Apple-Obsessed Author Fella

Category: The Ramble (page 170 of 463)

Yammerings and Babblings

Letters From Flavortown: The Gospel According To Guy Fieri

I love you, Guy Fieri.

I hate you, Guy Fieri.

I’ll explain.

* * *

You probably know, but in case you don’t, Guy Fieri is the creature who ate the Food Network. He won one of the network’s reality shows (WHO WANTS TO BE THE LEAD SINGER OF SMASHMOUTH AND ALSO EAT FOOD ON TV I GUESS), and since then has slowly, like a swelling amoebic infection, taken over the entirety of the channel. I don’t know where he came from. I cannot speak to his origin story for it has never been told. I like to imagine that he sprung fully formed when one day, in the small hamlet of Flavortown, a radioactive taco truck crashed into Motley Crue’s tourbus and the resultant explosion set fire to the town’s Axe Body Spray factory. From the cataclysm, the Juggalo Prime Kaiju known as Guy Fieri (pronounced Guy Fee-Eddy) arose in a hot geyser of donkey sauce and surfed his way to the Food Network building in New York City. And the rest is a plate of grease-spattered destiny.

Guy Fieri (pronounced Gee Fai-oody) has like, seventy shows on the Food Network, though they may also all just be pseudopods of the same animal. Many of these shows are reality shows where human beings compete for his adoration and affection, I think, I honestly don’t know what’s going on there. Last time I turned on Guy’s Grocery Games, I saw people racing around grocery store aisles, leaving behind smears of blood and sriracha sauce on the white tile as they sliced into each other with plastic knives, snarling over the last package of ramen. Meanwhile, Guy Fieri (pronounced Gorb Forby) sat back on his pallet-made dais like a Hutt-slug whose frosted tips are lubricated with duck fat and whose rubbery biceps are inked with fake tribal tattoos. I tuned out after that, but I do remember a lot of rad guitar licks and jets of flame and sizzling viscera.

Of course, his flagship show is Diners, Drive-Ins and Dives, which has defied the actual time-space continuum by somehow having more seasons than The Simpsons. I bought an old postcard from 1870s Philadelphia, and in it you can see Guy Fieri (pronounced Gabbalek Fernody) seductively licking a soft pretzel from a ragged orphan’s pretzel stand. In the so-called Triple-D, our cherub-cheeked antihero travels the country and occasionally the galaxy, visiting various un-fancy restaurants where he sits in the kitchen, telling cooks what they’re doing as they do it before finally sampling their wares messily in some egregious food bukkake that leaves him covered in ranch dressing and spackled with strips of pork belly. If it’s a sandwich he’s eating, he inverts it, picking it up from underneath and then flipping it toward his maw as if he is an alien creature who has yet to learn our Human Sandwich Eating Ways. He hunkers down. He eats. Then he makes word-like noises about that food, telling us about its complexity and its flavor profile before ultimately fist-bumping the cook into fame and fortune. And that’s a real thing, by the way — those restaurants Guy Fieri (pronounced Gordon Freeburg) blesses with his papal-like presence end up doing pretty damn good after the fact. This is the so-called “Fieri Effect,” which sounds like a symptom of airborne syphilis but is really the bump restaurants get from appearing on the Food Pope’s show.

He is also a restaurateur, though I’m sure he’d prefer a cooler, radder, gnarlier title like FOOD BRO or SHOGUN OF FLAVORTOWN. His menus are full of foods that are rockin’, killer, fully-loaded, made of dragon’s breath, sporting lava from its culinary volcano. Many items are purposefully misspelled — “slyders” instead of “sliders,” “stix” instead of “sticks,” “unyawns” instead of just fucking “onions.” And of course he is famous for a thing actually called Donkey Sauce (recipe here) because I guess the sauce you milk from a donkey sounds appealing, somehow? I have never been particularly interested in consuming the byproduct of a donkey, not as a meal, not as a condiment, not even as the most meagerest of garnishes, and yet here we are in a world where Donkey Sauce exists as a think you can make or buy. (In the interest of fairness, if you’d like the origin story of the donkey sauce name — here it shall be.)

* * *

When I first beheld Guy Fieri — you do not see him so much as you witness him for the first time, the way you see an entity being born or the way you watch a car crash happen — I kinda hated him, because, ew, what the fuck. What am I looking at here? He seemed like a product, a creation of the same shadow council who makes new eXXXtreme Doritos flavors, like he’s a living mascot for a cartoon fast food restaurant that exists only in some satirical dystopia where people are food and donkeys are sauces. He has those vicious meringue tips atop his head, and that buttery pale pubic strip down his chin — that strip is bleached boldly blonde in a sea of dark beard, as if Guy one day saw some kind of food ghost and it scared him so bad that one Band-Aid-sized area of his face will forever remain fear-struck in ghastly white. That beard looks like you could squeeze it and from it you would get some mad hallucinogenic nectar that smells of peanut oil and shame.

He looks like a guy who eats suntan lotion. Just squirts it into his mouth, pbbt.

Then one day I watched the Triple-D, and I watched it in the way you mock-watch something, like, you watch it only for the snarkenfreude factor. You sit there, you make fun of it, you feel better about your life until you go to sleep and once again are haunted by your own nefarious inadequacy? Like that. Guy Fieri would go into these various professional kitchens or restaurant dining rooms and it was like seeing someone try to be funny –? He had the same riffs on the same jokes, the same comfort-food-variants of punchlines. Something-something Flavortown. Something something Taking A Ride On The Flavor Express. Something something Murdering Your Face With A Knife Made From Pure Flavor. He was a man on a program, a spam-bot made sentient, an advertising brand struck with lightning and crassly animated with life.

Over time, though, I stopped hate-watching it and started, well, watching it.

Just regular old watching it. Unironically! No snark in my heart.

If it was on and I wasn’t watching it — I flipped the channel to it. Willfully!

But snarky cynicism is my natural state and soon I felt compelled back to hating Fieri. I found things to despise anew about him. For instance, I hated how whenever he confronted an ingredient he didn’t like or understand he made these childish Mister Yuk-sticker faces like ew no I won’t eat that weird thing, yucky poopy doodoo, Mommy. And it was only emboldened by various COOL KIDS inside CULINARY HIGH SCHOOL sitting in the back of the class shitting on their clown-face teacher. Bourdain called Fieri’s NY restaurant a “terror-dome,” comparing it to Ed Hardy. He said of Fieri: “Did you ever see the Simpsons episode where it’s decided that Itchy and Scratchy need a sidekick? So a committee gets together and they invent one called Poochie.” Fieri feels as if with but a drunken twirl he can transform into Paula Deen in the snap of your butter-slick fingers. You try to hold in your head a world where Grant Achatz makes food like this, and Guy Fieri is rolling around in a hot tub full of chili and you have to spoon it out of his various divots and crevices and — you can’t. You can’t imagine that world. It is such cognitive dissonance that to try to maintain it will cause you to hemorrhage and fall down.

Then came the time someone hacked Guy Fieri’s menu online, with hilarious results.

Then came the NY Times review of Guy’s American Kitchen and Bar in NYC.

Choice quotes from that:

Did panic grip your soul as you stared into the whirling hypno wheel of the menu, where adjectives and nouns spin in a crazy vortex? When you saw the burger described as “Guy’s Pat LaFrieda custom blend, all-natural Creekstone Farm Black Angus beef patty, LTOP (lettuce, tomato, onion + pickle), SMC (super-melty-cheese) and a slathering of Donkey Sauce on garlic-buttered brioche,” did your mind touch the void for a minute?

and

Is the entire restaurant a very expensive piece of conceptual art? Is the shapeless, structureless baked alaska that droops and slumps and collapses while you eat it, or don’t eat it, supposed to be a representation in sugar and eggs of the experience of going insane?

and finally, a question that plagues us all, existentially:

Why did the toasted marshmallow taste like fish?

It was cool to hate Guy Fieri.

And boy howdy, was it so fucking easy.

Look at this post I just wrote.

It’s joyous to savage someone so simply, so plainly, so completely. It becomes a powerful thing to hold up figures of what we deem to be icons of American Mediocrity and cut them to ribbons — Nickelback? Fuck you, Nickleback. I’m going to hate you and I’m going to let everyone know I hate you. Twilight? Eat shit, Twilight, you perfectly cromulent piece of vampire garbage. We roll around in our disdain like an animal covering ourselves in the scent of the cool kids, so they know we hate the same things they hate, so they can tell we’re not bought, we’re not sold, we’re not slathered in the drippings of weeks-old donkey sauce.

But I gotta tell you — I’ve turned the corner again on Guy Fieri.

This is what I’ve come to believe:

Guy Fieri is one of the more authentic presences we have. He’s not exactly funny. He’s totally affable. He doesn’t give a fuck what you think about his shitty hair. He has the gonzo balls to feed us something called donkey sauce without any of the self-reflection that the act would normally engender. This is not a man full of doubt. This is a man who loves food. He eats it with gastronomical gusto bordering on the grotesque, and he stitches that easy hammock smile between the two pillowy ranch-shellacked cheeks of his when he really likes something. You get the sense his fist-bumps are earnest as fuck. He likes these people. He likes food. He likes being on TV. He likes having restaurants and being Guy Fieri. He loves his family. He loves his work, his life, his little milk-white pubic pelt. He is who he is. I want to be that comfortable with myself. I want to be that authentic to who I am no matter who says boo about it.

So, I salute you, Guy Fieri. Never ever has there been a better example of someone embodying the phrase, you do you. You keep doing you, and we should all try to be ourselves so plainly, so boldly, so donkeysaucily. One day, Guy Fieri will diminish and go into the West and remain Guyfieriel, taking a ferry to Flavortown with the rest of the Dorito Elves. We will mourn his passing.

(And as an epilogue, Bourdain and Fieri seem to have squashed their culinary beef.)

Life Debt: Out Now!

PSST.

You.

Yeah, you.

Put down your Pokemon-abduction game for a moment.

Guess what?

LIFE DEBT IS OUT NOW.

Or, the more proper title: Star Wars: Aftermath: Life Debt: The Gang Hunts Imperials: Han & Leia’s Excellent Adventure: Jar-Jar’s Erotic Awakening 2, Gungan Bombadaloo.

You can procure it anywhere where books exist. That includes your favorite indie bookstore, or Amazon, or B&N, or that shady guy who lives in the wizard van down by the docks.

I think it’s a good book. Other people seem to like it.

The Collider Jedi Council did a smashing review video.

Sci-Fi Now gives it four out of five stars.

Tosche Station team gives it a GO review (no spoilers).

Blabba the Hutt gives a pretty spoilery positive review.

You can also check out some excerpts —

Han Solo excerpt at EW.com.

Leia excerpt at Mashable.

Maz Kanata excerpt at USA Today.

Malakili excerpt at IGN.

Hope you check it out and hope you like it. If you do like it, I’d surely appreciate a positive review somewhere. If you don’t like it — well, ha ha, ahh, I expect to be hearing from you folks one way or another. *winky shrug emoji*

My SDCC Schedule

As promised, my (tentative, may certainly change) SDCC schedule is here.

First, I want to say right up front that even if you’re not going to the con but are able to make it to San Diego, a bunch of us are doing an event Saturday morning at the Upstart Crow Bookstore! (Event page here.) Saturday the 23rd at 9AM! Kevin Hearne! VE Schwab! Richard Kadrey! And myself. Come swing by and say hi.

Okay. Onto the schedule proper:

Thursday the 21st

10AM: Signing! Location: Del Rey Star Wars Booth

1:30PM: Nerd Trivia Challenge, Author Edition! Location: Horton Grand Theatre. Featuring: Me, Patrick Rothfuss, Romina Russell, Sam Sykes, Cecil Castelucci, V.E. Schwab, Camilla D’Errico, Duane Swierczynski, and Brandon T. Snider

3:30PM: Signing! Location Autograph Area 7

Friday the 22nd

11AM: Star Wars Publishing Panel! Location: Room 7AB

12:30PM: Signing! Location: Del Rey Star Wars Booth

Saturday the 23rd

9AM: Signing! Location: Upstart Crow! Featuring: Me, VE Schwab, Kevin Hearne, Richard Kadrey

4PM: Signing! Location: Del Rey Star Wars Booth!

Sunday the 24th

11:30AM: Signing! Location: Del Rey Star Wars Booth!

Macro Monday Is A Pretty Pretty Butterfly

That’s one of the painted lady butterflies we raised in B-Dub’s butterfly garden kit that we got him for his birthday. The little flutterby hung around for a while after release to get some vanity shots, the little narcissist. Raising butterflies was a lot of fun. You should do it. You should do it and then start a butterfly farm because they’re all so delicious and sustainable and you just deep fry them for 30 seconds and them pop them in your mouth and —

Whoa, ha ha, hey, no, I’m just kidding. I don’t eat butterflies.

*quickly pokes a crumpled wing back in mouth*

*chews*

*swallows surreptitiously*

Let’s see. Any news?

I’ll do a more proper Life Debt news-purge tomorrow when the book is out.

My SDCC schedule should be fairly well finalized, and I can get that up too for tomorrow.

I’ll be gone for SDCC, then, and also for the time before, so expect BLOGGERY to be light over the remainder of July — particularly after this week is over.

I think that’s it.

Enjoy the butterfly.

Be good to each other.

Stay brave.

Drop acid and fight demons at Wal-Mart, or as I call it, “Pokemon Go.”

THE END

S.L. Huang: On The Subject Of Manpain

S.L. Huang is one of those authors who, if she ever wants to pull up blog space here at terribleminds, she’s welcome to with nary the blinky-wink of an eye. Her posts prior — one about defending big boomy popcorn fiction and another about unlikable women protagonists — are just so damn good. This one is no different. Behold: manpain.

* * *

Watch out, feminism incoming.

There’s a fan term called “manpain” that fascinates me. It refers to the phenomenon of a media property that excessively and self-centeredly focuses on a male character’s angst after tragic events happen to the people around him. As the linked Fanlore definition says,

“I’m a dude, this is my pain, this is the REASON FOR ALL MY DOUCHITUDE, BEHOLD MY EPICNESS AND DESPAIR … sometimes it leads to sitting in the dark, brooding.”

(Or just think of any scene in which a stoic Manly Man gazes into the distance as a single crystalline tear slides gently from his eye.)

When this trope is in effect, The Man’s pain is the one we are focused on, as readers/viewers, and meant to sympathize with. If his family is murdered, if his girlfriend is turned into a vampire — it is still his pain we are shown, his drama that is the important fallout.

There’s an even more disturbing subset of manpain that starts to set itself apart after you see it enough times. It’s the “Man Is ‘Forced’ To Make A Horrible Choice That Hurts Someone He Loves Just To Wring Angst For His Own Emotional Journey” trope.  For instance: Tyrion is “forced” to rape Tysha, and we see how  tragically that affects him. The Doctor is “forced” to ravage Donna’s memories to save her life, and we focus on how sad and despairing that is for him.

I have a love-hate relationship with this trope, because I have to confess that a character being “forced” to do something awful can, when well-executed, be one of my all-time favorite means of deliciously wrenching emotion. But there’s no denying the troubling trend that we so often see men being “forced” to do horrible things to women, and afterward, the woman disappears and we focus on the pain of the man. His pain. The pain he has because he did something horrible to HER.

And she’s gone from the narrative.

There’s something so very fucked-up about that.

To be sure, some of the gender imbalance here probably comes from there being a gender imbalance in protagonists — we’re naturally focused on the protagonist, and the protagonist is disproportionately a man. But even when a woman has to make a horrible choice and do a terrible thing, it tends to be framed differently. See when Buffy had to kill a re-ensouled Angel at the end of Season 2 — we don’t get to sympathize with her single stoic tear over swelling orchestral music as she stands in the rain, tragic and romantic and remade. Instead, she’s severely depressed, her friends turn against her, and instead of striding off into the distance in a swirling long coat to be a lone dark knight, she has to come back and try to fit herself back into her old life — where her friends immediately start yelling at her about having their own problems.

Oh, yeah, and Angel comes back. And gets better. And gets his own TV show where he is the definition of manpain and can brood into next century with all the focus on his angst forever.

I’m still waiting for Tysha and Donna to get their own shows.

In Plastic Smile, the fourth book of my Russell’s Attic series, I set out with one of the subplots to do something very aware and very specific: to take a typical Manpain scenario and tell it from the opposite point of view (and hereafter will be some spoilers for the book). Cas, my main character, meets someone from her past who did something horrible to her — because, as he sees it, he had to; it killed him to hurt her but he had to; the guilt has eaten him up forever but he had to; yadda yadda etcetera MANPAIN.  If this book were told from a different perspective, that same male character would be the Epic SF Hero Filled With Angst, brooding in the dark as we feel his moral anguish, and Cas would be a distant, grievous memory.

Instead, she punches him in the face.

It’s interesting, the responses I’ve gotten on this character and this scene. Male readers have tended to be neutral on the arc and the character or even view him as weak. Whereas female readers have almost universally come back with, “OMG I HATE HIM SO MUCH YEAH CAS PUNCH HIM IN THE FACE PUNCH HIM AGAIN!!!”

Of course, a few first readers on one book aren’t enough to draw empirical conclusions. But what I can say is this: it’s a pervasive trope, and at least some of us are really dang tired of seeing men given sympathy for the awful things done to women.

It ain’t your pain, dude. It’s ours.

SL Huang majored in math at MIT and now uses it to write eccentric superhero novels. The box set of the first three Russell’s Attic books is on sale for 99 cents through July 11, and the fourth book is available now. Online home: http://www.slhuang.com and @sl_huang on Twitter.

Beth Lewis: Five Things I Learned While Writing The Wolf Road

ELKA BARELY REMEMBERS a time before she knew Trapper. She was just seven years old, wandering lost and hungry in the wilderness, when the solitary hunter took her in. In the years since then, he’s taught her how to survive in this desolate land where civilization has been destroyed and men are at the mercy of the elements and each other.

But the man Elka thought she knew has been harboring a terrible secret. He’s a killer. A monster. And now that Elka knows the truth, she may be his next victim.

Armed with nothing but her knife and the hard lessons Trapper’s drilled into her, Elka flees into the frozen north in search of her real parents. But judging by the trail of blood dogging her footsteps, she hasn’t left Trapper behind—and he won’t be letting his little girl go without a fight. If she’s going to survive, Elka will have to turn and confront not just him, but the truth about the dark road she’s been set on.

* * *

Hands-On Research is the Best Kind

There are a lot of survival elements in The Wolf Road and while I devoured a dozen such TV shows, read the SAS Survival Handbook cover to cover, and drew on my memories of holidays in the Canadian wilderness, nothing beats hands-on experience. There’s nothing like sleeping in the woods, under a shelter you made yourself from branches and leaves, with a fire you also made yourself (without matches or a lighter, may I add) blazing just outside. It’s the kind of full sensory experience you can’t really read about. Well, you can, but doing it yourself is way more fun. To write The Wolf Road, I undertook a three-day survival and bushcraft course where I learned, among other things, fire-making, shelter-building, trapping techniques and preparing game. I wasn’t about to shy away from skinning a rabbit. What kind of survivalist would I be if I got squeamish? Elka, my main character, is far from squeamish. She’d have laughed me out the woods if I got all precious about it. So I skinned that rabbit, and gutted those trout and pulled the head of that pigeon and did it all in the name of research. It was utterly invaluable in creating – I hope – an authentic experience for Elka and for the reader. From now on, as much as possible, I’ll be getting my hands dirty for my writing.

Don’t Be Afraid to go Dark

The Wolf Road takes some pretty nasty turns (see what I did there?). There’s a lot of violence and sometimes quite visceral, brutal scenes and because I was writing in the first person, I couldn’t shy away or fade to black or switch POV. Those scenes and experiences are what shaped my character. Elka wasn’t the same after she was chained to a table or had her ribs broken by a bastard with a crowbar. I felt like glossing over those scenes would be doing my character and readers a disservice. We need to see the dark to appreciate the light. I needed to have the absolute worst most awful terrible things happen to Elka so when something good happened, she grabbed on with both hands, dug her heels in and didn’t budge.

The Setting is a Character Too

And it needs to be developed. It needs to be that chosen place or time on purpose, for a reason. You set your story in London, it’s got to feel like London and won’t be right set anywhere else. You set a story in medieval Spain, I’ve got to be able to smell it, taste it, feel like I’m living in it. The setting for The Wolf Road is a near-future British Columbia. I tried very hard to evoke the wilderness accurately and fully. I learned to take my time immersing the reader in the world, building the atmosphere of the land and the wild and I hope it paid off. In one of my favourite books, Wuthering Heights, Bronte brings the moors to life. She uses the weather to great effect, makes the reader feel the cold and the wind and when you read her descriptions of the heath, you can almost smell it. That’s always stuck with me and something I wanted to really push in The Wolf Road. The weather especially is such a wonderful vehicle for conveying all kinds of things; emotion, passage of time, danger, foreboding. I found the way Elka interacts with the landscape and the wildlife to be such a huge part of her character that the setting just had to become something just as important and well-rounded.

Watch TV and Movies. A Lot.

Of course you should read too, you’re not getting out of it that easy. Jeez. I may get drummed out of the Writer’s Club for saying this and you all may think I’m cheating, but I’d rather watch a TV show or a movie for research than read a book on the subject. I purposefully avoid similar books – fiction and non-fiction – when writing a story. I don’t want to know how Awesome Writer described a forest, I want to see the forest and describe it myself, which is where the gogglebox comes in. I watched dozens, probably hundreds, of hours of Discovery Channel shows on Alaska and Canada. So much so it became something of a problem in my house. I didn’t much care for the people but when you can’t hop a plane to the Yukon to see what the rivers look like when the ice melts or how the rain clings to moss in the spring, these hour-long windows into that world become invaluable. Being able to visualise my setting, characters, clothing, everything, and then put it all into my own words is so important for me.

I Should Always Trust My Gut

This is probably the most important lesson I learned from writing this book. I’d written four novels prior to The Wolf Road, or was it five… They will never see the light of day until my great-grandchildren unearth them in an attic and try to make a quick buck. They’re not terrible but I wrote them wrong. I wrote what I thought people would want to read, rather than what I thought was best for me, my characters, and the story. I suppose I wrote for the market, with a beady commercial eye, thinking ‘this was popular in this book/movie/tv show, so I’ll put it in my book and we’ll be quids in’. You can guess how well that worked out. In those previous novels I’d tried to follow someone else’s rules and second-guessed my decisions based what someone else may think is best. Not with The Wolf Road. That baby is all me and all gut. I learned to follow my instinct and more importantly to trust that instinct was right for what I was trying to achieve with the story, something I’ll be doing for every book I write from now on.

* * *

Bio: Beth Lewis was raised in the wilds of Cornwall and split her childhood between books and the beach. She has traveled extensively throughout the world and has had close encounters with black bears, killer whales, and great white sharks. She has been, at turns, a bank cashier, a fire performer, and a juggler, and she is currently a managing editor at Titan Books in London. The Wolf Road is her first novel.

Beth Lewis: Website | Twitter

The Wolf Road: Amazon | Indiebound | Goodreads