THIS IS THE END: You Can’t Have the Milky Way

This is the End (2013) – Directed by Seth Rogen and Evan Goldberg – Starring James Franco, Jonah Hill, Seth Rogen, Jay Baruchel, Danny McBride, Craig Robinson, Michael Cera, Emma Watson, Rihanna, Kevin Hart, Jason Segal, David Krumholtz, Paul Rudd, Martin Starr, Mindy Kaling, Channing Tatum, Christopher Mintz-Plasse, Aziz Ansari, and the Backstreet Boys.

BE AWARE THAT SPOILERS FOLLOW, SO DON’T READ IF YOU DON’T WANT TO SEE PLOT DETAILS DISCUSSED.

In broad strokes, I’m not a huge fan of the movies of James Franco and Seth Rogen, and I’ve never gone to see a single movie starring any of the stars of this film (Franco, Rogen, Jay Baruchel, Danny McBride, Jonah Hill, and Craig Robinson) because it starred them. I like Craig Robinson, I enjoy Danny McBride in small doses, I think Jonah Hill should start doing more dramas than comedies (because he was excellent in Moneyball), and Jay Baruchel has the most horrendous voice this side of Fran Drescher.

When I first learned of THIS IS THE END a few months ago, I had zero interest in seeing it, but when I first saw the trailer for the film, I thought it was kinda funny, and the more trailers I saw, the more I started to actually look forward to it. I’m also glad it came out on Man of Steel weekend because I absolutely hate going to a crowded movie theater and this gave me something to see without having to jostle for elbow room with loud high school kids or fundamentalist Superman fans who’d spend the entire film bitching about what Zack Snyder got wrong.

There weren’t many people at the screening for THIS IS THE END and that’s a shame because this is a really funny movie that helps to reaffirm two theories: 1. judge films by the films on the screen, not by the people in them, and 2. we’re on the verge of a 20 year run of Emma Watson being the most beautiful woman on the planet.

From start to finish, THE END delivers a consistent stream of laughs. Co-directors and co-screenwriters Seth Rogen and Evan Goldberg do a really great job balancing the jokes between the movie’s stars and they have a solid subplot playing under the apocalypse, with the divide between Rogen’s longtime friend Jay Baruchel, and his new Hollywood pals. While it’s not a new conceit anymore to see actors playing alternate versions of themselves on screen (it’s been about a quarter century since It’s Garry Shandling’s Show, which wasn’t the first show to do this but feels like it’s the most inspirational for this generation of filmmakers), the actors of THE END largely do the style proud, playing some combination of who they really are while also taking the piss out of their own public image.

Take Franco. He had a nice run as a Renaissance Man of sorts (or what passes for one in Hollywood) these past few years and in THE END, he’s the most accomplished actor in the bunch. It’s his house – his semi-ridiculous house – where the main action takes place, and he’s got it stuffed with his own artwork (including a giant penis and a pair of paintings that include just his own name on one and Rogen’s on the other) and props from his former movies. His personality is a reflection of the house; he is both the most grown-up of all of them, but also the most scattered. As we learn from several comments party-goers make, the house is designed in such a way that you can hear every conversation from every room, which suggests a paranoia that’s reflected by his mistrust of McBride and his neediness to have Rogen’s approval.

Franco and Baruchel represent the two sides of Rogen’s life: Hollywood and pre-Hollywood, and Rogen and Goldberg do a pretty good job weaving this subplot through the movie. It does make Baruchel unlikable, because even though he’s a Hollywood actor and all, his schtick is that he’s anti-Hollywood, and doesn’t like coming to town. The movie opens with him arriving at the airport to spend some time with Rogen, but after a day filled with Carl’s Jr, candy, video games, and pot, Rogen wants to go to Franco’s house for a huge party. Baruchel doesn’t want to go because he doesn’t like Rogen’s new friends. The film positions him as both the “good guy,” because he’s the first to realize what they’re experiencing is the Biblical apocalypse but also kind of a dick because he doesn’t want to be there and he thinks he’s better than everyone else.

Unfortunately, in the film’s one major misstep, the film ends up rewarding Baruchel instead of Franco with a trip to Heaven. It has to do this, really, because of the way the film is set-up. In a dueling battle of buddies, his long-term friendship with Rogen wins out over Franco’s shorter-term friendship, even though Franco comes off as the much-nicer guy. Not a great guy, mind you, because Rogen and Goldberg wisely give everyone both positive and negative qualities. All of the leads do good things and bad things: McBride starts by making everyone breakfast and ends by becoming a cannibal, Jonah Hill is the “sweetest guy” at the start and prays to God to kill Jay Baruchel near the end, and Craig Robinson is generally the nicest guy throughout the film, which is why he’s rewarded with the group’s first trip to Heaven.

Yes, Heaven. This really is the apocalypse taking place and not some kind of shared drug illusion. Franco’s party is filled with all sorts of young Hollywood types and for the most part everyone does a good job lampooning themselves. The scene feels like it’s included just because Rogen could get Kevin Hart and Mindy Kaling and Jason Segel to show up for a few hours, but it sets a nice tone. Michael Cera seems to have the most fun creating a cinematic alter ego, a coke snorting, ass-slapping, sex fiend, but it’s also the least fun to watch because it’s so over the top and so far away from his image that it just feels like a put-on. Everyone else crafts an alter ego that at least feels believable. I think my favorite bit is a quick conversation between Segal and Hart where the former is describing a really sitcomish, obvious bit from what’s clearly (though unspoken) How I Met Your Mother about how he’s got cake on his face which signals his guilt at eating the cake left in the fridge, and Hart replies with a knowing, “That’s why you’re #1.”

The other person who feels a bit off is Emma Watson. Like with Cera, the film wants to milk comedy out of the fact that she does things you don’t believe, but she can’t quite commit to doing something ridiculous. While Cera comes off too over-the-top, it’s admirable that he commits so fully to a role that has him slapping Rihanna’s ass, blowing cocaine in Christopher Mintz-Plasse’s face, getting a combo blowjob/rimjob from two girls in the bathroom, and finally being the first celebrity killed when the world goes to hell. Watson’s appearance just never really comes together. I don’t believe she’d even come to this party, and if she did, I think it might have worked better to play up her awkwardness or go all out and have her do the kind coke snorting/ass slapping bits that Cera engages in.

Watson comes back later in the film as an ax-wielding bad-ass, but she bails after hearing the guys outside her room talking about who’s most likely to rape her. It’s an edgy bit. After Franco puts her in a bedroom so she can rest, the guys are in the hallway and Baruchel awkwardly raises the issue about wanting to make sure that they make her feel safe, since she’s the only woman there. The other guys are horrified by his insinuation and they start arguing about it, which Watson overhears and bursts from the room with her ax, demanding they give her all their liquids, and then she takes off. I just feel like I’m supposed to go, “Oh, Emma Watson with an ax, that’s funny.” But it’s not. It just doesn’t work as well as everything else in the film works because it’s just a series of scenes, not an arc or a real character.

But that doesn’t take away from the film. All of the leads are really funny and have really good moments. The scene in the kitchen where they argue over a single Milky Way candy bar after they realize they’re stuck together perfectly encapsulates the film’s humor. By spreading out the workload, the film is constantly moving, even though they’re largely stuck in one place. All the leads are willing to laugh at themselves, and they do a good job coming together (like when they make Pineapple Express 2 with a single camera) and bursting apart (like when they kick McBride out of the house) time and again.

I really like this movie. I laughed the whole time and it manages to tell a good story that creates and allows for the jokes, instead of simply being a host of bits strung together. If you completely hate these actors, that might be too much to overcome, but if you’re willing to give them a shot, this is a very funny, very unique movie.

THE EVERYTHING: Introducing Gunslinger Forever

The Everything Banner

Hi, all, and welcome to another installment of randomly posted fiction. Last time out, I posted “Why Grant Jannen Can’t Have Sex,” a story that’s part of my long-term project, SUPERHEROES ARE STUPID. This time around I’ve got something completely different, a little tale I call, “Introducing Gunslinger Forever” that will be the first tale in THE EVERYTHING, VERSE ONE. Like SUPERHEROES ARE STUPID, THE EVERYTHING is a long-term, anthology project.

What makes THE EVERYTHING different is that even though it’s “verse one,” it’s actually a sequel. A sequel to what, you might be asking? The answer is right in the title. It’s a sequel to everything. I’ve got several different universes up and running, at this point: GUNFIGHTER GOTHIC and HAUNTING OF KRAKEN MOOR take place in one universe, DREAMER’S SYNDROME in another, SUPERHEROES ARE STUPID in a third, THE DEEP (where Harpsichord hangs out) is a fourth, and I honestly haven’t decided if STUFFED ANIMALS FOR HIRE and ADVENTURES OF THE FIVE represent a fifth universe, or a fifth and sixth universe.

People inquire quite often (for which I am incredibly thankful) about when we’re gonna see Austin again or Farm again or Jill and Hanna again, and the truth is I really don’t know. I’ve got the next volumes of most of those universes in the pipeline somewhere, but I write less by ordered plan and more by whatever seems like a good idea when I sit at the keyboard.

Which is where THE EVERYTHING comes in. The “Everything” is the term I use for all of my writing. It’s my version of “the multiverse,” and it’s a term and concept I introduced back in my MV1 days, when I was writing ALL GOD’S CHILDREN.

And that’s what THE EVERYTHING: VERSE ONE will be – a way for me to include all of my characters in a story without doing a straight universe-jumping team-up. How I will accomplish that is touched upon here, where I introduce the master of ceremonies for this collection, the Gunslinger Forever, which, as he tells us below, isn’t his name, it’s his title. I like to think when the movie gets made (*coughcough*), we’ll get Dennis Quaid to play him.

Get ready for something a little different. Thanks for reading and thanks for any feedback – good or bad – you feel like tossing my way.

———-

“Introducing Gunslinger Forever”

Written by Mark Bousquet

People always asking, Mr. Forever, what’s the most realistic Western ever made?

I tell ‘em, City Slickers, ’cause I personally seen Jack Palance die on a horse 18 times.

“Always Dying on a Horse” Palance is what I called him, the Old Gristle.

Actually, that’s what Billy the Kid called Palance: the Old Gristle.

Butch called him Jack.

Sundance called him Voltan, and then usually chuckled something about a slaying Hawk.

I didn’t get it then. I don’t get it now.

Sundance was exactly that kind of baby.

*

The year was 2619, and me, Bob Hope, and Cleopatr-

No, cat that. I don’t wanna tell that story. Every story about Cleopatra ends up being about her, and people only really want to know who she opened up for. That diminishes who she is, and who she is ain’t the story I want to tell or you want to hear or-

Ah, almost fell into it.

That’s who Cleopatra is.

*

The year was 1851. It was July. I was in Camico, Oklahoma, doing a job for the Rat Pack. Not the latter Pack but the original one. Bogey’s Pack, not Frank’s. When I say I was doing a job for the Pack, I mean that I was doing a job for the lovely Miss Lauren Bacall. She was always worried about the trouble Bogey and the boys would get in, but not in a nagging kind of way. You ask me, she liked when the boys went out because it gave her alone time to do the things she really liked: singing, reading Shakespeare out loud to homeless cats, and plotting the destruction of the Everything.

She’d never go through with it, of course. Ol’ Lauren liked to play it a bit rough but down deep she had a heart of gold. (Not literally, of course. LB’s heart was made of blood and tissue. It was Marilyn that had a heart of actual gold. All eighteen of them.) No, plotting the destruction of space and time was just Lauren’s way of one-upping all the other ladies out there in Hollywood. People will tell you she passed on all her knowledge to Ann-Margaret, but that’s a god-durned lie if I ever heard one.

Where was I?

Right, 1837.

The year was 1837. It was July. I was in Camico, Oklahoma, doing a job for Lauren Bacall. I’d been to Calico once before, fourteen years later when I was on another mission for LB. That time around, I killed a man who was going to blow up the hotel where Bogey, David Niven, and Robby the Robot were staying. This time around was something a little different.

“Mr. Forever,” she said as she stood on the diving board of the pool at the Playboy Mansion, “I need you to kill an Indian for me.”

Now, two things. One, I called it the Playboy Mansion but this was years before Hef bought it. Storytelling, son. Two: “B, I don’t go for that racist stuff.”

“I’m not being racist, Mr. Forever,” LB insisted. It was early evening and the sky behind her was plum-colored. She wore a light blue cloth that flowed over and around her body in the night’s gentle breeze. The blue cloth swirled around her as if it were making love to the night’s breeze and Lauren was just there to bear silent witness. “There is a man who needs killing and he happens to be an Indian.”

“American Indian or Indian Indian?”

“American, of course,” she smiled, a bit too condescendingly for my tastes. “You are at your best in the West, Gunslinger. I have other agents to handle my affairs in the British colonies.”

“I do not like your insinuation that there are others better’n me, LB,” I told her straight. “I really do not.”

“The man you need to kill is named Petrad Plainsman,” she continued, flexing her legs slightly so that the diving board began to gently sway up and down in a most hypnotic manner. “He’s a Christian now and he kills three children on July the 18th, 1837 in Camico, Oklahoma.”

“Thank you, Denise,” I said to the black maid who brought me a milk-flavored Slurpee, and then turned my attention back to LB. “Kids die all the time, lady. What makes these three special enough to be saved?”

Lauren let the diving board come to a stop and then stepped off to stand on top of the pool water. Slowly, she walked in a loose circle, the water cascading over her bare feet. I could tell something was eating at her soul, but I couldn’t quite see it. Might have been the angle of the moonlight. Might be the blue cloth lovemaking with the wind.

“What is it, LB?” I asked.

“Can I trust you, Gunslinger?”

I didn’t answer that. I never answered that. This Slurpee was delicious.

She continued. “I don’t care about the kids.”

Truth gets you closer to the truth.

“I don’t even care about the Indian.”

“Then what is it?” This Slurpee was god-durned delicious.

“Bogey, Mickey, and Sir Lancelot are going to rob a steamboat on the Mississippi that day.”

“Why?” This Slurpee was the god-durned best tasting thing I have ever god-durned tasted.

“Oh, you know the boys,” she said, allowing her lower legs to lower themselves beneath the surface of the water. “They want to steal something off a steamboat and then put it back years later when Samuel is working on that same boat.”

“Why?”

Lauren waved her hands in the air. “They think it will lead to Samuel taking the name, ‘Spooky Mc7′ rather than ‘Mark Twain.’ Childish, I know, but they are worried you will try to stop them given your affinity for Samuel.”

“God-durned right I’ll stop them,” I said, sucking more Slurpee through the giant red straw Denise had been so kind to bring me now that I was past the chewing stage of proper Slurpee-eating etiquette. “You tell me the name of that steamboat right now, LB, or I’ll never work for you, again.”

She was horrified by this, and her slow elevator ride to the bottom of the pool stopped at her waist. “You wouldn’t!”

“Gunslinger don’t lie.”

“You lie all the time!”

“Gunslinger don’t lie tonight.”

Lauren took in a deep breath and let it out slowly. “Fine, I will tell you the name of the boat, but only after you kill that Indian.”

“Again, I ask, why should I stop that killing? Kids die all the time. Kids-”

Denise stepped back into sight at that moment and kissed me. I kissed her back. I dropped the Slurpee. It was a shame to see it go, but it would have been a bigger shame not to use both hands on that woman’s lower back.

“Are you offering yourself as part of this deal?” I asked when we pulled our faces from each other.

“Absolutely not,” she insisted. “I’m just horny for cowboy.”

“I’m a cowboy.”

“That must be why I’m horny for you.”

I kept my hands on her hips but I turned my head back to Lauren. “You got a deal. The time and location of that steamboat in exchange for killing the Indian for killing those kids.”

“Deal,” Lauren said as black squids emerged from the depths of the pool to surround her. “Yummy,” she said as they began to touch her with their tendrils. “I can never remember which one is Jenson,” she murmured.

“I want one more thing,” I said, turning back to Denise.

“Yes?” she smiled, unzipping the top of her nurse’s outfit. (Did I forget to mention she was wearing a nurse’s outfit? God-durned Los Angeles.)

“I’m afraid this is a deal breaker,” I said hard, so she understood I was serious.

“What is it?” she asked, revealing her body to me, and pulling me down for another kiss.

“I want the god-durned recipe for that milk Slurpee,” I said, and when she said yes, I picked her up into my arms and carried her into the house.

“The billiard room,” she whispered in my ear.

“We used that room last ti-”

“The billiard room,” she insisted.

The billiard room, it was.

*

“Where you from?”

“Pillow talk from a cowboy?”

“I don’t see any pillows on this pool table.”

She smiled, bright, assured, and mysterious, then tightened her grip on me. We stumbled into this room 32 minutes ago and had been cuddling ever since. I was still dressed like a cowboy and she was still dressed like a nurse; one of us was wearing an outfit and the other was wearing a costume. Loosening my grip, I asked her again.

When she answered, “Brooklyn,” I could see her let her guard down.

“That’s not really what I meant, darling,” I said. She smiled, and that smile told me what I needed to know. “Ah. 1977. Good year for New York.”

“Not for me,” she answered, sitting up, hopping down, and walking across the billiard room to the wet bar.

“That why you volunteered for this assignment?” I asked, still on my back.

“How did you know it was 1977?” she asked as she began to make me another milk-flavored Slurpee from a vintage mid-’80s machine.

“God durn it woman,” I said, pushing myself up on my elbows to look at her fully clothed back. “What milk are you using? D? Two percent? Skim?”

Denise looked over her left shoulder and smiled. “If I tell you that, you might not come back and see me.”

I scoffed, hopped off the table, and moved to her. “I been here before with you, you just haven’t been here before with me.”

“I hate time travel.”

“This ain’t a romance. I cuddle with lots of women. I’m a chronic cuddler.”

“Who wants romance?” she asked, turning around with the Slurpee.

I frowned.

“What is it?” she asked. “It’s the same mix. Promise.”

I looked at the tall pint glass it was in. “Don’t you have any more Slurpee cups? It will taste wrong in another glass. The cheap plastic makes it all taste just right.”

Denise rolled her eyes and handed me the pint. “Shut up and drink it, cowboy.”

“Do you have another straw, at least?”

Denise shook her head, but reached behind her to find me a straw. “It’s authentic,” she said and came back to hand it to me. When I went to grab it, though, Miss 1977 pulled it back. “Not until you tell me how you knew the year I stepped back.”

I shrugged. It wasn’t a secret. “Your smile,” I said.

“My smile?” she asked as I grabbed the straw.

“Years smile differently,” I explained and sipped the milk Slurpee through the straw. It was good. Wish it was in the right cup, though.

Denise took my hand and led me to the sofa on the other side of the room. “My back hurts,” she said as she plopped down on the leather.

I pointed to the billiard table.

She smiled and ran a hand through her short hair. “I miss my ‘fro.”

“I miss it, too, and I ain’t ever seen it.”

I let her eyes study me as I worked slowly on the Slurpee. Before each sip, I conjured up a particular brand of milk in my mind, hoping the memory would match the experience.

It always failed.

She took a finger and began running it over my clothes. “How old are you?” she asked.

“Old enough.”

“To drink?” she asked playfully, taking my Slurpee and giving the straw a long suck.

“Old enough to have given up on romance,” I answered.

“That’s sad,” she said honestly, handing the Slurpee back to me. When I didn’t contradict her, she twisted on the sofa so her back was against the sofa’s arm and her lower legs were draped across my lap. “My sister,” she said, putting her hands into the ghost of her ‘fro, “got mixed up with a Dracula cult.”

“One of the Blackulas?” I asked.

“No,” Denise sighed, as if that would have been preferential. “Some white dude in Manhattan. Had himself what he called a ‘Doll Harem’ of non-whites. My sis was his Nubian Vamp.”

Suddenly, I didn’t feel like drinking anymore. “The Lamb Magnificent,” I said, putting my Slurpee glass on the floor. “Your sister was involved with the Lamb Magnificent. God durn, I’m sorry.”

Denise’s eyes closed. “That’s what … that’s what he said to me when I killed him,” she whispered. “’Your sister was involved with the Lamb Magnificent. I’m sorry.”

I leaned back against the dark brown leather of the sofa. I did not want to turn to Denise, but I knew I had to turn, and I knew I had to shatter her memory of that night. “You didn’t kill him,” I said, “and he wasn’t sorry.”

Her eyes told me she knew I was speaking the truth, but her mouth was not ready to fall in line. “I chopped him into 47 pieces,” she said. “One for every girl he kept in his penthouse.”

I sucked on my teeth and shook my head, but kept eye contact with her the whole time. “I’m sure you did, and I’m sure it felt good and right, but you didn’t kill him. You just put him to sleep for a time.”

“No.”

“Don’t play weak, woman,” I ordered. Sometimes you had to get rough with a dame. I didn’t like it, but sometimes it had to be done. “I can tell from the way you cuddled that you’re as tough as the planet’s core when you need to be, and right now you need to be.”

“I need to get back,” she said plaintively. “I need to save my sister from him coming back.”

I frowned and she knew what that meant.

“I need to save my sister,” she repeated, knowing that was a reality not coming into being.

“Who sent you to 1977?”

She dropped her head.

I shook my head and looked to the fan on the ceiling. I didn’t want to cuddle anymore. I told her why. “Woody Hunching Allen,” I said with as much poison as I could muster. “Motherhunching amateur wizard.” I looked at Denise and held that look until she turned her head to look up me. All at once I could see 1977 coalesce. “You went to see Annie Hall, didn’t you? And sat through the credits, feeling all dream-like in your sadness over your sister’s involvement with the Lamb Magnificent. It was, what, three or four weeks after you killed the Lamb Magnificent and left your sister with a Healer? As you were sitting there letting the credits roll over you, the Wizard Allen appeared and invited you to stay, didn’t he? Said some of his friends were coming and there was gonna be a special screening.”

“Stop,” she whispered, but I didn’t.

Gunslinger don’t stop.

“You got drunk. Not on any booze, but on the celebrities. Actors, actresses, disco singers, maybe an athlete or two. A film started playing. Black and white. Rough cut. Quick jumps. Hard edits. You started wondering where the drugs were. You’re not a user but you weren’t a virgin, neither. You knew what the right drug could do, where the right drug could take you, only there wasn’t any drugs, were there?”

Denise dropped her head. “How do you know this?”

“You’re smart, but you were out of your league. Even if Allen was a hunching amateur he knew the Arts a whole lot better than some college-educated girl from Brooklyn.” I knew my words hurt, but I didn’t stop. Gunslinger don’t stop. “What you didn’t know, what you couldn’t know, was that you were the drug. They were feeding off you. Psychic vamps. Not Allen. He was a wizard. I already told you that. He was the conduit getting you into them. They were tripping unicorns on your pain and solitude. And that’s when it happened, didn’t it? That’s when the wizard gave you a purple rose and you ate it, and then you looked at the screen and a woman stepped halfway out of the picture and into reality. She reached out for your hand and you took it, and as she stepped out of the picture, you stepped in. Right into this mansion. Right into the waiting arms of ol’ LB out there. What did the wizard tell you? That you could save your sister if you went through the screen?”

She hung her head.

“The wizard said, ‘If you kill a man for me, I’ll give you back your sister,’ didn’t he?”

“Yes.”

“And were you going to kill me when I slept?”

“Yes.”

“Baby doll, what’s my name?”

“Gunslinger.”

“Gunslinger what?”

She looked up. “Gunslinger Forever.”

“It ain’t just a name,” I said. “Heck, it ain’t even a name, at all.”

“But-?”

“It’s a title. Gunslinger Forever. Force of the hunching cosmos.”

“You can’t die.”

“I can die. But not by your hand. And not by the hand of no amateur hunching wizard from one-nine-seven-seven. You still want to try?”

“I want to save my sister.”

I nodded. It couldn’t be done but I understood the impulse. “Sleep. Kill an Indian. Stop Bogey. Save your sister. You in?”

Denise’s hand reached between the cushions and jammed a dagger into my heart.

I sighed. “I told you,” I said, pulling out the bloody knife, “I don’t believe in romance.”

She took me upstairs and we cuddled until dawn.

*

Four AM. Can’t sleep. Denise snores like a turbo chainsaw cutting through gravel. I don’t mind saying this woman is a dang fine cuddler of the highest order. Pity about her sister. Pity about the Lamb Magnificent getting his claws into the Wizard Allen.

I reach down to my pants pocket and pull out my white cell phone. Firing it up, I hit an app labeled, “Movies” and point it at the TV on the bureau beyond the foot of the bed. The black and white box blips to life. On my cell I start scrolling through movies but while I can’t sleep my mind won’t settle, either.

I’ll probably have to kill Denise before this is over, and I’ll definitely have to kill her sister.

I hit “Random” on the touch screen and the TV screen goes scratchy and then comes back to life. A movie starts playing. After the company’s logo – Atomic Anxiety Films – whirls past, the title wipes across the screen, all 1950s sci-fi drama-like. Good. I haven’t seen this one. I hope it sucks hard enough that it puts me back to sleep.

It’s called, Harpsichord and the Cathedral Crickets.

Sounds dreadful.

I wonder if LB is in it.

———-

And that’s that. More to come when it comes. Thanks for making it this far.

———-

Gunfighter Gothic BOTU3If reading this makes you want to give me money in exchange for more stories, you are in luck! I am the author of multiple novels and collections, including the recently released The Haunting of Kraken MoorGunfighter GothicStuffed Animals for HireDreamer’s SyndromeHarpsichord and the Wormhole Witches, and Adventures of the Five. He has also published a review collection entitled Marvel Comics on Film, which covers every cinematic and TV movie based on a superhero from the House of Ideas. A complete listing of all his work can be found at his Amazon author page.

Atomic Interview 12: Talking ONE FOOT IN MY GRAVE with Joel Jenkins

One Foot in My Grave Front Cover 1200x1763One Foot in My Grave (2013) – Written by Joel Jenkins – Pulp Work Press.

Welcome back, everyone, for the 12th installment of my Atomic Interview series. If you’re a regular reader of the Anxiety, you know I’m taking a break from writing reviews for the time being but I still hope to have new interviews and new fiction up through the summer. Today, I’m happy to post my interview with Joel Jenkins about a host of topics, including his latest novel, ONE FOOT IN MY GRAVE (available for purchase here).

Official Description of ONE FOOT IN MY GRAVE:

September Peterson has received death sentences many times from well-meaning doctors speaking in hushed tones. Living with cystic fibrosis means that he’ll die from cystic fibrosis–a long and excruciating death–unless, by tempting fate, he can find a quicker, faster way to go. When September’s cheerleader fiancee dumps him for a college man, September picks fast cars, motorcycles, and hard alcohol to do the trick, then witnesses his life unravel into a series of death defying encounters–all the while battling his own inner demons.

Mark Bousquet: Joel, your latest full length work is called ONE FOOT IN MY GRAVE. In the Prologue, you introduce the book by writing: “On his death bed, September requested that I write his life story. I could not deny him this last request, and I’d already done taped interviews with him at a prior time, so much of the groundwork was already laid. For years, however, I struggled with just how I would tell his story, and then it struck me that I shouldn’t complicate things. I should tell the story in his own words, just as he related them to me those cold days in November. Still, assembling those stories into some rhyme or reason was a daunting task and the reader will note that in addition to grouping them chronologically, I also group them thematically.” This narrative style – recreating yourself less as the novelist and more as a transcriber of another’s story is a technique I employed in my last novel, THE HAUNTING OF KRAKEN MOOR. Your approach in GRAVE is less the straight transcriber and more active than my role. Can you talk about why you tried this approach for GRAVE and any of the pros and cons that you experienced while writing the story?

Joel Jenkins: In this case, after much mulling and pondering, I realized the obvious–that it would be much easier to relate September’s attitude and viewpoint if his story was written in first person. As you noticed, my role as transcriber is a bit more active than is often the case, but less active than, say, Watson who transcribed Holmes stories. The reason for this is that I was present for some of the events transcribed, but I also made a conscious decision to downplay my presence or role, because first and foremost this is September’s story and not about me.

The limitations of first person are myopia or limited vision, and the handicap of not being able to draw on any other viewpoints. The story being told may be reliable or unreliable depending upon the narrator and there is no such thing as an unbiased viewpoint. In ONE FOOT IN MY GRAVE these factors worked in my favor, I think, because I wanted to get inside September’s head and let him tell people what makes him tick.

Mark Bousquet: September Peterson is a man with cystic fibrosis and after getting dumped, he “witnesses his life unravel into a series of death defying encounters–all the while battling his own inner demons.” You’ve got a guy in a bad situation thrust into a worse situation who then seems to attack the life he has left. Where is September when the book opens?

Joel Jenkins: September is about to get shot because some drug dealers think he’s a snitch. Although I wasn’t present for that event, I was present at that time period and witnessed related events that tended to corroborate September’s story.

Mark Bousquet: Does the cystic fibrosis/getting dumped double shot reveal a new part of his personality or does it exacerbate the man who was already there? At one point in the story, September mentions that he “tops out” at around 150 pounds but likes to project himself with the confidence of a bigger man. Was that attitude always part of his character?

Joel Jenkins: That’s an interesting question I’m not sure I can completely answer. Having cystic fibrosis deeply affected his personality. As far as getting dumped, it was the impetus that exacerbated the self-destructive tendencies which were already there. September always had tons of attitude and had few qualms about projecting that attitude or getting in the face of people much bigger and stronger than him.

Mark Bousquet: What is he trying to accomplish and what’s standing in his way?

Joel Jenkins: September wanted love and acceptance and to live a worthwhile life, but just like any of us he had to battle our own natural tendencies. September’s life was a dramatic illustration of that personal battle.

Weird Worlds of Joel Jenkins

WEIRD WORLDS OF JOEL JENKINS

From an ancient temple in the icy Martian mountains to a forbidden road haunted by the ghost of an Indian brave, this collection of tales will take you on a thrilling journey. Meet vampire hunters, a rock musician who takes on the heavyweight champion of the world, the reluctant warrior of the mystical land of Saffronyia, giant Nazi robots, and the Mormon gunfighter Porter Rockwell … as well as a few hungry apes and one very lovely assassin.

This collection of short stories and novellas ranges over the last twenty plus years of my writing career and includes my first published short story and a host of out of print and hard to find tales, as well as some of my newest endeavors. As usual, I have a hard time containing myself to one genre, which I’m told is a marketing nightmare. To make things worse, some of the stories even mix genres. What’s the one thing in common with the tales inside this book? They all tend to have some weird, supernatural, supernal, odd or strange elements (even the one non-fiction piece entitled The Ghost of Firetrail), and they all have loads of action and adventure.

Mark Bousquet: You’ve recently released a collection of short stories entitled WEIRD WORLDS OF JOEL JENKINS. You mention that these stories are culled from the last 20 years of writing. We’ll talk content in a minute, but first, what was the impetus for getting all of these stories together in one place?

Joel Jenkins: A reader contacted me and suggested I put together a collection of short stories and novellas for publication. At first I resisted the idea, since I like to package stories according to characters, but I gradually warmed to the concept since some of these character-themed collections may be years or decades away, and I also realized that I had a number of one shot stories featuring characters that I might never return to. A number of these stories were previously published in wide variety of places and are difficult to find.

Mark Bousquet: In your “From the Author” section on WEIRD WORLDS’ Amazon page, you bring up a subject that’s near and dear to my questioning heart, which is the matter of how we, as authors, brand or do not brand ourselves. You write, “As usual, I have a hard time containing myself to one genre, which I’m told is a marketing nightmare. To make things worse, some of the stories even mix genres. What’s the one thing in common with the tales inside this book? They all tend to have some weird, supernatural, supernal, odd or strange elements (even the one non-fiction piece entitled The Ghost of Firetrail), and they all have loads of action and adventure.” Like you, I’m a writer who likes to jump genres, but I also recognize that one of the best way to build your authorial brand is to have a signature series. To some people, you’re always going to be “the DIRE PLANET guy.” Is this a burden? A blessing? Does it play a role in how you determine your writing projects?

Joel Jenkins: I just think it’s nice if somebody is actually able to associate me with anything I wrote at all. I do have five published books in the sword and science fiction series, DIRE PLANET so it is natural that the few people who have heard of my writing efforts might think of that first. My experience is that it takes a lot of time and effort to get momentum going on a series, and that sales on my single novels tend to be very minimal in comparison. Even the sales on the guns and guitars GANTLET BROTHERS series and the dark fantasy TALES FROM THE CITY OF BATHOS series (both with two books each) are much slower. I hope sales on the GANTLET BROTHERS series will pick up some momentum when I release the third book, SOLD OUT, later this year.

Thus far, for good or ill, branding hasn’t really been my big concern when choosing my next project. Mostly, it’s whatever story that is compelling me to write it the most, which dictates my next book. Maybe if I had one character that was bringing in loads of money I would feel more compelled to write a follow up to that series, but the money isn’t big enough to be a factor yet. Maybe that’s a blessing in disguise. I won’t know until have some point of comparison.

Mark Bousquet: What kinds of stories are in WEIRD WORLDS?

Joel Jenkins: Mainly, weird stories. We’ve got one that fits into the Dire Planet series and uses a few characters that readers of those books will recognize. I’ve got stories about ghosts, vampire hunters, a rock musician who takes on the heavyweight champion of the world, giant nazi robots, an icy and alluring assassin, and even one about Mormon gunfighter Porter Rockwell. Oh yeah, and one about Hitler, Amelia Earhart, Errol Flynn, and Edgar Rice Burroughs.

Pirates Cover-WebMark Bousquet: You were kind enough to send me a copy of a children’s book you wrote, THE PIRATES OF MIRROR LAND. What’s this book about?

Joel Jenkins: You’ve got your own ADVENTURES OF THE FIVE and STUFFED ANIMALS FOR HIRE which are written for the younger crowd, so I thought you might appreciate PIRATES OF MIRROR LAND which, like your STUFFED ANIMALS FOR HIRE, involves the adventures stuffed animals (an incorrigible gopher and a somewhat more practical rabbit, in this case) as they try to rescue a lost hamster. Really, it’s so outside of the box of what people expect from me that there haven’t been a whole lot of copies sold. It’s heavily illustrated by the super-talented Noel Tuazon, and is available on Amazon. I recommend picking up the hard copy version so you can enjoy the illustrations.

Mark Bousquet: Last summer you released THE ISLAND OF LOST SOULS: A BALIN AND BALAN ADVENTURE. Balin and Balan are characters that appear briefly in Sir Thomas Malory’s Le Morte d’Arthur. What drew you to write about these characters? Are you “filling in the blanks” of Malory’s text or are you taking the brothers in a new direction?

Joel Jenkins: Malory pretty much decided the direction, but there were an awful lot of blanks to fill in and that fired my imagination. I, somewhat audaciously, took it upon myself to fit together the missing pieces of the puzzle and turn it into a novel. When I read about the adventures of the brothers Balin and Balan I thought that they were far purer characters than Merlin and Arthur, yet they were put upon, victimized, and horribly used. I wondered why, so I wrote the story to discover just that. My take on it was that Merlin and Arthur weren’t exactly the good guys.

Mark Bousquet: I’m curious as to your approach writing in different genres. In the 19th century, French writer Guy de Maupassant argued that “it is always ourselves that we disclose in the body [of our characters]; for we are compelled to put the problem in this personal form: ‘If I were a king, a murderer, a prostitute, a nun, or a market-woman, what should I do, what should I think, how should I act?’” Do you have different goals when writing fantasy versus writing a weird western? Are there themes that unite your work? Are you tapping into different aspects of Joel Jenkins? What does a “quintessential Joel Jenkins story” read like?

Joel Jenkins: Honestly, I don’t change my writing style much between different genres. Whatever the genre, I incorporate lots of action and lots of descriptive (purple) prose. As far as Guy de Maupassant’s supposition (and you get extra points for quoting a dead French writer) I agree that writers get the ultimate opportunity to put ourselves in someone else’s shoes. However, I feel that we may or may not disclose ourselves in doing so. I’ve put myself in the shoes of icy assassins and murderous thieves with no moral compunctions whatsoever, and I’ve asked myself, “What would I do if I were like this character and had no qualms about killing an innocent person for personal gain?”or I’ve asked myself, “What would I do if I were an infertile Martian warrior woman who really wanted to have another child?” In putting myself in those shoes I’ve changed various of my own personal characteristics, so it may be dangerous for a reader to draw any conclusions. However, that said, Guy de Maupassant’s supposition does have some truth, because I think it’s impossible for an author not to leave some of him or herself on the page.

Mark Bousquet: Who is Joel Jenkins?

Joel Jenkins: I’m a former rock vocalist and concrete demolitionist, a father of six, and an ordained elder in the Church of Jesus Christ. I have a penchant for words, and an interest in guns and guitars.

Mark Bousquet: How do you write? Do you have a favorite time of day? A favorite writing spot? Are you a laptop writer, a desktop writer, a notebook writer?

Joel Jenkins: I get up about five in the morning and write in my downstairs office/library. This enables me to get kids off to school and put some words on paper. It’s not that I find early morning my most creative time of day. It’s more of a practicality issue. That’s the only part of the day I have time to write, so that’s when I do it. I shoot for a thousand words a day, five or six days a week. Sometimes I fall a little short, sometimes I do a little more. Bit by bit this adds up and I end up with a bunch of short stories, or a novel, or both.

I gave up on writing longhand stories ever since the advent of the personal computer. The idea of having to input my words only once, and then being able to selectively edit was very appealing–and it has saved me an enormous amount of time. I recall the days of retyping entire manuscripts to make edits and I don’t miss them.

Mark Bousquet: Who are your writing influences?

Joel Jenkins: I’m very much pulp era influenced. I love the muscular and vibrant way that Robert E Howard used the language, and I’m a big fan of Edgar Rice Burroughs. Of course, I’ve got numerous other influences ranging from the Iliad to Clive Cussler.

Mark Bousquet: What’s next for you?

Joel Jenkins: I’ve got a number of short stories (ranging from the Barclay Salvage space opera series to an Iliad inspired tale about Diomedes) slated for release with different publishers, but I don’t have any definite release dates yet. The big things on the slate are THE GANTLET BROTHERS: SOLD OUT which will drop late this year (guns, guitars, a vengeful Vietnamese warlord and even a few sword fights), and then in 2014 THE COMING OF CROW will be released. This will be a collection of stories about the infamous Native American gunfighter Lone Crow and his encounters with various other gunslingers and supernatural entities. THE COMING OF CROW collects a number of previously published stories and quite a few that haven’t seen the light of day yet. This weighs in at over 100,000 words, so fans of the Weird West genre should feel as though they’re getting their money’s worth.

Mark Bousquet: And finally, where can people go to learn more about you or your writing projects?

Joel Jenkins: Anyone who’s interested in my various scribblings can find more information at JoelJenkins.com and my Amazon Author’s Page has an extensive listing of my various books that have been published as well as a listing of anthologies in which I have stories.

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Superheroes are StupidWhen he’s not talking to other writers, Mark Bousquet is doing some writing himself, including the recently posted “Why Grant Jannen Can’t Have Sex” to this very site, whichyou can read for free and stuff, minus the stuff. He is the author of multiple novels and collections, including the recently released The Haunting of Kraken MoorGunfighter GothicStuffed Animals for HireDreamer’s SyndromeHarpsichord and the Wormhole Witches, and Adventures of the Five. He has also published a review collection entitled Marvel Comics on Film, which covers every cinematic and TV movie based on a superhero from the House of Ideas. A complete listing of all his work can be found at his Amazon author page.