Tuesday, September 17, 1996

Erika Marquardt and Susan Erony: The Same Canvas

Erika Marquardt and Susan Erony:
The Same Canvas
(9/17/96)

for a Zeitgesit journal


Erika Marquardt and Susan Erony have been working on canvases together for a year, after deliberating on the best way to collaborate. Their work will show at the Zeitgeist Gallery in the fall of 1996



HB: You, Susan, are a Jewish artist; you, Erika, a German. What brings you together incollaboration?

SE: We had both started working in 1989 on themes of World War II, the Holocaust, and the Third Reich. Charles Guliano, the art critic, brought us together to show our work.

EM: It wasn't as if we had been friends who paint more or less the same; that the was the first time we ever met.

Sunday, September 1, 1996

Q&A Pico Iyer: Closet Japanese


Originally appeared in the Boston Book Review.

     "Someone's got to go out there, and give up the easy chair and the two cars  in the  garage,  and actually bring back reports from the world. Otherwise, there'd be no  artists, no newspapers, no  explorers.  Some people are made to stay at home; some are made to wander."
     "And you're one of the ones who are made to wander?"
     "Yeah, I think so. And now  I'm on the  course, it's harder to get out than to just keep going."
     Cuba and the Night

HB: How do you feel about the fact that your books are sometimes listed as fiction, sometimes as nonfiction?

PI: After taking great pains to write a book that does justice to the truth of an occasion, it's distressing to go into a bookstore and find it classified as fiction. But more and more travel writing is dancing on the borders. I noticed, for example, that VS. Naipul's last book came out as nonfiction in England and as fiction in this country. And one never knows how to categorize Bruce Chatwin's books.

HB: Could be the whole classification system is cracking up.

PI: Just at a time when other boundaries are dissolving, too, in a new post-national world where there are no barriers. The same is happening in writing. All post-national writing is so ventriloqual, whether it's Ishiguru or Caryl Phillips or even Rushdie. People with many homes can write in many voices and see through many different kinds of eyes. It's a new literary form affecting a new kind of person, I think. Look at Mukerjee: Every one of her stories is from a different nationality.

Q&A Tony Hillerman


Originally appeared in the Boston Book Review.
Tony Hillerman: Sheep Camp Navajo

He was beginning to suspect that she didn’t really want to marry him. Or, at least he wasn’t sure she was willing to marry Jim Chee as he currently existed — a just-plain cop and a genuine sheep-camp Navajo as opposed to the more romantic and politically correct indigenous Person.
     The Fallen Man

TH: I see that The Boston Book Review  is a literary magazine. You want to talk about creativity and all that stuff?

HB: Sure, I’m interested in that. But I was thinking of asking you first of all about place. Your work is so rooted in place, in the American West.

TH: It is indeed. I have two neckties, one striped, the other not. If you go west, you leave your necktie home. But if you go east, well, the further east you go, the more likely you are to bring a necktie.

Q&A Stephen Jay Gould: Basically Bacteria



We are glorious accidents of an unpredictable process with no drive to complexity, not the expected results of evolutionary principles that yearn to produce a creature capable of understanding the mode of its own necessary construction.
     Full House: The Spread of Excellence From Plato to Darwin

HB:  Full House  can be described is a book about the nature of narrative.

SJG: That’s fair.

HB:  I had never thought before about statistics or trends as narratives in disguise. I’ve always thought of information as inherently anti-narrative.

SJG: Certain kinds of information are. I don’t think trends are.