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• April 15, Volume LXXXII, No 8 by Kirkus Reviews - Issuu

When Jim Roberts and Karl Coryat were the editors, there was no distinction between what I wanted to know and what the readers would want to know. I still asked what I wanted to ask, but it never made it into print. Would you happen to know how big a circulation BP had during its heyday? I think I heard that the number of subscribers was in the mid tens of thousands.

Total circulation was much larger, though. Were there other BP writers whose work you admired while you were there? Bryan Beller is my favorite, though. For you, what is the most satisfying part of the writing process—whether it be books, articles, etc? Finding the perfect phrase to express deeply complex thoughts. And trying to make people laugh. Though Hallucinabulia is mostly filled with nightmares, most of them are really funny.

Would you have pursued music journalism as a hobby? I loved it. What we did was both real and contrived. It was cooperation. I loved the moment when they caught on, and then we could talk about anything without it being dangerous for either of us. It was great. But what drew me to him was the feeling he put into it. They express so much with their instruments. I was hooked from the first time I heard him. I do not understand your years-long need for Thunes to know the giant pedestal you put him on.

Does that need have more to do with you or him? Entirely me.

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Not really, of course. One bedrock principle of my life now is that I must accept people on their terms, not mine. If it bothers me too much that a giant like Scott Thunes chooses not to play, I must either accept it or walk away. I have no right to try and force him to do something that is actually for my benefit, not his.

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It addresses this precise issue, of putting him on a pedestal. My friend Joe Cady—one of the smartest people in the world—interpreted the dream for me. Zappa talked to music journalists nonstop. All music journalists can write, and people buying the magazines or now going to the Websites can read. Zappa and I just have different approaches. What interests me is the interviewing process, the performance-art aspect. My perfect solution would be to write books and have Scott Thunes promote them for me.

He loves giving interviews. Today, Sandpiper Publicity accepted me as a client after the president did something unheard of in the publicity world: He read my book. The campaign they have planned is daunting and ambitious, requiring me to talk about myself for at least three months. I wish I could have Scott do it for me.

But me having to do this is part of the game, so I would never say the sort of thing Zappa said about music journalists. This is all just a blast for me.

Getting angry at interviewers would be monumentally ungrateful. So thanks for your interest. What does it feel like to have written your memoir? Who the heck am I to have written a memoir? My goal was to be a music journalist and maybe—just maybe—a novelist. It was utterly unplanned and accidental.

I still have it, but it no longer bothers me. Instead, it makes you not care about the pain. I still have a sense of illegitimacy and fraudulence. These are the sorts of dreams I have:. March 15, As I stood at a podium and gave a reading for Ghosts and Ballyhoo, I broke wind continually and deafeningly. It sounded like a string of cannon shots in the large auditorium. Flop sweat poured out of me, and the audience laughed, groaned, or palmed their faces. When each trembling, rumbling eruption built in my gut, I tried desperately to hold it in. This seemed to make the explosion even more violent.

Some of my discharges went on for twenty seconds.

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• Words of Stone.

I shouted to make myself heard over my own rear end. People in the audience were hysterical—weeping and breathless, holding their middles, begging me to stop. In reply, I blew off seat of my pants. It flew across the stage and hit the wall behind me, leaving my buttocks exposed. Jettisoning the rage that crippled me for my entire life. No question. Also learning to be grateful for every dollop, jot, tittle, and microsecond of beauty. Excuse my ignorance: tell me more about the poetry in the book.

When were these verses written?

How did you pick the ones to include in the book? All the poetry is the work of Stephen Crane Nobody knows when Crane wrote the poems, but they were first published in , in two anthologies titled The Black Riders and Other Lines and War is Kind. The poems I chose are each chapter of the memoir distilled down into one short, brilliant burst of art. Reading the poems at the beginning of each chapter will tell you what the chapter is about. Barbara Tuchman is my favorite nonfiction writer, even though there may be problems with her scholarship. Her style is incredible.

His turn of phrase is phenomenal, as is his humor. Doctorow is another novelist who plays with the language in a way that I always envied. Also, his novel The Fist of God is arguably the best military thriller of all time.

Tom Wolfe for his unbelievable humor and completely unfettered style. How can an event like that not permanently change your life? How could you have forgotten it?