Notebook on Cities and Culture

Colin Marshall talks to Aaron Katz, director of such films as Dance Party USA, Quiet City, and the new Cold Weather. Continuing his established tradition of examining the sphere of urban twentysomethings who aren't quite sure how their lives got to this point or where they're going next with a strikingly aestheticizing gaze, Katz incorporates a near-Sherlock Holmesian plot into his latest film. His central characters, a Portland ice-factory worker, his DJ buddy, and his sister, find themselves embroiled in a forbiddingly seedy mystery when a girl goes missing and it falls to them to find her.

Colin Marshall talks to Lee Rourke, literary critic, contributing editor at 3:AM Magazine, and author of the story collection Everyday and the novel The Canal, winner of the Guardian's 2010 Not the Booker Prize. A book ostensibly about boredom, The Canal also illustrates, within a brief span of literary time, how boredom isn't really boring — or even how boredom isn't really boredom as we usually conveive of it when we actually sit down and face it, as does the book's protagonist, who one day walks out of his office job and never walks back.

Colin Marshall talks to Geoff Dyer, the "intellectual gatecrasher" who has written, in addition to several novels, books on photography, World War I, jazz, John Berger, travel, and D.H. Lawrence. His essays turn out to cover an even wider span of subjects than his books, and his latest collection Otherwise Known as the Human Condition includes pieces on Susan Sontag, Def Leppard, Ian McEwan, avoiding real jobs, Richard Avedon, Editions of Contemporary Music, W.G. Sebald, growing up an only child, and the search for the perfect donut and cappuccino.

Colin Marshall talks to Sarah Bakewell, author of biographies on Jorgen Jorgenson, Margaret Caroline Rudd, and, most recently, the 16th-century French essayist Michel de Montaigne. How to Live, or A Life of Montaigne in One Question and Twenty Attempts at an Answer examines the life of a man whose life you'd have thought was already pretty damned well examined. More remains to learn, it turns out, even after Montaigne himself wrote three volumes of personal essays which have attained over 400 years of success and counting. Bakewell finds a man who, despite revealing no end of personal detail and disclosing no end of his own opinions, paraxodically becomes near-universally relatable to the reading public across the world and through time. Yet could he have achieved this not in spite of his essays' specificity, but because of it?

Colin Marshall talks to Jeffrey DeShell, associate professor of English at the University of Colorado, Boulder and author of Arthouse, a novel that takes the form, structure, and aesthetic of each of its chapters from famous films like Yasujiro Ozu's Tokyo Story, Bela Tarr's Satantango, Arthur Ripley's Branded to Kill, Bernardo Bertolucci's The Conformist, and Jean-Luc Godard's Contempt. DeShell's protagonist, a "failed fortysomething film studies academic," lives through a story among the meth-dealing toughs of Pueblo, Colorado that pulls him through not the events, not the settings, but the very substance of the cinematic art of these and other classics of the "arthouse" theater.

Colin Marshall talks to Stephen Battaglio, business editor at TV Guide magazine and author of David Susskind: A Televised Life, the first biography of the pioneering talk show host and producer of both television and film. With his firm Talent Associates Ltd., Susskind made his name with live shows like East Side/West Side, movies like Raisin in the Sun, and theater productions for television like Death of a Salesman. All throughout The David Susskind Show's near-thirty-year tun, Susskind engaged in relaxed, incisive, long-form conversation with a vast array of luminaries from business, politics, entertainment, and the arts, virtually creating the evening television talk show form as audiences knew it at its peak.

Colin Marshall talks to Françoise Palleau-Papin, teacher of American literature at the Sorbonne Nouvelle and author of This is Not a Tragedy: The Works of David Markson. The book comes as the first study of its length of all of the late Markson's novels, a body of work which includes such early detective "entertainments" as Epitaph for a Tramp and Miss Doll, Go Home, such intermediate and comparatively traditional yet still exuberantly inventive books as Going Down and Springer's Progress, and the final five novels for which readers know him best. Running from Wittgenstein's Mistress to The Last Novel, these brief but deep excursions into isolated creative minds showcased Markson's unmatched skills at shaping facts and ideas from art, philosophy, literature, and history into narratives like no other writer has ever written.

Colin Marshall talks to cartoonist and entrepreneur Hugh MacLeod. At Gapingvoid.com, MacLeod showcases his business card-sized works of art that strike several particularly tricky balances at once: between light and dark, between abstraction and representation, and between inspirational optimism and stark, abyss-gazing confrontation with the human condition. His cartoons have thus gained a following with not only artists, but marketers, entrepreneurs, job-haters, and many more variants of humanity besides. In his latest book, Evil Plans: Having Fun on the Road to World Domination, MacLeod combines cartoons with writing on subjects like giving artistic gifts, ditching your unsatisfactory life, waking others up, and getting woken up.

Colin Marshall talks to novelist and philosopher Lars Iyer, author the blog Spurious and the new novel Spurious. In both the blog and the book, the philosophers Lars and W. discuss their favorite artists and writers — Franz Kafka, Andrei Tarkovsky, Maurice Blanchot, Béla Tarr — and what they see as their own pathetic inability to live up to their collective example. As Lars deals with a dampness problem ever encroaching on his apartment, W. berates him with a seemingly endless series of insults that takes friendly verbal abuse to a high art form.

Colin Marshall talks to Chaz Bundick, founding member and frontman of the experimental pop project Toro y Moi. Last year, Bundick introduced Toro y Moi to the world with the electronic, relatively sample-heavy solo album Causers of This. Now he darts all the way across the spectrum of the project's sound with Underneath the Pine, a record influenced by late-seventies R&B, film scores, and the unexpected purchase of a bargain-priced Fender Rhodes.