I've Been Interviewed!

Preface: Much of the interview concerns my spirituality, self publishing, Marilyn Manson and The Smashing Pumpkins. The reason for this is that before my blog the bulk of my web presence was through my affiliation with The Nachtkabarett, a site which details at great length the occult imagery within the work of many artists--in particular Marilyn Manson, but also NIN, Coil and The Smashing Pumpkins. I am also one of three administrators for Manson's official forum, Babalon.

Now that you know that, read away! Thanks again to Jarrad Dickson for this interview. It was a lot of fun. Feel free to comment here and on his blog as well. Also, make sure to follow him if you dig it.

Here we go!

1. Could you give a basic introduction to the occult in The Smashing Pumpkins?

Billy Corgan has dabbled with certain aspects of the occult for many years. It's evident in four albums in particular: Gish, Adore, Machina: The Machines of God and Machina II: Friends and Enemies of Modern Music.

A while back I wrote Shattering Fast Alchemical Glass: over 100 pages of intensive research into the alchemical, occult and otherwise erudite elements of the Machina mystery. A great deal of the work is focused on Vasily Kafanov's Machina plates, which were drawn from many famous alchemical sources. I also examined aspects of Billy's “Glass” persona that he adopted, as well as a lot of the symbolism used in the various websites he had made for the album.

2. Do you think "web presence" is a necessity for today's modern artist, writer, etc, that they need to have presence on the internet? If so, why? And how would an aspiring author or artist go about this?

While it may not be necessary, it is inarguably important if you want anyone to know that you exist. If you're a self published author with no inclination towards social media then you've already shot yourself in the face, because it is the bread and butter of net exposure.

With traditional publishing there is a bit of slack, in that the publisher provides some funds for marketing your novel; that being said, it is rarely enough (especially if you are not the prize stallion of the publishing house). Regardless, at the end of the day the person with the greatest ability to market you is yourself, so you might as well take advantage of that.

One of the wonderful things about the internet is that the barrier between artist and fan has been shattered—interactions can happen globally, instantaneously! It's a humbling thought.

3.Could you give also another introduction to the occult in Marilyn Manson to the readers who may not know much about MM's references to the occult?

For the uninitiated, Manson draws heavily upon a variety of sources: not only biblical imagery, but artists from every medium—Shakespeare, Goya, Milton, Nabokov, Huxley, Bowie—the list is inexhaustible.

Manson integrates the work of others into completely new meanings relevant to his own work. As a small example, I first noticed that Manson cleverly hid Francisco Goya's painting Saturn Devouring His Son in plain view for his music video of The Nobodies. It appears very briefly in the final scene. This is more than just an easter egg for the observant, it's actually a critical commentary on the meaning of the video itself. The Nobodies video draws imagery heavily from the story of Hansel and Gretel. There is a certain sense of irony in watching a video of recently freed children eating the remains of their tyrants that have been ground into a pie; it's a twist on the traditional tale and provides a message of hope for the tormented and the beaten. It is also a double reference in that it functions on another level as a nod to Shakepeare's King Lear, where certain characters share the same fate.

I encourage readers interested in Marilyn Manson's imagery to check out The Nachtkabarett, not only because I've written quite a bit for it along with Nick and Gilles, but also because it is the only thing on the web that details Manson's work so extensively. Having the knowing approval of Manson himself also helps, I must admit.

4. What do you think about self publishing, and vanity presses, would you give a word of caution to self publishing, or just vanity presses?

I think there's a time and a place for everything. I have nothing against those who wish to pursue self publishing or vanity publishing, but I can't see myself working in that capacity any time soon.

As a general rule with traditional publishers, money should trickle down, not up. If you ever find yourself paying for editing, formatting, cover design, copy-editing or other aspects of the book's production you are not with a traditional publisher.

Self publishing serves a purpose and is a great way to put something out into the world that might otherwise be unmarketable or have a niche audience. Another benefit is that if you're a control junky it's the closest thing to DIY. There is a downside however, namely limited exposure and burning a hole in your pockets.

If you are an artist considering self publishing all that I ask of you is to set realistic expectations for you and your work. Consider the fact that the vast majority of books self published sell under 500 copies—most of this is to family and friends. If you're in the business to make money or have your work read by millions the odds are against you. Though to be fair, even with traditional publishing there is no guarantee that your novel will attract a large readership. Publishing is a gamble, no matter how you go about it.

5. You talked about a character named Madame White from your debut novel you are working on, could you tell the readers of this blog about her?

Gladly. Madame White is a particularly cruel spirit and the main antagonist of my work in progress. She's a trifecta amalgam of myth and traditional folklore: Chinese, Japanese and Taoist. The most familiar of her characteristics were pried from stories of The White Lady, The Legend of the White Snake and Yuki-Onna. There is also a great deal to her personality that I simply made up on the spot.

MW is relentless and in pursuit of something that my main protagonists possess. This provides a great deal of material for the novel.

6. How would you define what the occult actually is?

While the word “occult" has become a trendy umbrella term for just about everyone hawking their metal album, thirteen year old “witches” and followers of the Church of Satan, I like to keep my definition simple: the occult is that which is hidden. This applies to all forms of esotericism as well as to the mastery or salience of any subject beyond the normal comprehension of it.

7. Are you an esoteric person, are you spiritual, an atheist?

This is a difficult question to answer, and I wrestle with the specifics on a day to day basis. What I can say is that I am wary of any school of thought that requires the suspension of disbelief, posits ideas with no logic or reasoning and demands unwavering loyalty to something that cannot be questioned.

If there is a god, I highly doubt that they are concerned with what I do when the lights are out, who I do it with, how I do it, or how much the person I'm doing it to enjoys it.

But before you peg me as an agnostic I'd like to put it on the table that I have heard not one convincing argument to believe in a personal god of any sort. I'm also willing to go on the record by saying that I do not believe in souls, auras, the trinity, the physical resurrection of Jesus Christ, the existence of angels and demons, papal authority or that the bible is infallible.

Honestly I find it a little silly that I have to say such things in the 21^st century.

8. What would you say to an aspiring author if we have some reading this blog?

Forget about anything you've ever read about a muse--the muse is a fickle, frigid bitch. Above all, write. Write well and write often.

Thanks for having me Jarrad, it's been swell.