who gave up their life so they could try to make a difference.
It was just fantastic storytelling, and it made me want to tell stories that would get the same reactions from people.
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I interviewed Robert Arthur, author of a thought-provoking book about taboos, called You Will Die. (If his name sounds familiar, it could be because we've run a number of Rob's cartoons on Boing Boing, and they've proven to be popular.)
A book that vigorously defends heroin users and sex workers? In You Will Die: The Burden of Modern Taboos Robert Arthur does that and more to demonstrate that taboos are not relics of primitive societies. America has its own ridiculous phobias and beliefs that cause tedium, suffering, and death. The government and the media use these taboos to lie and mislead. It is not a conspiracy, but by pushing panic for votes and viewers they thwart our pursuit of happiness.
You Will Die exposes the fallacies and the history behind our taboos on excrement, sex, drugs, and death. Arthur uses racy readability and rigorous documentation to raze sacred shrines of political correctness on the left and of conventional wisdom on the right. From the proper way to defecate to how to reach nirvana, anticipate the unexpected. It is not simply a novel exploration of sex and drugs, but also of individuality, liberty, and the meaning of life. You Will Die gives readers a new way of seeing their world and allows them to make a more informed choice about living an authentic life.
What made you write You Will Die?
Disillusionment. I grew up with the angst of believing I was a disgusting perverted heathen and after graduating from NYU Law in 2001 I began to research whether I was broken or if conventional wisdom was. The truth was out there but it was buried in boring academic texts, suppressed from the mainstream by puritanical censors on the right and politically-correct censors on the left. I wanted to make the truth easily accessible to the younger versions of me. I wanted them to realize that in these areas they aren't messed up. Our society is.
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An interview with the co-discoverer of the structure of DNA.Read the rest
A Boing Boing exclusive: authors Stephanie Chong and Marjorie M. Liu interview each other!
Stephanie Chong (left) is author of the paranormal romance series The Company of Angels.
Marjorie M. Liu (right) is the New York Times bestselling author of the paranormal romance series Dirk & Steele, urban fantasy series Hunter Kiss, and is the writer for Marvel's Astonishing X-Men comics, including the infamous issue #51 featuring Marvel's first gay wedding.
Stephanie Chong: What parts of researching your books have personally interested you the most?
Marjorie M. Liu: I love to read all kinds of crazy non-fiction -- histories, science -- magazines, newspapers. I never know what’s going to inspire me, and once I’m inspired, I read like a maniac about that specific idea or topic. Research is the best, but it never stops.
I loved the international setting of Demoness. Did you do any personal travel for your research?
SC: I wrote about Venice from memory. I’ve been there three times, but the last time I went was seven years ago. I did a lot of research online. Venice is a small city, and memorable, so it was manageable.
My next book is set in France, and while I’ve spent a lot of time there, I did take a trip to Paris and Normandy specifically to map out the characters’ journey. It was a great excuse to take a vacation, and an interesting way to travel.
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Bob Knetzger alerted me to a Comics Journal interview with Joost Swarte, who I mentioned last week because he has a new book called, Is That All There Is? Bob says: "Very interesting interview with Joost Swarte. Didn't know he studied industrial design and that he does lots more than comics… and that he coined the term clear line.'"
From David Peniston's introduction to the interview:
Where Le Corbusier is better known for his architecture than for his paintings, collages and drawings, Swarte has moved in the opposite direction, making a name for himself first as a cartoonist and illustrator and in more recent years branching into architectural work and stained-glass widows, even creating furniture and fonts. He has worked with architects on the design of the Toneelschuur Theater in Haarlem and is a major consultant and contributor to the design of the Herge Museum in Belgium. Swarte founded Stripdagen, a biennial international comics festival in Haarlem, in 1990 and has himself been the subject of many exhibitions, including the World Exposition of Joost Swarte, which has traveled throughout Europe. I had Swarte’s home phone number from my contact in Germany, a comics dealer named ebi wilke. So one Monday morning in February, I pick up the phone and place an international call to a number in the Netherlands — in Haarlem to be precise. I tell the woman who answers, “I’m looking for Joost Swarte,” and after a short pause, a low but confident, friendly, male voice, with a slight Dutch accent announces, “Joost Swarte.” (pronounced Yost Svarta). I come straight to the point: “Can I interview you? Would now be a good time?””
“You mean now, over the phone?“ he asks incredulously.
“Well, yes, I guess so …” So I get started. My first question stumps him and he doesn’t know what to say at first. He has to think about it for a while before he says anything and then he proceeds to answer my question in no less than 741 words. He is very articulate, well versed in art, architecture and the history of industrial design, as well as music and comics. And, I might add, he speaks fluent English.
Interview with Gone Girl author Gillian Flynn.
My guest this episode is Gillian Flynn, the New York Times Bestselling author of Gone Girl, Sharp Objects, and Dark Places. I had a terrific time talking to her about why she enjoys writing creepy books with twisted characters. It was interesting to learn that her father is a retired film professor who loves the work of David Lynch, because the teenagers in Dark Places reminded me of the kids in Twin Peaks.
Here's my review of Gone Girl.
Are we alone in the Universe? Last year, journalist Lee Billings wrote an excellent series of guest posts for BoingBoing about the quest to answer that question. One of those posts — Incredible Journey: Can we reach the stars without breaking the bank? — was recently reprinted in The Best Science Writing Online 2012.
As part of the publication of that anthology, journalist Steve Silberman interviewed Lee about space, the final frontier, and the voyages of starships (both the ones that already exist and the ones we imagine and hope for).
Silberman: Several times a year now, we hear about the discovery of a new exoplanet in the “Goldilocks zone” that could “potentially support life.” For example, soon after he helped discover Gliese 581g, astronomer Steven Vogt sparked a storm of media hype by claiming that “the chances for life on this planet are 100 percent.” Even setting aside the fact that the excitement of discovering a planet in the habitable zone understandably seems to have gone to Vogt’s head at that press conference, why are such calculations of the probability of life harder to perform accurately than they seem?
Billings: The question of habitability is a second-order consideration when it comes to Gliese 581g, and that fact in itself reveals where so much of this uncertainty comes from. As of right now, the most interesting thing about the “discovery” of Gliese 581g is that not everyone is convinced the planet actually exists. That’s basically because this particular detection is very much indirect — the planet’s existence is being inferred from periodic meter-per-second shifts in the position of its host star. The period of that shift corresponds to the planet’s orbit as it whips from one side of the star to the other; the meter-per-second magnitude of the shift places a lower limit on the planet’s mass, but can’t pin down the mass exactly. So that’s all this detection gives you — an orbit and a minimum mass. That’s not a lot to go on in determining what a planet’s environment might actually be like, is it?
Buy the anthology The Best Science Writing Online 2012, featuring amazing stories from all around the Internets
The methodology is straightforward. You take your subject and slide them into an fMRI machine, a humongous sleek, white ring, like a donut designed by Apple. Then you show the subject images of people engaging in social activities — shopping, talking, eating dinner. You flash 48 different photos in front of your subject's eyes, and ask them to figure out what emotions the people in the photos were probably feeling. All in all, it's a pretty basic neuroscience/psychology experiment. With one catch. The "subject" is a mature Atlantic salmon.
And it is dead.
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