Special Sneak Preview! Author interview with Ralph Steadman

Intern Hannah interview Ralph Steadman--see this first glimpse!

Check out this sneak peek of our interview with Ralph Steadman, author of Little.com, published for the first time in the U.S. by David R. Godine, Publisher in June 2016.
Take a brief look at the creator of the eccentric little Dot who bounds through the pages of this unforgettable picture book for ages 3-100. Steadman, best know for his work with Hunter S. Thompson, explains how he came up with the idea of the Dot and how his illustrative process works.
Interview by David R. Godine intern, Hannah Winkelman, editing by Sales Manager Tildy Banker-Johnson. Thanks for watching!

Transcript posted below.

Hannah Winkelman: How did you come up with the idea for Little.com?

Ralph Steadman: Um, you know it was at the very beginning of things that were sort of, um, well, not the beginning, but 2000’s the year when I got the thing, or 1999. And I just decided that, uh, it was a nice idea for a character, for a book, Little. It’s like little something, you know, like little, little Jim, little something like that. So I thought Little.com, because I thought, I always say, for some reason, know what I mean? I always say confused.com. So that became kind of a habit, to say “.com.” So Little.com became a little guy.

[Publisher’s note: In the 2000s it was common to add ” dot com” or ” dot org” to phrases such as “give me a break dot com” or “move on dot org” (See: Gilmore Girls, Season 5, Episode 9). This is what Ralph is trying to express.]


RS: But how you see, I was making use of things like all the blots. I love blots. I just love a blot to just go down, and do what it’s going to do, and then turn it into something with the eyes, make it live. I mean look at him, crazy fool. And that there that’s the Duke of Bogshott… So, it’s like antiquated, antiquated computer animated, computer stories. It’s like the beginning, you know like when Steve Jobs was doing things.

HW: Really?

RS: Well it was the… He hadn’t really got going, he was still doing things, but… ‘Cause a lot of people didn’t have, uh, any of this stuff. And I made mine up as I went along. I’m looking at it for the first time in ages and I’m feeling quite impressed….Yeah, I like it, I like them. You see, the thing is, I think I have a thing about blots. I’m clumsy and I love doing that.

RS gesticulates.

RS: It does something wonderful. You know it’s energy. It’s energy! It’s going out in all directions and I think I like that. And you put an eye in it, or two eyes, teeth, and it’s a lovely idea. I mean I think that’s quite impressive. I don’t love drawing circles, I used to be an engineering draftsman.

HW: Oh, really?

RS: I just, uh, well—I liked doing the geometric drawing, but I used to like doing cartoons in the corner, down the side of my drawing.

HW: Would you just doodle on the side and that’s how you got started?

RS: Yeah, little funny drawings on the side. Then I was asked why I was doing that and I’d say “Because they’re looking at what I’m doing.”


Author Interview: Jeremy M. Davies

Intern Olivia asks the hard-hitting questions we all want to know

Olivia wrote a review of Davies’ The Knack of Doing, which we posted here on July 7, 2016. “Expect the unexpected. That is my advice to anyone planning to read The Knack of Doing,” she wrote. Now you can be a little better prepared by reading her interview with the author, below.

What prompted you to compile this collection of stories, with some new stories and some revised ones? What themes do you see connecting them?

I write short fiction so infrequently that I was as surprised as anyone to find I had amassed enough of it to make for a collection. I thought it would be ungenerous to keep this surprise to myself. Hence: a book.

If there’s a through-line here it’s the eternal question of how one writes such things as short stories without their winding up either inconsequential or tiresome. The book is something of a “manual of style(s).” And within many of the stories in Knack you’ll find characters trying to impose a certain style or manner of speaking upon their own situations. Largely unsuccessfully.

How did you go about choosing the order for the stories and deciding on the structure of the book? Were there stories you thought about including in The Knack of Doing that didn’t make it into the final product?

Yes, there are stories that didn’t make the cut. Mainly because I forgot about them. Which is to say that my mind edited them out of the collection without this selection process requiring any conscious effort on my part. This is by far the best way, I think, and I suggest the method to all aspirants.

What are some of the challenges you face when writing short fiction that differ from those you face when writing a novel?

The greatest challenge is that the frivolity of the enterprise will so overwhelm you that you just give up and go back to bed. The issue is how to turn out something only ten pages long that nonetheless commands the attention–and we are all misers of attention–long enough to achieve a lasting effect, even if that effect is “merely” mild amusement. I have no time for short fiction that was written only because there is already so much short fiction in the world that one might as well churn out a little more. I have no time for short fiction that was written only because the form, in its brevity, lends itself to the classroom. (Novels that were written out of this same sort of formal inertia annoy me less, for some reason. Probably because their inconsequentiality is deployed that much more gradually, over a longer span. Stories rub your face in their superfluousness, all at once. That’s the challenge; that’s the fascination. That’s why it’s still worth trying, from time to time. To see if you can beat the odds. To see if you can be nimble enough to avoid the door of Who Cares hitting you in your ass on your way out, as it were.)

“Kurt Vonnegut and the Great Bordellos of the Danube Delta” examines the art of storytelling from the perspective of an aspiring writer. To what extent do the views presented by the narrator of this story reflect your personal views on what fiction is meant to be, i.e. “Fiction can be many things, and no one mode is appropriate for it—no one genre, no one method, no one orthodoxy, no one heresy, no matter my own prejudices—but it may be accurate to describe it, as many have done, as essentially a form of attention, attention specifically to language, attention even to the ‘absent friends’ we can make believe this language describes”? How does this statement or the overall considerations presented in “Kurt Vonnegut” relate to the approach to fiction you take in the stories of The Knack of Doing?

That particular statement reflects my own views absolutely. I’m not certain that I’d stand behind every other assertion in the piece, however. I’m content to consider it a fiction; the speaker, conveniently, ain’t me. It’s safe to say, though, that I share the narrator’s skepticism about the enterprise of fiction, even if I’m a bit less naive about it. That skepticism–about what makes a story worth telling, about what makes it a story to begin with–is, I guess, the real “theme” behind The Knack of Doing, which might be said to be a series of answers to those questions. (Well, ripostes more than answers.)

“Is it that it skips a generation? He means this knack of doing. . . . they are agents, they act, they effect.” Would you say that many of the characters in your stories have mastered the “knack of doing” as you describe in the titular story of the book? Is that what makes these characters interesting, their agency?

What makes them interesting–to me–is their lack of agency. Few if any of the characters in these stories have the “knack,” and those that do don’t tend to profit by it. As someone or other said, “Absolute impotence corrupts absolutely.” Writing is the actionless action; it commands no respect in the phenomenal world (unless, of course, it makes you phenomenally rich). Nor, probably, should it.

The narrator of “Forkhead Box” aims to pay homage to his subject, informing the audience, “In deference to Schaumann, I too am trying to adopt a style of meticulous plainness” (13), and in a similarly honest fashion says that he isn’t exactly a reliable narrator: “But you know I can’t be trusted. I come from a broken home.” How do you conceptualize the narrator for a particular story or decide how present they should be, and how are or aren’t the various narrators in The Knack of Doing’s stories connected?

Telling someone that you’re not to be trusted isn’t honesty; it’s a way of making even honesty suspect. And, in fiction, honesty is a nonexistent principle: the only honesty in a contrivance is consistency. If honesty is an issue in that story it’s only because it is, in fact, “based on actual historical events,” as they say. But, clearly, my interest was never in presenting these in the manner of a more realistic historical fiction, fully clothed in substantiating details and period dialogue and the like. My interest was in travestying that same impulse to dramatize, to say of a bit of history or gossip that “that would make a great story!” Not because this impulse is bad or foolish in itself, mind you, but because I consider it imperative to fight off complacency (in both myself and in prospective readers).

The narrators of the various stories arrived fully conceptualized along with the matter they narrate. It wasn’t a question of selecting a subject and then assigning the appropriate narrator. More a matter of the story not being possible until I could hear a way to tell it, a way that excited me, that didn’t feel dead. And no, the narrators aren’t connected in any way I’m aware of, besides the connection of all being written by me.

Can you choose one or two of your favorite stories in the book? Or is there a certain story that was the most fun to write?

The oldest story in the book, “Sad White People,” was written in a single night, in a burst of pure, bitchy cussedness, while I was getting an MFA. I am slightly embarrassed by the story even as I remain peculiarly proud, if in an adolescent way, of having written it. The most recent story, “Delete the Marquis,” was perhaps the most fun to write, because I enjoyed all the tortured, faux-classical syntax; enjoyed the struggle to produce, essentially, a Philip K. Dick story in the style of Miguel de Unamuno. That’s how sickos like me get their kicks, you see.

What do you hope a reader will take away from The Knack of Doing?

A posthypnotic suggestion regarding a particular action to be undertaken on May the 23rd, 2018. Oh, it shall be glorious.