A conversation with South Carolina-born comedian Rory Scovel.
When I’m onstage and there’s an audience there, I don’t know if it’s because your back is sort of against the wall in that moment to deliver, whatever reason it is, it somehow works, it somehow pops right. Specifically, that Southern guy character that I do. I even joke that I know that guy better than myself.
A conversation with the Georgia-bred, North Carolina-based singer and guitarist Jake Xerxes Fussell.
“It’s hard to say what a song is after a while, it’s been through so many lives and incarnations. Is it a gospel song? Is it a nursery rhyme? I don’t know. Alan Lomax talked about that, about how songs had these lives over many generations. There’s a lot of stuff that’s both and neither at the same time. I think this might be one of those songs.”
To Adia Victoria, Donald Trump is just the latest thing in the history of American oppression.
“The blues to me is personal music. The blues to me is political. And what’s happening politically right now requires artists to get up, pay attention, report about what’s going on.”
A conversation with Jean Shepard, Jan Howard, Jeanne Pruett, and Jeannie Seely from Winter 2013, the Tennessee Music Issue.
“One of my most cherished memories is with Minnie, just after her first breast surgery. She’d had surgery on Monday and she called me on Friday. She said, “What are you doing on Monday?” I said, “I don’t know, what are we doing?” She said, “Well, the doctor says I can’t drive but I can eat, so why don’t you pick me up and we’ll go to lunch at the club?” So I get to her house at 11 A.M., and for some reason that day she wanted to show me certain things about her house. She walked me through, telling me stories about everything. It was the greatest three hours that I’ve ever spent with someone who wasn’t family, but it was not with Minnie Pearl, it was with Sarah Ophelia Cannon.”
A conversation with Ben Stroud.
“Lots of people don’t like the idea of white guilt, for a whole variety of reasons. But I think it’s useful, and important. The simple answer is that if you’re white and live in the South—or, more broadly, America—you are connected to these actions. They are part of what made the world we live in today—part of what built the various structures of privilege, etc. We live in a culture that loves to deny guilt. And in some cases, that’s very useful. Shame can be really inhibiting to living a fulfilled life, and it can be a tool of repression/oppression. But certain kinds of shame and guilt can be useful, are necessary, and I think the oft-derided white guilt can be one of these.”
A conversation with Manuel Gonzales.
“Magical and fantastical is what I grew up on—that and horror and the science-fictional and the soap operatic worlds of comic books—and to me it feels like a natural mode of telling a story. You learn about a character by watching him or her run the gauntlet of some horror show or run through some lengthy, fraught journey filled with monsters and magic and pitfalls.”
A Conversation with Brian Blanchfield.
“When I initially set myself the constraint you describe, to write analytically about a particular object or phenomenon or concept, one at a time, without access to outside authority, I didn’t have the sense this would be a book, much less a book that could be called a memoir.”
A conversation with Katrina Whalen, director of “I Don't Talk Service No More,” a film from the Charles Portis short story.
“My dad used to throw around a quote from the old John Wayne True Grit. When I was getting too big for my britches, he would say, ‘Bold talk for a one-eyed fat man.’ I never had any idea what he was talking about.”