wordbookstores:

We Recommend: A Questionable Shape by Bennett Sims (ebook available)

"A novel — about family, memory, the evolution of relationships, growing older, longing for the past, and what it means to be alive — that just happens to use The Undead as its vehicle. For fans of DFW and Colson Whitehead."

Emily

Welcome to our newest Tattoo Club member, Matthew Dutto, of Jacksonville, Florida!

He’s the 27th person to join the Club, with members from 13 states and 2 countries.

As a member, Matthew gets any 10 books available on our website.

Big ups, Matthew Dutto. And welcome.

Help us spread the word about our radical new website by sharing the link to our site and tagging Two Dollar Radio and you’ll have the chance to win a $50 gift card to spend with us, on book[s], or one of our hot new t-shirts, printed by alison rose. Tag + Share any time today for your chance to win!

Help us spread the word about our radical new website by sharing the link to our site and tagging Two Dollar Radio and you’ll have the chance to win a $50 gift card to spend with us, on book[s], or one of our hot new t-shirts, printed by alison rose.

Tag + Share any time today for your chance to win!

Two Dollar Radio: Books too loud to ignore.

(Source: addtoany.com)

News broke this past winter of Shia LaBeouf (pronounced la-BUFF) plagiarizing work by Daniel Clowes and Benoît Duteurtre. In his apology tweets/statements (which were also plagiarized), LaBeouf stated that “Copying isn’t particularly creative work. Being inspired by someone else’s idea to produce something new and different IS creative work.”
Our intention with Frequencies was not to feature the straightforward essays or interviews that you can find in absolutely every other venue. For instance, in Volume Two, Emily Pullen crafted an interview with the long-deceased T.S. Eliot out of questions culled from one poem, with responses from a second.
Taking inspiration from LaBeouf’s mission statements and his recent performance art/antics, we decided to interview “the” “celebrity” “of” “the” “moment” in Volume Four by copying LaBeouf’s responses from previous interviews into a new and different super-interview. We used responses that LaBeouf had provided in interviews with venues such as Details and Stumped Magazine, or on Twitter, and drafted the following satirical interview. To be even more explicit: LaBeouf’s responses were said by the actor, but not to us, and were made in response to altogether different questions.
We’ve agreed to preface our satirical interview with the following, lest ye be confused:
“Shia LaBeouf did not participate in the interview published herein; the questions and answers are fictional.”
===========================
Shia LaBeouf made me feel like James Lipton—had Lipton only seen a low frac­tion of the films that his subject had acted in and was entirely indifferent to those—for the nearly fifteen minutes we conducted our interview at Bob’s Bar (tagline: “The Cultural Hub of the Midwest”) on a pleasant mid-March afternoon. The beer was cold and the sun shone through the front window onto the initial handful of stools that lined the bar. Shia wore gray and was still missing a tooth. He looked like a distant relative I’d do anything to avoid. 
I had never interviewed a celebrity, let alone “the” “celeb­rity” “of-the-moment.” There was a sense that I was witness­ing history, while also missing history entirely. Interviewing Shia LaBeouf was like sleeping through an episode of a television show that I really wanted to watch. 
In the last four scant months, LaBeouf has dropped anchor in our pool of Eccentric Artists. True, that pool gets pissed in a lot, whether by launching a sketchy rap career or dating Madonna. The point is, this pool makes waves: it is a wave pool.
—The Editors
===========================
If you could describe your actions in one word, what would that word be?
SHIA: Hashtag, original.
 
Isn’t that two words? Okay then, what about two words?
SHIA: Hashtag, start creating.
 
Your short film Howard Cantour.com plagiarized Daniel Clowes, as did the storyboard you posted to your website for Daniel Boring. Why are you picking on Clowes, and if you could say ‘sorry,’ would you say ‘sorry’?
SHIA: I would like to be George Clooney diplomatic. But I mean, I don’t give a fuck. At this point I have enough money to live 25 lifetimes. You couldn’t spend the money I’ve accrued now. I have no interest in the materialistic bullshit money can buy. [Other actors are] talking about Ferraris and shit, like it’s a cool car. If [someone] pulled up in a Ferrari right now, my idea wouldn’t be, ‘What a cool fucking guy!’ It would be, ‘Look at this clown.’ I think the fact that I despise that stuff keeps me safe. I hang on to my dirt. I like my dirt. The hardest thing for me is dealing with all this idle time. That’s when I get into trouble.

You’ve gotten into trouble with the law in the past, when you were involved in an altercation in Sherman Oaks, arrested for smoking, and for attacking your neighbor with a knife. What’s more fun, punching or getting punched? 
SHIA: Dude, I was 185 and ripped. I’m a fucking human being who pays his taxes. And I don’t respond in a really sweetheart way. You fight out of fucking survival. Everybody’s got stories. I don’t want to not have stories. 
 
At your #IAMSORRY show at a tiny gallery in Los Angeles, you had your famous “I Am Not Famous Anymore” bag over your head. Andrew Romano of The Daily Beast reported that you were simultane­ously laughing and crying. 
SHIA: I am trying to impress myself. I have yet to do it. 
 
I thought that was pretty impressive: simultaneously laughing and crying. Not everyone can do that. It’s like rubbing your tummy and patting your head. Though the #IAMSORRY piece might appear a bit thin on paper, have you ever considered publishing a show book? 
SHIA: I’d feel disgusted with myself. It takes a certain mentality to be able to pay a hooker and stay hard, if you know what I mean. People write books about important shit.
 
Jaden Smith recently reached out to you in case you “need a fellow insane person to talk to.” Most people view your recent actions as performance art. How does that make you feel that he just thinks you’re nuts?
SHIA: He’s a lunatic. He told me the craziest story at Sundance, about how he used to be a glassblower. He was glassblowing, he said, in his boxers in his garage, and one of the bubbles popped. The glass got on his dick, and it wouldn’t get off, because it’s like molten lava when it comes off the bubble. He said he went to the hospital and at the hospital they said, “Look, we can’t remove the glass because doing so will puncture a vein and then we’ll have to sever your penis.” So his wife called him “glass dick.”
 
I don’t think he has a wife. Jaden Smith is, like, 13.* [*Editor’s Note: Jaden Smith is 15 years old.] Do you feel as though he’s belittling mental illness?
SHIA: Not like you. No, definitely not. He’s a legendary actor.

That might be a tad hyperbolic. We’ve danced around it a bit, but let’s talk about Twitter. It appears to be your new weapon of choice. 
SHIA: I don’t tweet or do any of that. 
 
Seriously? Every day for a month straight you were tweeting “I AM NOT FAMOUS ANYMORE.” Your shenanigans where you claim to want to avoid fame are making you more famous; you’re the great celebrity ouro­boros. Do you see yourself doing this for the rest of your life? 
SHIA: Never wanted to do anything else ever in my life.

News broke this past winter of Shia LaBeouf (pronounced la-BUFF) plagiarizing work by Daniel Clowes and Benoît Duteurtre. In his apology tweets/statements (which were also plagiarized), LaBeouf stated that “Copying isn’t particularly creative work. Being inspired by someone else’s idea to produce something new and different IS creative work.”

Our intention with Frequencies was not to feature the straightforward essays or interviews that you can find in absolutely every other venue. For instance, in Volume Two, Emily Pullen crafted an interview with the long-deceased T.S. Eliot out of questions culled from one poem, with responses from a second.

Taking inspiration from LaBeouf’s mission statements and his recent performance art/antics, we decided to interview “the” “celebrity” “of” “the” “moment” in Volume Four by copying LaBeouf’s responses from previous interviews into a new and different super-interview. We used responses that LaBeouf had provided in interviews with venues such as Details and Stumped Magazine, or on Twitter, and drafted the following satirical interview. To be even more explicit: LaBeouf’s responses were said by the actor, but not to us, and were made in response to altogether different questions.

We’ve agreed to preface our satirical interview with the following, lest ye be confused:

“Shia LaBeouf did not participate in the interview published herein; the questions and answers are fictional.”

===========================

Shia LaBeouf made me feel like James Lipton—had Lipton only seen a low frac­tion of the films that his subject had acted in and was entirely indifferent to those—for the nearly fifteen minutes we conducted our interview at Bob’s Bar (tagline: “The Cultural Hub of the Midwest”) on a pleasant mid-March afternoon. The beer was cold and the sun shone through the front window onto the initial handful of stools that lined the bar. Shia wore gray and was still missing a tooth. He looked like a distant relative I’d do anything to avoid. 

I had never interviewed a celebrity, let alone “the” “celeb­rity” “of-the-moment.” There was a sense that I was witness­ing history, while also missing history entirely. Interviewing Shia LaBeouf was like sleeping through an episode of a television show that I really wanted to watch.

In the last four scant months, LaBeouf has dropped anchor in our pool of Eccentric Artists. True, that pool gets pissed in a lot, whether by launching a sketchy rap career or dating Madonna. The point is, this pool makes waves: it is a wave pool.

The Editors

===========================

If you could describe your actions in one word, what would that word be?

SHIA: Hashtag, original.

 

Isn’t that two words? Okay then, what about two words?

SHIA: Hashtag, start creating.

 

Your short film Howard Cantour.com plagiarized Daniel Clowes, as did the storyboard you posted to your website for Daniel Boring. Why are you picking on Clowes, and if you could say ‘sorry,’ would you say ‘sorry’?

SHIA: I would like to be George Clooney diplomatic. But I mean, I don’t give a fuck. At this point I have enough money to live 25 lifetimes. You couldn’t spend the money I’ve accrued now. I have no interest in the materialistic bullshit money can buy. [Other actors are] talking about Ferraris and shit, like it’s a cool car. If [someone] pulled up in a Ferrari right now, my idea wouldn’t be, ‘What a cool fucking guy!’ It would be, ‘Look at this clown.’ I think the fact that I despise that stuff keeps me safe. I hang on to my dirt. I like my dirt. The hardest thing for me is dealing with all this idle time. That’s when I get into trouble.

You’ve gotten into trouble with the law in the past, when you were involved in an altercation in Sherman Oaks, arrested for smoking, and for attacking your neighbor with a knife. What’s more fun, punching or getting punched?

SHIA: Dude, I was 185 and ripped. I’m a fucking human being who pays his taxes. And I don’t respond in a really sweetheart way. You fight out of fucking survival. Everybody’s got stories. I don’t want to not have stories.

 

At your #IAMSORRY show at a tiny gallery in Los Angeles, you had your famous “I Am Not Famous Anymore” bag over your head. Andrew Romano of The Daily Beast reported that you were simultane­ously laughing and crying.

SHIA: I am trying to impress myself. I have yet to do it.

 

I thought that was pretty impressive: simultaneously laughing and crying. Not everyone can do that. It’s like rubbing your tummy and patting your head. Though the #IAMSORRY piece might appear a bit thin on paper, have you ever considered publishing a show book?

SHIA: I’d feel disgusted with myself. It takes a certain mentality to be able to pay a hooker and stay hard, if you know what I mean. People write books about important shit.

 

Jaden Smith recently reached out to you in case you “need a fellow insane person to talk to.” Most people view your recent actions as performance art. How does that make you feel that he just thinks you’re nuts?

SHIA: He’s a lunatic. He told me the craziest story at Sundance, about how he used to be a glassblower. He was glassblowing, he said, in his boxers in his garage, and one of the bubbles popped. The glass got on his dick, and it wouldn’t get off, because it’s like molten lava when it comes off the bubble. He said he went to the hospital and at the hospital they said, “Look, we can’t remove the glass because doing so will puncture a vein and then we’ll have to sever your penis.” So his wife called him “glass dick.”

 

I don’t think he has a wife. Jaden Smith is, like, 13.* [*Editor’s Note: Jaden Smith is 15 years old.] Do you feel as though he’s belittling mental illness?

SHIA: Not like you. No, definitely not. He’s a legendary actor.

That might be a tad hyperbolic. We’ve danced around it a bit, but let’s talk about Twitter. It appears to be your new weapon of choice.

SHIA: I don’t tweet or do any of that.

 

Seriously? Every day for a month straight you were tweeting “I AM NOT FAMOUS ANYMORE.” Your shenanigans where you claim to want to avoid fame are making you more famous; you’re the great celebrity ouro­boros. Do you see yourself doing this for the rest of your life?

SHIA: Never wanted to do anything else ever in my life.

"All humans are really good at just checking things out. We’re built to just walk around, look at the sky, eat off trees, sleep in the dirt, etc. And we’re also really good at making shit, at least when we’re kids. I wonder if there’s any connection between kids thinking about death and creativity. I forgot where I read it, but someone said how all kids are creative until they get into school and some teacher says “no, that’s a C-” on a painting they made. That’s dangerous and troubling to me. We should probably just be making things, writing books, wandering around, licking each other’s bodies and waiting for death."

— Shane Jones interviewed at The Believer ‘Logger.’

"I’m not entirely sure why I’m so pulled by weather, but I do think you hit on something with it being unknowable and unpredictable. I like the chaos of weather, the strangeness, the other-world quality that goes with weather, and these things fit with my style, I think. Fuck, I don’t know what I’m talking about. I just think it’s fun to use weather and the imagery, or the manipulating of imagery, that goes with weather. I just want to play with the sky."

— Shane Jones, interviewed at Hobart by J.A. Tyler.

"Haunting."
-Chicago Tribune

"Unforgettable."
-Library Journal, STARRED

"Intriguing."
-Publishers Weekly

"David Connerley Naum’s Ancient Oceans of Central Kentucky knows that all true stories are ghost stories, full of horror and want, distance and loss—the lasting specters of the tales we tell ourselves to mask the long truths that refuse to let us go.”
-Matt Bell
"Haunting."
-Chicago Tribune
"Unforgettable."
-Library Journal, STARRED
"Intriguing."
-Publishers Weekly
"David Connerley Naum’s Ancient Oceans of Central Kentucky knows that all true stories are ghost stories, full of horror and want, distance and loss—the lasting specters of the tales we tell ourselves to mask the long truths that refuse to let us go.”
-Matt Bell
"Like a cross between Paul Auster’s The Book of Illusions and Janice Lee’s Damnation, The Absolution of Roberto Acestes Laing is at once smart and slyly unsettling. It is expert at creating a quietly building sense of dread while claiming to do something as straightforward as describe lost films—like those conversations you have in which you realize only too late that what you are actually talking about and what you think you are talking about are not the same thing at all. With Rombes, Two Dollar Radio deftly demonstrates why it is rapidly becoming the go-to press for innovative fiction.”
-Brian Evenson

"Like a cross between Paul Auster’s The Book of Illusions and Janice Lee’s DamnationThe Absolution of Roberto Acestes Laing is at once smart and slyly unsettling. It is expert at creating a quietly building sense of dread while claiming to do something as straightforward as describe lost films—like those conversations you have in which you realize only too late that what you are actually talking about and what you think you are talking about are not the same thing at all. With Rombes, Two Dollar Radio deftly demonstrates why it is rapidly becoming the go-to press for innovative fiction.”

-Brian Evenson

"Two lost souls hurtle through a long dark night where drug store fluorescents light up fashion magazine headlines and the bad flarf of the pharmacy: Hydroxycut, Seroquel, Ativan, Zantrex-3. Gerard’s young lovers rightly revolt against the insane standards of a sick society, but their pursuit of purity—ideological, mental, physical—comes to constitute another kind of impossible demand, all the more dangerous for being self-imposed. Binary Star is merciless and cyclonic, a true and brutal poem of obliteration, an all-American death chant whose chorus is ‘I want to look at the sky and understand.’”
—Justin Taylor, author of Flings

"Two lost souls hurtle through a long dark night where drug store fluorescents light up fashion magazine headlines and the bad flarf of the pharmacy: Hydroxycut, Seroquel, Ativan, Zantrex-3. Gerard’s young lovers rightly revolt against the insane standards of a sick society, but their pursuit of purity—ideological, mental, physical—comes to constitute another kind of impossible demand, all the more dangerous for being self-imposed. Binary Star is merciless and cyclonic, a true and brutal poem of obliteration, an all-American death chant whose chorus is ‘I want to look at the sky and understand.’”

—Justin Taylor, author of Flings