Ultimately, libraries and schools are important institutions for supporting critical thinking and empathy for others, so they’re not just important to us, they’re important to everyone.
I was tickled when I saw how Microcosm titled our conversation about my career path in the industry, and listening to it for the first time, it's another reminder that my path was a relatively unusual one, difficult and unlikely to be replicated in the structure of the current industry. That said, I do think there's still an opportunity (and more importantly, a need) for people to be more outspoken about the various challenges the industry is dealing with, dismantling whisper networks to level the playing field for those coming from non-traditional backgrounds.
Between research for Comics Plus (aka, the day job) and many hours of the wonderful Mangasplaining podcast, I've been able to zero in on stories that are most likely to be up my alley without putting too big a dent in my wallet. As a result, manga has become the majority of what I've read and enjoyed this year.
This time around, we skipped the origin story and jumped right into things. Epp let me rattle on about Comics Plus (aka the day job), Panorama Project and libraries, DOJ vs. PRH, and Twitter — and then cleaned it all up so I sound reasonably coherent. It's also on video this time, which caught me by surprise as you may be able to tell from the hat I'm wearing — I was a couple of weeks overdue for a haircut!
Five things of interest, every other Thursday. That's it! That's the description.
Back in 2005, I spent two hours over cold beers talking with Charlie Huston about Moon Knight and the pressure of living up to the hype surrounding his relaunch; what “decompression” and “9-out-of-10 of those single issues sucked!” have in common; and what Doug Moench and Steve Gerber don’t have in common. The resulting interview, originally published at Buzzscope, is my favorite ever.
In the beginning, when I was trying to sell my first novel, I had a weird experience of editors really wanting me to write, sort of magic realism set in the Caribbean, or about recent immigrants with a magical ability (I've had two editors actually give me that logline and ask if I'd be interested in writing that story, but it's just not there for me, I've got other stories still to tell). There was a strong sense that, hey, this is how you can be marketed as a Caribbean novelist.