Enthralled by paintings and video/animation work that fluidly blend elements of Eastern and Western traditions, we asked for a virtual peek into his studio, ahead of his upcoming solo show, : My works are mainly founded on a doomsday saga, which I call, "doomsday archeology" or "future archeology." Imagine, it is a few thousand years after doomsday when aliens landed on earth.
With archeology, we are trying to find out human civilization before the doomsday.
We first noticed the work of Teng-Yuan Chang at Art Central in Hong Kong back in March, and captivated by the trippy visuals that mix illustration, painting, and narration along with elements of graffiti.
Working through a variety of mediums, the Taiwan-born artist constructs surreal landscapes and scenarios using a distinctive color palette that prophecizes doomsday archaeology.
I just had an interview with Shelagh Shapiro for the Write the Book podcast, and she asked how this book relates to the immigration situation now. Immigration wasn’t on people’s minds in the same way. Although in today’s there was a fascinating article about the ways in which immigration was controlled around the turn of the century, at the beginning of the 1900s.
Some of the things that were said at the time about Italians, it’s worse than anything you even hear today.
The only other thing besides the museum that’s still there from the Exposition is one bridge. I went through Drieser’s whole book very carefully searching for an epigraph, and I found this: “When a girl leaves her home at eighteen, she does one of two things.
And there was one other thing playing in the back of my mind—I’m a very bad storyteller, and I have to get my ideas from somewhere, like from other books or articles—which is that I read about a woman who worked in a cigar factory, Rose Pastor Stokes. Instead of a having a woman trying to make herself physically appealing to attract wealth, she has a libidinous motive. And John Glusman, who had just had a child—so he was in the fatherly mode and the book is about parents—he loved the book, and so I worked with him for two books. “Full many a flower is born to blush unseen.” So what happened with as part of a two-book deal, and they waited very, very patiently for years for another book. So I thought about the small presses I’ve always liked, and Sarabande was up there.
I don’t know how they’re going to handle Asher’s chapters, all that wordplay. The other thing that’s happened for the book—and I don’t even know if I should say this because I want people to patronize independent bookstores—but Costco ordered a thousand copies, just for their Chicago stores. Rumpus: But some of your books have done quite well. That is the only one that sold a lot of copies, because the marketing and the timing just worked out, and they did a movie. But there’s only so much that’s under your control. She said, “Oh, this isn’t the Rosellen Brown people expect. There are a few things, and I had a sister-in-law with family who had lived on a farm. I tried to learn what I could about that, but often I just went with intuition.
It was on the bestseller list for four weeks or something. I don’t know if anyone back East is ever going to hear about it. But for the Columbian Exposition, there are a million books.
[Brown takes out a copy of the newspaper and reads] “[Henry Cabot] Lodge wanted citizenship confined to the ‘original race stocks of the 13 colonies.’ The others, he averred, were chiefly ‘slum dwellers, criminals and juvenile delinquents.’” Here’s Woodrow Wilson: “Any man who carried a hyphen about with him carries a dagger that he is willing to plunge into the Republic.” So here we are again. *** Zoe Zolbrod is the author of the award-winning memoir The Telling and the novel Currency.
We keep thinking that everything is happening for the first time. Her essays have appeared in places such as Salon, The Guardian, the Manifest Station, and The Rumpus, where she served as the Sunday co-editor.She was a radical, a communist, and eventually she became a journalist, and she ended up marrying a very wealthy man. Rumpus: I was drawn to that part of the book, how you complicate the Cinderella aspect. Their eroticism was nicely done, and what drives the wedge between herself and her brother. And I brought this book to them, slightly different, but, this book. Because, I had actually sent it in earlier form to an agent—not my original agent Virginia Barber, who had gotten out of the business by then, but to someone who she had trained—and she said, “I can’t send this to your editor, it will only depress him.” And so I folded! I was just reading an interview in the with Penelope Lively, who’s a wonderful writer, and she said “it’s a good thing I had success early because I don’t know what I would have done with rejection early on. When the FSG editor said this book isn’t what people are looking for, I told myself, I’m too old to drag my book around from one publisher to another to hear the same thing. We [Brown and her agent Gail Hochman] sent it and the editor Sarah Gorham asked if she could call me, and I thought she was going to call and let me down easy but she said “I love it,” and we were off and running. They may or may not get the attention that I’d like in New York, but they take the book seriously. Brown: With my first novel , I realized that the kind of research I like to do is soft research. I read and absorb and use what’s worth remembering.